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Synopsis

Black Rabbit Summer by Kevin Brooks

Pete Boland was busy doing nothing that summer. Then she called. ' Listen Pete ... you know that funfair... I thought we could all meet up ...You know, for old times' sake'. But, where there are old times, there are old tensions. And as secrets, bitterness and jealousies resurface, five old friends are plunged into the worst night of their lives.

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Reviews

'Praise for Kevin Brooks: 'He's an original. And he writes one hell of a story'
Meg Rosoff, author of How I Live Now (on Being)
'Watch this guy, he's good'
Melvin Burgess, author of Junk (on Martyn Pig)
'... you want to tell everyone how good it is'
Sunday Times (on Lucas)
Various
'... this credible, violent thriller pulls together all its apparent inconsistencies in a revealing resolution. Unmissable' - Tina Massey, Carousel 'Complex and involving, this is his [Brooks's] best book since the wonderful Lucas, and it deserves every success
Bookseller
'A masterly writer, and this book would put many authors of grown up detective fiction to shame
Mail on Sunday
'A compulsive, atmospheric mystery
Sunday Times
'Gripping, disturbing ... brilliant
Sunday Express
'A cracking story ... grips like a vice
Guardian

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About The Author

It was the publication of Martyn Pig that changed everything. After being turned down by a number of publishers, Kevin Brooks sent his manuscript to The Chicken House, who jumped on the chance to publish it. They released Martyn Pig in the spring of 2002. In the U.K, the book went on to be short-listed for the Carnegie Medal and win a Branford Boase Award for a first best novel. And in the United States, it was named a Publishers Weekly Flying Start and an ALA Book of the Year, among its many accolades.

One of Brooks' favorite genres is the detective novel, and this shows in his writing, "I think my awareness of plot comes from having read a lot of crime fiction. When Martyn Pig came out, the reviewers were saying things such as 'well plotted' novel. I found that surprising because I didn't have any idea that I could plot or structure a story. I do plan, but I'm not consciously aware that I'm building a plot that creates good suspense; it comes naturally because I've soaked myself in those sorts of plots."

Why did he decide to write for children? "There are not many differences, I don't think, between writing for children and writing for adults," Brooks says, "because children aren't that different from adults. But I would say the story is the main thing, with children. With adults you might use different styles and structures, perhaps indulge in fiddly niceties. Writing for children brings you down to basics."

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