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Pa'nop'ti'con (noun). A prison so constructed that the inspector can see each of the prisoners at all times, without being seen.

Anais Hendricks, fourteen, is in the back of a police car, headed for The Panopticon, a home for chronic young offenders. She can't remember the events that led her here, but across town a policewoman lies in a coma and there is blood on Anais's school uniform.

Smart, funny and fierce, Anais is a counter-culture outlaw, a bohemian philosopher in sailor shorts and a pillbox hat. She is also a child who has been let down, or worse, by just about every adult she has ever met.

The residents of The Panopticon form intense bonds, heightened by their place on the periphery, and Anais finds herself part of an ad-hoc family there. Much more suspicious are the social workers, especially Helen, who is about to leave her job for an elephant sanctuary in India but is determined to force Anais to confront the circumstances of her mother's death before she goes.

Looking up at the watchtower that looms over the residents, Anais knows her fate: she is part of an experiment, she always was, it's a given, a liberty — a fact. And the experiment is closing in

Set in a Scottish caravan park during a freak winter — it is snowing in Jerusalem, the Thames is overflowing, and an iceberg separated from the Fjords in Norway is expected to arrive off the coast of Scotland — THE SUNLIGHT PILGRIMS tells the story of a small Scottish community living through what people have begun to think is the end of times. Bodies are found frozen in the street with their eyes open, euthanasia has become an acceptable response to economic collapse, schooling and health care are run primarily on a voluntary basis. But daily life carries on: Dylan, a refugee from panic-stricken London who is grieving for his mother and his grandmother, arrives in the caravan park in the middle of the night — to begin his life anew.