“A call-to-action to everyone out there who wants to fight back.” —Bustle “Scandal, justice, romance, sex positivity, subversive anti-sexism—just try to put it down.” —Kirkus Reviews (starred review) “Cuts straight to the core of rape culture—masterfully fierce, stirring, and deeply empowering.” —Amber Smith, New York Times bestselling author of The Way I Used to Be Three misfits come together to avenge the rape of a fellow classmate and trigger a change in the misogynist culture at their high school transforming the lives of everyone around them in this searing and timely story. Who are the Nowhere Girls? They’re everygirl. But they start with just three: Grace Salter is the new girl in town, whose family was run out of their former community after her southern Baptist preacher mom turned into a radical liberal after falling off a horse and bumping her head. Rosina Suarez is the queer punk girl in a conservative Mexican immigrant family, who dreams of a life playing music instead of babysitting her gaggle of cousins and waitressing at her uncle’s restaurant. Erin Delillo is obsessed with two things: marine biology and Star Trek: The Next Generation, but they aren’t enough to distract her from her suspicion that she may in fact be an android. When Grace learns that Lucy Moynihan, the former occupant of her new home, was run out of town for having accused the popular guys at school of gang rape, she’s incensed that Lucy never had justice. For their own personal reasons, Rosina and Erin feel equally deeply about Lucy’s tragedy, so they form an anonymous group of girls at Prescott High to resist the sexist culture at their school, which includes boycotting sex of any kind with the male students. Told in alternating perspectives, this groundbreaking novel is an indictment of rape culture and explores with bold honesty the deepest questions about teen girls and sexuality.

In the tradition of Edward Eager and E.L. Konigsburg, a novel about the excitement—and the dangers—of wishing. Tess and her brother, Max, are sent for the summer to their aunt’s sleepy village in the English countryside, where excitement is as rare as a good wifi signal. So when Tess stumbles upon an old brass key that unlocks an ornately carved gate, attached to a strangely invisible wall, she jumps at the chance for adventure. And the world beyond the gate doesn’t disappoint. She finds rose gardens, a maze made of hedges, and a boy named William who is just as lonely as she is. But at William’s castle, strange things begin to happen. Carnival games are paid for in wishes, dreams seem to come alive, and then there's William's eerie warning: Beware of the hawthorn trees. A warning that chills Tess to the bone. In a magical, fantasy world that blurs the line between reality and imagination, readers are left to wonder exactly what they’d wish for if wishes could come true. Perfect for fans of Half Magic and The Secret Garden—and for anyone who's ever wondered if magic is real. For the further adventures of Tess and Max, be sure to check out Amy Ephron's Carnival Magic! Praise for The Castle in the Mist: “Bursting with imagination and warmth, Amy Ephron’s first novel for young people is a magical book in all ways.”—Holly Goldberg Sloan, New York Times bestselling author of Counting by 7s "This beautiful story’s quiet, peaceful tone nicely evokes both the serenity of country life and the haunting magic of the castle, and the emotional heft of Tess and Max’s separation from their parents, as well as their strong bond, keeps the tale firmly grounded in reality. Perfect for middle-graders who love classic fantasy."—Booklist "Rich description of the castle along with an elaborate map at the book's beginning and an illustration at the end enhance the fantasy world....A sequel is suggested; beguiled readers will hope it happens."—Kirkus Reviews "There are scenes...that are transcendent in their beautiful, ethereal descriptions [in this] uplifting novel about family and connection."—BCCB "A slightly darker, updated take on magical realism classics such as Edward Eager’s Half Magic and E. Nesbit’s The Enchanted Castle."—School Library Journal "A near-perfect 9....This book defies gravity because it’s hard to put down!"—Time for Kids, kid reporter "Ephron renders this magical world with such assertive beauty that readers of all ages, who are fortunate enough to believe in the power of magic, will enjoy immersing themselves in the roller-coaster fun of these stories, and come to trust, even if for a short time, that in this 'alternate universe' it is possible for us to come together and 'touch the sky.'"—Jewish Journal

Amy, the Queen of the fairies, is interviewed after she has become famous. Her passion for her family is noted by Steve who is interviewing her. He does a deep detailed interview of her family. Especially her twin sisters who crush on Steve during the interview. Amber and Uncle Joe love the attention as they push each other and everyone else out of the way. Which leaves Amy to fill in the details later.

An evocative story by acclaimed author Amy Giles about tragedy, love, and learning to heal. The year since a mass shooting shook their Queens neighborhood has played out differently for Jess and Lucas, both of whom were affected by that night in eerily similar and deeply personal ways. As Jess struggles to take care of her depressed mother and Lucas takes up boxing under the ever-watchful eye of his overprotective parents, their paths converge. They slowly become friends and then something more, learning to heal and move forward together. But what does it mean to love after an unspeakable tragedy?

Why do Jews win so many Nobel Prizes and Pulitzer Prizes? Why are Mormons running the business and finance sectors? Why do the children of even impoverished and poorly educated Chinese immigrants excel so remarkably at school? It may be taboo to say it, but some cultural groups starkly outperform others. The bestselling husband and wife team Amy Chua, author of Battle Hymn of the Tiger Mother, and Jed Rubenfeld, author of The Interpretation of Murder, reveal the three essential components of success – its hidden spurs, inner dynamics and its potentially damaging costs – showing how, ultimately, when properly understood and harnessed, the Triple Package can put anyone on their chosen path to success.

When Amy E. Wallen's southern, blue-collar, peripatetic family was transferred from Ely, Nevada, to Lagos, Nigeria, she had just turned seven. From Nevada to Nigeria and on to Peru, Bolivia, and Oklahoma, the family wandered the world, living in a state of constant upheaval. When We Were Ghouls follows Wallen's recollections of her family who, like ghosts, came and went and slipped through her fingers, rendering her memories unclear. Were they a family of grave robbers, as her memory of the pillaging of a pre-Incan grave site indicates? Are they, as the author's mother posits, "hideous people?" Or is Wallen's memory out of focus? In this quick-paced and riveting narrative, Wallen exorcizes these haunted memories to clarify the nature of her family and, by extension, her own character. Plumbing the slipperiness of memory and confronting what it means to be a "good" human, When We Were Ghouls links the fear of loss and mortality to childhood ideas of permanence. It is a story about family, surely, but it is also a representation of how a combination of innocence and denial can cause us to neglect our most precious earthly treasures: not just our children but the artifacts of humanity and humanity itself.

Discusses the failure of America's political elites to recognize how group identities drive politics both at home and abroad, and outlines recommendations for reversing the country's foreign policy failures and overcoming destructive political tribalism at home.

A Newbery Honor Book An ALA-ALSC Notable Children's Book Winner of the Edgar Allan Poe Award for Best Juvenile Novel “An adventure, a mystery, and a love song to the natural world. . . . Run out and read it. Right now.”—Newbery Medalist Karen Cushman In the town of Placid, Wisconsin, in 1871, Georgie Burkhardt is known for two things: her uncanny aim with a rifle and her habit of speaking her mind plainly. But when Georgie blurts out something she shouldn't, her older sister Agatha flees, running off with a pack of "pigeoners" trailing the passenger pigeon migration. And when the sheriff returns to town with an unidentifiable body—wearing Agatha's blue-green ball gown—everyone assumes the worst. Except Georgie. Refusing to believe the facts that are laid down (and coffined) before her, Georgie sets out on a journey to find her sister. She will track every last clue and shred of evidence to bring Agatha home. Yet even with resolute determination and her trusty Springfield single-shot, Georgie is not prepared for what she faces on the western frontier.

A riveting literary debut about the cost of keeping quiet Amy Jo Burns grew up in Mercury, Pennsylvania, an industrial town humbled by the steel collapse of the 1980s. Instead of the construction booms and twelve-hour shifts her parents’ generation had known, the Mercury Amy Jo knew was marred by empty houses, old strip mines, and vacant lots. It wasn’t quite a ghost town—only because many people had no choice but to stay. The year Burns turned ten, this sleepy town suddenly woke up. Howard Lotte, its beloved piano teacher, was accused of sexually assaulting his female students. Among the countless girls questioned, only seven came forward. For telling the truth, the town ostracized these girls and accused them of trying to smear a good man’s reputation. As for the remaining girls—well, they were smarter. They lied. Burns was one of them. But such a lie has its own consequences. Against a backdrop of fire and steel, shame and redemption, Burns tells of the boys she ran from and toward, the friends she abandoned, and the endless performances she gave to please a town that never trusted girls in the first place. This is the story of growing up in a town that both worshipped and sacrificed its youth—a town that believed being a good girl meant being a quiet one—and the long road Burns took toward forgiving her ten-year-old self. Cinderland is an elegy to that young girl’s innocence, as well as a praise song to the curative powers of breaking a long silence.