2021 Lambda Literary Award - LGBTQ Mystery 2021 Crime Writers of Canada Awards of Excellence Finalist for Best Juvenile or YA Crime Book 2021 Best Books for Kids & Teens starred selection, The Canadian Children's Book Centre 2022 TAYSHAS Reading List, Texas Library Association 2022 ALA Rainbow Book List In her small town, seventeen year-old Delia "Dee" Skinner is known as the girl who wasn't taken. Ten years ago, she witnessed the abduction of her best friend, Sibby. And though she told the police everything she remembered, it wasn't enough. Sibby was never seen again. At night, Dee deals with her guilt by becoming someone else: the Seeker, the voice behind the popular true crime podcast Radio Silent, which features missing persons cases and works with online sleuths to solve them. Nobody knows Dee's the Seeker, and she plans to keep it that way. When another little girl goes missing, and the case is linked to Sibby's disappearance, Dee has a chance to get answers, with the help of her virtual detectives and the intriguing new girl at school. But how much is she willing to reveal about herself in order to uncover the truth? Dee’s about to find out what’s really at stake in unraveling the mystery of the little girls who vanished.

Newbery Award-winning author Matt de la Peña's We Were Here is a "fast, funny, smart, and heartbreaking" novel [Booklist]. When it happened, Miguel was sent to Juvi. The judge gave him a year in a group home—said he had to write in a journal so some counselor could try to figure out how he thinks. The judge had no idea that he actually did Miguel a favor. Ever since it happened, his mom can’t even look at him in the face. Any home besides his would be a better place to live. But Miguel didn’t bet on meeting Rondell or Mong or on any of what happened after they broke out. He only thought about Mexico and getting to the border to where he could start over. Forget his mom. Forget his brother. Forget himself. Life usually doesn’ t work out how you think it will, though. And most of the time, running away is the quickest path right back to what you’re running from. From the streets of Stockton to the beaches of Venice, all the way to the Mexican border, We Were Here follows a journey of self-discovery by a boy who is trying to forgive himself in an unforgiving world. "Fast, funny, smart, and heartbreaking...The contemporary survival adventure will keep readers hooked."-Booklist "This gripping story about underprivileged teens is a rewarding read."-VOYA "A furiously paced and gripping novel."-Publishers Weekly "A story of friendship that will appeal to teens and will engage the most reluctant readers."-Kirkus Reviews An ALA-YALSA Best Book for Young Readers An ALA-YALSA Quick Pick for Reluctant Readers A Junior Library Guild Selection

Can you be a hero...if society doesn't see you as a person? Nubia has always been a little bit...different. As a baby she showcased Amazonian-like strength by pushing over a tree to rescue her neighbor's cat. But despite her having similar abilities, the world has no problem telling her that she's no Wonder Woman. And even if she were, they wouldn't want her. Every time she comes to the rescue, she's reminded of how people see her: as a threat. Her moms do their best to keep her safe, but Nubia can't deny the fire within her, even if she's a little awkward about it sometimes. Even if it means people assume the worst. When Nubia's best friend, Quisha, is threatened by a boy who thinks he owns the town, Nubia will risk it all--her safety, her home, and her crush on that cute kid in English class--to become the hero society tells her she isn't. From the witty and powerful voice behind A Blade So Black, and with endearing and expressive art by Robyn Smith, comes a vital story for today about equality, identity, and kicking it with your squad.

Called "a feminist classic" by Judith Shulevitz in the New York Times Book Review, this pathbreaking book of literary criticism is now reissued with a new introduction by Lisa Appignanesi that speaks to how The Madwoman in the Attic set the groundwork for subsequent generations of scholars writing about women writers, and why the book still feels fresh some four decades later. "Gilbert and Gubar have written a pivotal book, one of those after which we will never think the same again."--Carolyn G. Heilbrun, Washington Post Book World

Crack open your spell book and enter the world of the illustrious Galileo Academy for the Extraordinary. There's been a murder on campus, and it's up to the students of Galileo to solve it. Follow 18 authors and 18 students as they puzzle out the clues and find the guilty party. Professor of Magical History Septimius Dropwort has just been murdered, and now everyone at the Galileo Academy for the Extraordinary is a suspect. A prestigious school for young magicians, the Galileo Academy reinvented itself as a place in which students of all cultures and identities are celebrated. In this new Galileo, every pupil is welcome—but there are some who aren't so happy with the recent changes. That includes everyone's least favorite professor, Septimius Dropwort, a stodgy old man known for his harsh rules and harsher punishments. But when the professor's body is discovered on school grounds with a mysterious note clenched in his lifeless hand, the Academy's students must solve the murder themselves, because everyone's a suspect. Told from more than a dozen alternating and diverse perspectives, The Grimoire of Grave Fates follows Galileo's best and brightest young magicians as they race to discover the truth behind Dropwort's mysterious death. But they're about to discover that even for straight-A students, magic doesn't always play by the rules. . . . Contributors include: Cam Montgomery, Darcie Little Badger, Hafsah Faizal, Jessica Lewis, Julian Winters, Karuna Riazi, Kat Cho, Kayla Whaley, Kwame Mbalia, L. L. McKinney, Marieke Nijkamp, Mason Deaver, Natasha Díaz, Preeti Chhibber, Randy Ribay, Tehlor Kay Mejia, Victoria Lee, and Yamile Saied Méndez

The relationship between women and houses has always been complex. Many influential writers have used the space of the house to portray women's conflicts with the society of their time. On the one hand, houses can represent a place of physical, psychological and moral restrictions, and on the other, they often serve as a metaphor for economic freedom and social acceptance. This usage is particularly pronounced in works written in the nineteenth and twentieth century, when restrictions on women's roles were changing: "anxieties about space sometimes seem to dominate the literature of both nineteenth-century women and their twentieth-century descendants." The Metaphor of the House in Feminist Literature uses a feminist literary criticism approach in order to examine the use of the house as metaphor in nineteenth and twentieth century literature.

Emily Dickinson's poem, 'This is my letter to the World/ That never wrote to Me --', opens the Introduction, which focuses on the near-anonymity of nineteenth-century women novelists. Close readings of works by five British novelists Jane Austen, Charlotte and Emily Brontë, Elizabeth Gaskell, and George Eliot offer persuasive accounts of the ways in which women used stealth tactics to outmaneuver their detractors. Chapters examine the 'hidden manifesto' in Austen's works, whose imaginative heroines defend women's writing; the lasting impact of Jane Eyre, with its modest heroine who takes up the pen to tell her own story, even on male writers outside the English tradition; Cathy's testament as the 'ghost-text' of Wuthering Heights; and the shifting gender roles in Daniel Deronda, with its silenced heroine and androgynous hero. Though the focus is on British novelists, the author's discussion of the Anglo-American connections in the factory novels of Elizabeth Gaskell and the slavery writings of Harriet Beecher Stowe has particular relevance for its demonstration of how the move from the private to the public sphere enables and even compels the blurring of national and ethnic boundaries. What emerges is a compelling argument for the relevance of these novelists to the emergence in our own time of hitherto-silenced female voices around the globe.

DeLamotte's book begins from the premise that the major conventions of the Gothic romance involve boundaries or barriers, which the Gothicist uses to play simultaneously on the fear of separateness and the fear of unity with some alien Other. She explores this question in the works of English and American writers, including Henry James, Mary Shelley, Herman Melville, Hawthorne, Emily Bronte, and Charlotte Bronte.