It had come to this: breastfeeding her screaming three-month-old while sitting on the cigarette-scarred floor of a union hall, lying to her husband so she could attend yet another activist meeting, and otherwise actively self-destructing. Then Sonya Huber turned to her long-dead grandfather, the family nobody, for help. Huber s search for meaning and resonance in the life of her grandfather Heina Buschman was unusual insofar as she knew him only through dismissive family stories: He let his wife die of neglect . . . he used his infant son as a decoy when transporting anti-Nazi literature in a baby carriage . . . and so the stories went. What she actually discovered was that, like his granddaughter, Heina Buschman was a committed and beleaguered activist whose story echoed her own. Huber s research not only conjured her grandfather s voice in answer to many of the questions that troubled her but also found in his story a source of personal sustenance for herself. Based on extensive research and documentation, this story of Heina Buschman offers a rare look into the heart of the average socialist trying to survive the Nazis and rebuild a broken world. Alternating with his voice is Huber s own, providing a rich and moving counterpoint that makes this deeply personal exploration of family, politics, and individual responsibility a story for all of us and for all time.

In this atmospheric, terrifying novel that draws strongly from "The Legend of Sleepy Hollow," the author of Alice and The Girl in Red works her trademark magic, spinning an engaging and frightening new story from a classic tale. Everyone in Sleepy Hollow knows about the Horseman, but no one really believes in him. Not even Ben Van Brunt's grandfather, Brom Bones, who was there when it was said the Horseman chased the upstart Crane out of town. Brom says that's just legend, the village gossips talking. More than thirty years after those storied events, the village is a quiet place. Fourteen-year-old Ben loves to play "Sleepy Hollow boys," reenacting the events Brom once lived through. But then Ben and a friend stumble across the headless body of a child in the woods near the village, and the discovery makes Ben question everything the adults in Sleepy Hollow have ever said. Could the Horseman be real after all? Or does something even more sinister stalk the woods?

Five lovely ex-girlfriends; one sweet-talking scoundrel “Limerence?” “Limerence, yes. It’s like a drug, like lsd. But you can’t buy it. Or go to jail for taking it. If you’ve got it, enjoy it. Just don’t make any long-term decisions. If you want to know what it is, look it up.” When Clarissa shook Scout from her life like crumbs from a picnic blanket forty years ago, she hoped she would never ever see him again. But here he is, on the doorstep of her luxe townhouse. She is more than surprised – she is offended – but, against her better judgment, she listens to his story. He regrets, Scout tells her, that they parted on such bad terms. To make amends, he has named her his sole beneficiary in his last will and testament. Look! It says so on page six. Oh, and by the way, could she lend him four hundred thousand rand? Months later Clarissa is summoned to a lawyer’s office. She assumes Scout has died and that there will be a reading of his will. But when she arrives, four other women tell her to join the queue. Set in vibrant, ever-changing Joburg, Limerence tracks Scout’s relationships with five remarkable women, from his bygone days of first dates to a life of higher and higher tightropes – and no safety net in sight. Warm-hearted and funny, this is a tale guaranteed to lift the spirits of even the sourest of exes.

USE YOUR WORDS introduces the art of creative nonfiction to women who want to give written expression to their lives as mothers. Written by award-winning teacher and writer, Kate Hopper, this book will help women find the heart of their writing, learn to use motherhood as a lens through which to write the world, and turn their motherhood stories into art. Each chapter of USE YOUR WORDS focuses on an element of craft and contains a lecture, a published essay, and writing exercises that will serve as jumping-off points for the readers’ own writing. Chapter topics include: the importance of using concrete details, an overview of creative nonfiction as a genre, character development, voice, humor, tense and writing the “hard stuff,” reflection and back-story, structure, revision, and publishing. The content of each lecture is aligned with the essay/poem in that chapter to help readers more easily grasp the elements of craft being discussed. Together the chapters provide a unique opportunity for mother writers to learn and grow as writers. USE YOUR WORDS takes the approach that creative writing can be taught, and this underscores each chapter. When students learn to read like writers, to notice how a piece is put together, and to question the choices a writer makes, they begin to think like writers. When they learn to ground their writing in concrete, sensory details and begin to understand how to create believable characters and realistic dialogue, their own writing improves. USE YOUR WORDS reflects Kate’s style as a teacher, guiding the reader in a straightforward, nurturing, and passionate voice. As one student noted in a class evaluation: “Kate is a born writer and teacher, and her enthusiasm for essays about motherhood and for teaching the nuts and bolts of writing so that ordinary mothers have the tools to write their stories is a gift to the world. She is raising the value of motherhood in our society as she helps mothers build their confidence and strengthen their game as writers.”

Growing up in war-torn Germany, spending over two years in a Russian prison camp can ruin a life or make it stronger. Fred Losch chose to become a stronger person and to make the most of his life. Fred left his homeland, became an American citizen, traveled the world, learned new things daily, and loved his family. He wrote the words of his life so that others might see the misery of war and strive toward understanding and cooperation.

"Being a man, like being a woman, is something you have to learn," Aaron Raz Link remarks. Few would know this better than the coauthor of What Becomes You, who began life as a girl named Sarah and twenty-nine years later began life anew as a gay man. Turning from female to male and from teaching scientist to theatre performer, Link documents the extraordinary medical, social, legal, and personal processes involved in a complete identity change. Hilda Raz, a well-known feminist writer and teacher, observes the process as both an "astonished" parent and as a professor who has studied gender issues. All these perspectives come into play in this collaborative memoir, which travels between women's experience and men's lives, explores the art and science of changing sex, maps uncharted family values, and journeys through a world transformed by surgery, hormones, love, and . . . clown school. Combining personal experience and critical analysis, the book is an unusual--and unusually fascinating--reflection on gender, sex, and the art of living.

"Doing things by the book" acquires a whole new meaning in Brandon R. Schrand's memoir of coming of age in spite of himself. The "works cited" are those books that serve as Schrand's signposts as he goes from life as a hormone-crazed, heavy-metal wannabe in the remotest parts of working-class Idaho to a reasonable facsimile of manhood (with a stop along the way to buy a five-dollar mustard-colored M. C. Hammer suit, so he'll fit in at college). The Adventures of Huckleberry Finn informs his adolescent angst over the perceived injustice of society's refusal to openly discuss boners. The Great Gatsby serves as a metaphor for his indulgent and directionless college days spent in a drunken stupor (when he wasn't feigning interest in Mormonism to attract women). William Kittredge's Hole in the Sky parallels his own dangerous adulthood slide into alcoholism and denial. With a finely calibrated wit, a good dose of humility, and a strong supporting cast of literary characters, Schrand manages to chart his own story--about a dreamer thrown out of school as many times as he's thrown into jail--until he finally sticks his landing.

Whether pulled from the folds of memory, channeled through the icons of Greek mythology and Roman Catholicism, or filtered through the lens of pop culture, Sonja Livingston's Queen of the Fall considers the lives of women. Exploring the legacies of those she has crossed paths with in life and in the larger culture, Livingston weaves together strands of memory with richly imagined vignettes to explore becoming a woman in late 1980s and early 1990s America. Along the way, the award-winning memoirist brings us face-to-face with herself as an inner-city girl--trying to imagine a horizon beyond poverty, fearful of her fertility and the limiting arc of teenage pregnancy. Livingston looks at the lives of those she's known: friends who've gotten themselves into "trouble" and disappeared never to be heard from again, girls who tell their school counselor small lies out of necessity and pain, and a mother whose fruitfulness seems, at times, biblical. Livingston interacts with figures such as Susan B. Anthony, the Virgin Mary, and Ally McBeal to mine the terrain of her own femininity, fertility, and longing. Queen of the Fall is a dazzling meditation on loss, possibility, and, ultimately, what it means to be human. Watch a book trailer