She could remember standing in a park near the falls, hypnotized by the sight and sound, and holding her father’s hand as they took a walk that would lead them closer. That’s what everyone wonders when they see Niagara . . . How close will their courage let them get to it? At the turn of the nineteenth century, a retired sixty-two-year-old charm school instructor named Annie Edson Taylor, seeking fame and fortune, decided to do something that no one in the world had ever done before—she would go over Niagara Falls in a wooden barrel. Come meet the Queen of the Falls and witness with your own eyes her daring ride!

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

Reymundo Sanchez, a former member of the Latin Kings street gang, recounts the experiences of Sonia Rodriguez, a young girl who became a powerful leader of the Latin Queens, and explores the devastating impact gangs can have on a young girl's life.

In the midst of a judgmental society with double standards and the wrath of her mother, Mildred is isolated in a winter paradise full of magic. She embarks on the precarious journey of life enduring an endless loop of challenges that involve her making the most difficult decisions of her life. After years of endurance and perseverance, she undergoes a journey of emotional and principle transformation to the point of bloodshed and war. Will Princess Mildred get the happy ending she yearned for during the entirety of her survival?

A magical fantasy adventure about the high cost of loving, from the award-winning author of My Teacher Is an Alien and The Unicorn Chronicles. Juliet Dove is a girl who doesn't like to be noticed. But though she may be shy, she has a wickedly sharp wit. Whenever someone does take notice of her, she tears into the person with a savagery that’s earned her the nickname “Killer.” Juliet ends up leaving Mr. Elives’s magic shop with Helen of Troy's amulet—that is, a virtual man magnet. Juliet doesn’t know what she’s got, but the boys in her class do—they start to notice her . . . Soon every boy in town is swooning for her. Yet, much as she’d like to lose all the unwanted attention, she can’t: The amulet won't come off! “Although humorous, the story has surprising depth, with musings on honor, power, strength, courage, and, above all, love.” —School Library Journal “A rare book . . . . Funny [and] absorbing.” —Miami Herald

Follows the adventures of Talia as she travels the land as a Herald of Valdemar in the third book in the classic epic fantasy Arrows trilogy With Elspeth, the heir to the throne of Valdemar, come of marriageable age, Talia, the Queen’s Own Herald returns to court to find Queen and heir beset by diplomatic intrigue as various forces vie for control of Elspeth’s future. But just as Talia is about to uncover the traitor behind all these intrigues, she is sent off on a mission to the neighboring kingdom, chosen by the Queento investigate the worth of a marriage proposal from Prince Ancar. And, to her horror, Talia soon discovers there is far more going on at Prince Ancar’s court than just preparation for a hoped-for royal wedding. For a different magic than that of the Heralds is loose in Ancar’s realm—an evil and ancient sorcery that may destroy all of Valdemar unless Talia can send warning to her Queen in time!

Set in the magical world of Renthia, The Queen of Blood is Sarah Beth Durst’s ambitious entry into adult epic fantasy. With the danger of Peter Brett’s The Warded Man, heart of Naomi Novik’s Uprooted, and lyricism of Patrick Rothfuss’ The Name of the Wind, this is the first chapter in a series destined to be a classic. Everything has a spirit: the willow tree with leaves that kiss the pond, the stream that feeds the river, the wind that exhales fresh snow . . . But the spirits that reside within this land want to rid it of all humans. One woman stands between these malevolent spirits and the end of humankind: the queen. She alone has the magical power to prevent the spirits from destroying every man, woman, and child. But queens are still just human, and no matter how strong or good, the threat of danger always looms. With the position so precarious, young women are chosen to train as heirs. Daleina, a seemingly quiet academy student, is under no illusions as to her claim to the throne, but simply wants to right the wrongs that have befallen the land. Ven, a disgraced champion, has spent his exile secretly fighting against the growing number of spirit attacks. Joining forces, these daring partners embark on a treacherous quest to find the source of the spirits’ restlessness—a journey that will test their courage and trust, and force them to stand against both enemies and friends to save their land . . . before it’s bathed in blood.

In justice to the author of "Queen Moo's Talisman", it may be recorded that at the time of its writing, there was no intention of allowing the verses to go into print; they were penned only for the one to whom they are dedicated. The songs introduced have been arranged to the metre of the two or three ancient melodies yet occasionally heard among the natives of Yucatan. The one to the rain gods is a versification (set to the tune even now used in a sun-dance) of an old Maya prayer translated from that language by Dr. Le Plongeon and published in his work "Queen Moo and the Egyptian Sphinx." The melody to which the Love Song is set is not Maya. In connection with the lines touching upon love and pain it may be remarked that in the Maya language there is but one word to express both. In this poem are represented as nearly as possible, the religious ideas of the Mayas, their belief in KU, the Supreme Intelligence; in the immortality of the soul, and in successive lives on earth before returning to the great Source whence all emanate; also their rites and ceremonies as gathered from traditions of the natives of Yucatan, the fresco paintings found at Chichen, and the books of ancient Maya authors.

NATIONAL BESTSELLER, New York Times Book Review Editors’ Choice, and a Best Book of the Year from NPR, Boston Globe, BuzzFeed, and others. The mesmerizing story of one woman's rise from circus rider to courtesan to world-renowned diva—"a brilliant performance" (Washington Post). The Queen of the Night tells the captivating story of Lilliet Berne, an orphan who left the American frontier for Europe and was swept into the glamour and terror of Second Empire France. She became a sensation of the Paris Opera, with every accolade but an original role—her chance at immortality. When one is offered to her, she finds the libretto is based on her deepest secret, something only four people have ever known. But who betrayed her? With epic sweep, gorgeous language, and haunting details, Alexander Chee shares Lilliet’s cunning transformation from circus rider to courtesan to legendary soprano, retracing the path that led to the role that could secure her reputation—or destroy her with the secrets it reveals. “It just sounds terrific. It sounds like opera.”—The New Yorker “Sprawling, soaring, bawdy, and plotted like a fine embroidery.”—NPR