"For fans of Laurie Halse Anderson’s Speak..."--Voices of Youth Advocates In a book that is both urgent and timely, Melissa Ostrom explores the intricacies of shame and victim-blaming that accompany the aftermath of assault. After surviving an assault at an off-campus party, nineteen-year-old Maggie is escaping her college town, and, because her reporting the crime has led to the expulsion of some popular athletes, many people—in particular, the outraged Tigers fans—are happy to see her go. Maggie moves in with her Aunt Wren, a sculptor who lives in an isolated cabin bordered by nothing but woods and water. Maggie wants to forget, heal, and hide, but her aunt’s place harbors secrets and situations that complicate the plan. Worse, the trauma Maggie hoped to leave behind has followed her, haunting her in ways she can’t control, including flashbacks, insomnia and a sense of panic. Her troubles intensify when she begins to receive messages from another student who has survived a rape on her old campus. Just when Maggie musters the courage to answer her emails, the young woman goes silent.

Ideologies of Identity in Adolescent Fiction examines the representation of selfhood in adolescent and children's fiction, using a Bakhtinian approach to subjectivity, language, and narrative. The ideological frames within which identities are formed are inextricably bound up with ideas about subjectivity, ideas which pervade and underpin adolescent fictions. Although the humanist subject has been systematically interrogated by recent philosophy and criticism, the question which lies at the heart of fiction for young people is not whether a coherent self exists but what kind of self it is and what are the conditions of its coming into being. Ideologies of Identity in Adolescent Fiction has a double focus: first, the images of selfhood that the fictions offer their readers, especially the interactions between selfhood, social and cultural forces, ideologies, and other selves; and second, the strategies used to structure narrative and to represent subjectivity and intersubjectivity.

A debut YA American epic and historical adventure from Melissa Ostrom about striking out for your own destiny. She's not the girl everyone expects her to be. Harriet Winter is the eldest daughter in a farming family in New Hampshire, 1807. She is expected to help with her younger sisters. To pitch in with the cooking and cleaning. And to marry her neighbor, the farmer Daniel Long. Harriet’s mother sees Daniel as a good match, but Harriet doesn’t want someone else to choose her path—in love or in life. When Harriet’s brother decides to strike out for the Genesee Valley in Western New York, Harriet decides to go with him—disguised as a boy. Their journey includes sickness, uninvited strangers, and difficult emotional terrain as Harriet sees more of the world, realizes what she wants, and accepts who she’s loved all along.

Forced to leave her family home in the Towy Valley, 17 year old Margaret Lewis travels with her parents to take up a new life in South Africa. After her father's death, Margaret and her friend run the dilapidated farm, but soon fall into the web of secrets and deception which surround the mysterious property. A gripping coming-of-age novel set to the backdrop of 1920s apartheid South Africa.

"Richard Stern is a literary treasure."---Scott Turow --

English Words aims to arouse curiosity about English words and about the nature of language in general, especially among introductory students who do not intend to specialize in linguistics.

"Once a year cousins Madge and Paul visit Goldengrove, their grandmother's idyllic Cornish home. But one year as Summer turns to Autumn and as they are drawn from childhood to maturity, their seemingly indomitable grandmother turns to Winter, and the precious moments of innocence begin to be leached away... Years later Madge, now living at Goldengrove, reflects on her own grandchildren and the events and revelations which disturbed the tranquill idyll that was her childhood. With wisdom and understanding, Jill Paton Walsh creates memorable mood-music for the ebb and flow, calm and storm of changing lives and in so doing has formed a lasting tale of innocence and beauty. An extremely good story, marvellously told. As the story gathers momentum, the deeply understood characters, the golden atmosphere, the small change of everyday pleasures and ageless tragedies are all put over with such newly seen immediacy and such controlled mastery that the reader is carried along like a surf rider on the crest of a wave, knowing it must soon break' Times Literary Supplement 'Written with an intensity of feeling and care, with a Woolf-like awareness of the instant's sensation: a story

When Escape Becomes the only Lover is a continuation and crystallization of issues dealt with in A Portrait of Defiance. The poet deals with a broad subject matter, love in all its forms, spirituality; this spirituality is individual it is the artist’s spiritual world. He deals with dreams, voice, word, numbers, poet’s vocation, wars, language, etc… He is the prophet of his dreams, his world, his future… There is strong experimentation and innovativeness in the writing, in the text, in form, in style, in content matter, the writer is a discoverer, every horizon is a life horizon. There is the dissecting of that space where art criticism meets art mimesis, and this space is offered as the future of art criticism. The storyteller refuses to die thus the collection proffers escape as the ultimate lover who can help us deal with the insanities of our time.

A Pulitzer Prize–winning critic’s “lyrical and haunting” (Alex Ross, The New Yorker) reflection on the meaning and emotional impact of a Bach masterwork. As his mother was dying, Philip Kennicott began to listen to the music of Bach obsessively. It was the only music that didn’t seem trivial or irrelevant, and it enabled him to both experience her death and remove himself from it. For him, Bach’s music held the elements of both joy and despair, life and its inevitable end. He spent the next five years trying to learn one of the composer’s greatest keyboard masterpieces, the Goldberg Variations. In Counterpoint, he recounts his efforts to rise to the challenge, and to fight through his grief by coming to terms with his memories of a difficult, complicated childhood. He describes the joys of mastering some of the piano pieces, the frustrations that plague his understanding of others, the technical challenges they pose, and the surpassing beauty of the melodies, harmonies, and counterpoint that distinguish them. While exploring Bach’s compositions he sketches a cultural history of playing the piano in the twentieth century. And he raises two questions that become increasingly interrelated, not unlike a contrapuntal passage in one of the variations itself: What does it mean to know a piece of music? What does it mean to know another human being?

Winner of the Tiptree Award and a Mythopoeic Award finalist, Cloud & Ashes is a slow whirlwind of language, a button box of words, a mythic fable that invites revisitation. Praise for Cloud & Ashes: "A rich poetic prose laden with fetching archaisms that's unlike anything else being written today. Brilliant and truly innovative fiction, not to be missed."—The Washington Times Greer Gilman is the author of Moonwise. A graduate of Wellesley and the University of Cambridge, she lives in Cambridge, Massachusetts. She likes to quip that she does everything James Joyce ever did, only backward and in high heels.