How novels targeted at teens engage narrator and reader in intimate dramas of friendship, love, identity, and sexuality

A Young Readers Edition of a compelling story of courage and triumph, this is the inspiring true story of Major Mary Jennings Hegar--a brave and determined woman who gave her all for her country, her sense of justice, and for women everywhere. On July 29, 2009, Air National Guard Major Mary Jennings Hegar was shot down while on a Medevac mission in Afghanistan. Despite being wounded, her courageous actions saved the lives of her crew and their patients, earning her the Purple Heart as well as the Distinguished Flying Cross with Valor Device. That day also marked the beginning of a new mission: convincing the U.S. Government to allow women to serve openly on the front line of battle for the first time in American history. With exclusive photographs throughout, Fly Like a Girl tells the inspiring true story of Mary Jennings Hegar--a brave and determined woman who gave her all for her country, her sense of justice, and for women everywhere. Includes exclusive photographs throughout, a discussion guide, and a Q&A with the author written specifically for teen readers. Praise for Fly Like a Girl: "An honest portrayal of one woman's battles in and out of combat zones."--Kirkus Reviews

Friday Night Lightsmeets Morgan Matson's The Unexpected Everything in this contemporary debut where swoonworthy romance meets underdog sports story. When softball star Liv Rodinsky throws one ill-advised punch during the most important game of the year, she loses her scholarship to her fancy private school, her boyfriend, and her teammates all in one fell swoop. With no other options, Liv is forced to transfer to the nearest public school, Northland, where she'll have to convince its coach she deserves a spot on the softball team, all while facing both her ex and the teammates of the girl she punched... Every. Single. Day. Enter Grey, the injured star quarterback with amazing hair and a foolproof plan: if Liv joins the football team as his temporary replacement, he'll make sure she gets a spot on the softball team in the spring. But it will take more than just a flawless spiral for Liv to find acceptance in Northland's halls, and behind that charismatic smile, Grey may not be so perfect after all. With lovable characters and a charming quarterback love interest, Throw Like a Girl will have readers swooning from the very first page.

Welcome to Code Like a Girl, where you'll get started on the adventure of coding with cool projects and step-by-step tips, from the co-author of the bestselling The Daring Book for Girls. Coding is about creativity, self-expression, and telling your story. It's solving problems and being curious, building things, making the world a better place, and creating a future. It's about you: whoever you are, wherever you're at, whatever you want. Nearly everything you encounter on a screen is made from code. You see, with code you can have an idea and put it into action: it's your voice and your vision. From the outside, tech and code may seem puzzling and mysterious, but when you get through the door and past the first few beginner steps and your code starts to work, it feels like magic. In this book, you'll learn how to: - Code with Scratch--projects like making a dog walk through the park, sending your friend a card, and devising a full-scoring game! - Build your own computer--really! - Create your own digital fortune-teller, with the Python language. - Make your own smartphone gloves. - Make light-up bracelets. - Code a motion sensor that tells you when someone enters your room. - And lots more!

'A lovely, sensitive, much-needed book that helps all children ask the big questions about identity and gender.' - Juno Dawson, author of This Book is Gay Tiny loves costumes! Tiny likes to dress up as an animal, or a doctor, or a butterfly. Tiny also prefers not to tell other children whether they are a boy or a girl. Tiny's friends don't mind, but when Tiny starts a new school their new friends can't help asking one question: "Tiny, are you a boy or are you a girl?" This brightly illustrated book will open a dialogue with children aged 3+ about gender diversity in a fun and creative way. Featuring a gender neutral protagonist, the book imparts an important message about identity and being who you want to be. Tiny's story will assist parents, family and teachers in giving children the space to express themselves fully, explore different identities and have fun at the same time.

This stunningly original, kaleidoscopic novel is an inspired celebration of women reading and the artists who have caught them in the act—“a vivid portrait of a timeless subject” (Minneapolis Star Tribune). A young orphan poses for a Renaissance maestro in medieval Siena. A servant girl in seventeenth-century Amsterdam snatches a moment away from her work to lose herself in tales of knights and battles. An eighteenth-century female painter completes a portrait of a deceased poetess for her lover. A Victorian medium poses with a book in one of the first photographic studios. A girl suffering her first heartbreak witnesses intellectual and sexual awakening during the Great War. A young woman reading in a bar catches the eye of a young man who takes her picture. And in the not-so-distant future a woman navigates a cyber-reality that has radically altered the way people experience art and life. Each chapter of Katie Ward’s novel immerses readers into the intimate tales behind the creation of seven portraits by artists, ranging from Simone Martini to Pieter Janssens Elinga to a Flickr photographer. In gorgeous prose, Ward explores our points of connection, our relationship to art, the history of women, and the importance of reading. Dazzlingly inventive, this is “a fascinating testament to the universal themes of art and literature and the spirit of femininity” (BookPage).

The Young Adult novel is ordinarily characterized as a coming-of-age story, in which the narrative revolves around the individual growth and maturation of a character, but Roberta Trites expands this notion by chronicling the dynamics of power and repression that weave their way through YA books. Characters in these novels must learn to negotiate the levels of power that exist in the myriad social institutions within which they function, including family, church, government, and school. Trites argues that the development of the genre over the past thirty years is an outgrowth of postmodernism, since YA novels are, by definition, texts that interrogate the social construction of individuals. Drawing on such nineteenth-century precursors as Little Women and Adventures of Huckleberry Finn, Disturbing the Universe demonstrates how important it is to employ poststructuralist methodologies in analyzing adolescent literature, both in critical studies and in the classroom. Among the twentieth-century authors discussed are Blume, Hamilton, Hinton, Le Guin, L'Engle, and Zindel. Trites' work has applications for a broad range of readers, including scholars of children's literature and theorists of post-modernity as well as librarians and secondary-school teachers. Disturbing the Universe: Power and Repression in Adolescent Literature by Roberta Seelinger Trites is the winner of the 2002 Children's Literature Association's Book Award. The award is given annually in order to promote and recognize outstanding contributions to children's literature, history, scholarship, and criticisim; it is one of the highest academic honors that can accrue to an author of children's literary criticism.

Saurabh’s birth is celebrated across the town of Konkur, where people rejoice in the arrival of the much-admired Vinod and Shashi Parashars’ first offspring. Soon, their neighbour’s 5-year-old daughter Vidya is entrusted with the responsibility of Saurabh’s daily wellbeing. They grow up together among the secluded trees, hills and narrow roads of the small town, spending much of their time in an abandoned graveyard they discover near their homes. But when Saurabh starts showing signs of trouble, their seemingly idyllic world begins to quickly unravel. As the incidents become more frequent and violent, he is brandished a pariah by the very people who had once held him aloft. Vidya, Shashi and Vinod’s struggle to come to terms with Saurabh’s impulses, becomes the uncomfortable thread that binds them together and leads them to re-evaluate their own lives and relationships. Traversing through the realms of guilt and solitude, A Stick in the Dirt attempts to grapple with the uncomfortable nature of the unknown and with what it means to be misunderstood by those closest to us.

AN INDIE BESTSELLER Most Anticipated by ELLE • Bustle • Bloomberg • Kirkus • HipLatina • SheReads • BookPage • The Millions • The Mujerista • Ms. Magazine • and more “Unflinching” —Ms. Magazine • “Phenomenal” —BookRiot • "An essential read" —Kirkus, starred review • "Necessary" —Library Journal • "Powerful" —Joaquin Castro • "Illuminating" —Reyna Grande • "A love letter to our people" —José Olivarez • "I have been waiting for this book all my life" —Paul Ortiz Bestselling author Julissa Arce calls for a celebration of our uniqueness, our origins, our heritage, and the beauty of the differences that make us Americans in this powerful polemic against the myth that assimilation leads to happiness and belonging for immigrants. “You sound like a white girl.” These were the words spoken to Julissa by a high school crush as she struggled to find her place in America. As a brown immigrant from Mexico, assimilation had been demanded of her since the moment she set foot in San Antonio, Texas, in 1994. She’d spent so much time getting rid of her accent so no one could tell English was her second language that in that moment she felt those words—you sound like a white girl?—were a compliment. As a child, she didn’t yet understand that assimilating to “American” culture really meant imitating “white” America—that sounding like a white girl was a racist idea meant to tame her, change her, and make her small. She ran the race, completing each stage, but never quite fit in, until she stopped running altogether. In this dual polemic and manifesto, Julissa dives into and tears apart the lie that assimilation leads to belonging. She combs through history and her own story to break down this myth, arguing that assimilation is a moving finish line designed to keep Black and brown Americans and immigrants chasing racist American ideals. She talks about the Lie of Success, the Lie of Legality, the Lie of Whiteness, and the Lie of English—each promising that if you obtain these things, you will reach acceptance and won’t be an outsider anymore. Julissa deftly argues that these demands leave her and those like her in a purgatory—neither able to secure the power and belonging within whiteness nor find it in the community and cultures whiteness demands immigrants and people of color leave behind. In You Sound Like a White Girl, Julissa offers a bold new promise: Belonging only comes through celebrating yourself, your history, your culture, and everything that makes you uniquely you. Only in turning away from the white gaze can we truly make America beautiful. An America where difference is celebrated, heritage is shared and embraced, and belonging is for everyone. Through unearthing veiled history and reclaiming her own identity, Julissa shows us how to do this.

Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.