Is War A Thing To Be Forgotten? That's what Annie's mother would like to do. She wants to forget the pain and heartache--and to keep it away from Annie, too. But Annie cannot forget the death of her favorite uncle, who was killed in France. She cannot forget Andrew, the angry young veteran she meets at the hospital where her father works. Can Annie find the courage to help Andrew? And will she ever be able to make sense of a war that took so much from so many? Drawn to the Kansas hospital where her father cares for wounded World War One veterans, Annie meets Andrew, a disfigured young soldier. As Annie helps Andrew slowly adjust to his wounds, she also faces devastating truths about war and the complex world of adulthood. ‘A girl on the brink of womanhood comes to terms with the brutal aftereffects of war in an absorbing novel.’ —BL. Notable Children’s Books of 1986 (ALA) 1986 Best Books for Young Adults (ALA) The USA Through Children's Books (ALSC) 1986 Children's Editors' Choices (BL) 1987 Children's Book Award (IRA) Young Adult Choices for 1988 (IRA) 100 Favorite Paperbacks 1989 (IRA/CBC) Notable 1986 Children's Trade Books in Social Studies (NCSS/CBC) 1987 Teachers' Choices (NCTE) 1986 Golden Kite Award for Fiction (SCBW) Judy Lopez Memorial Award Certificate of Merit 1986 Jefferson Cup Award Winner (Virginia Library Association)

This acclaimed graphic memoir that Kirkus calls “cathartic and uplifting” is the tale of losing a parent and what it feels like to grieve and to move forward. “I can’t recommend this kind, funny, and poignant memoir enough. It’s an intimate, life-affirming story of resilience that feels like a good friend.” —Mari Andrew, author of Am I There Yet? Tyler Feder had just white-knuckled her way through her first year of college when her super cool mom was diagnosed with late-stage cancer. Now, with a decade of grief and nervous laughter under her belt, Tyler shares the story of that gut-wrenching, heart-pounding, extremely awkward time in her life—from her mom’s first oncology appointment to her funeral through the beginning of facing reality as a motherless daughter. She shares the sting of loss that never goes away, the uncomfortable post-death firsts, and the deep-down, hard-to-talk-about feelings of the grieving process. Dancing at the Pity Party is a frank and refreshingly funny look at what it’s like to grieve—for anyone struggling with loss who just wants someone to get it.

The magic continues in a new series from the author of the bestselling Magic Kitten! Adorable black and white spotted bunny Arrow is the keeper of the magic key that keeps Moonglow Meadow lush and beautiful so that many bunnies can live there happily. But the key is under threat and so Arrow must flee the meadow to keep it safe and hide in our world. Can Arrow find a little girl to look after him and be a special friend?

A New York Times Notable Book of the Year From a genuine hero of the American short story comes a luminous collection that reveals the seams of hurt, courage, and tenderness that run through the bedrock of contemporary American life. In these fourteen stories, Dubus depicts ordinary men and women confronting injury and loneliness, the lack of love and the terror of actually having it. Out of his characters' struggles and small failures--and their unexpected moments of redemption--Dubus creates fiction that bears comparison to the short story's greatest creators--Chekhov, Raymond Carver, Flannery O'Connor.

In late 2004, Vivian Chong’s life was changed forever when a rare skin disease, TEN (Toxic Epidermal Necrolysis), left her with scar tissue that would eventually blind her. As she was losing her sight, she put down as many drawings on paper as she could to document the experience. In Dancing After TEN, Chong teams up with cartoonist Georgia Webber ― whose graphic autobiography, Dumb, chronicled her own disability ― to trace her journey out of the darkness and into the spotlight. Chong now expresses her art through singing, stand-up, drumming, running, and dancing. This graphic novel is an inspirational tale and a powerful work of graphic medicine.

“In this authoritative, unsparing history of the biggest rock group of the 1970s, Spitz delivers inside details and analysis with his well-known gift for storytelling.” —PEOPLE From the author of the iconic, bestselling history of The Beatles, the definitive account of arguable the greatest rock band of all time. Rock star. Whatever that term means to you, chances are it owes a debt to Led Zeppelin. No one before or since has lived the dream quite like Jimmy Page, Robert Plant, John Paul Jones, and John Bonham. In Led Zeppelin, Bob Spitz takes their full measure, separating myth from reality with his trademark connoisseurship and storytelling flair. From the opening notes of their first album, the band announced itself as something different, a collision of grand artistic ambition and brute primal force, of English folk music and African American blues. Spitz’s account of their artistic journey, amid the fascinating ecosystem of popular music, is irresistible. But the music is only part of the legend: Led Zeppelin is also the story of how the sixties became the seventies, of how innocence became decadence, of how rock took over. Led Zeppelin wasn’t the first band to let loose on the road, but as with everything else, they took it to an entirely new level. Not all the legends are true, but in Spitz’s careful accounting, what is true is astonishing and sometimes disturbing. Led Zeppelin gave no quarter, and neither has Bob Spitz. Led Zeppelin is the long-awaited full reckoning the band richly deserves.

The long-awaited memoir from one of the most celebrated modern dancers of the past fifty years: the story of her own remarkable career, of the formative years of the Merce Cunningham Dance Company, and of the two brilliant, iconoclastic, and forward-thinking artists at its center—Merce Cunningham and John Cage. From its inception in the l950s until her departure in the l970s, Carolyn Brown was a major dancer in the Cunningham company and part of the vibrant artistic community of downtown New York City out of which it grew. She writes about embarking on her career with Cunningham at a time when he was a celebrated performer but a virtually unknown choreographer. She describes the heady exhilaration—and dire financial straits—of the company’s early days, when composer Cage was musical director and Robert Rauschenberg designed lighting, sets and costumes; and of the struggle for acceptance of their controversial, avant-garde dance. With unique insight, she explores Cunningham’s technique, choreography, and experimentation with compositional procedures influenced by Cage. And she probes the personalities of these two men: the reticent, moody, often secretive Cunningham, and the effusive, fun-loving, enthusiastic Cage. Chance and Circumstance is an intimate chronicle of a crucial era in modern dance, and a revelation of the intersection of the worlds of art, music, dance, and theater that is Merce Cunningham’s extraordinary hallmark.