"Taut, fast-paced, economical, devoid of sham, Spinelli’s book echoes Dickinson’s own deceptive simplicity."--The New York Times Book Review Eleven-year-old Suzy just can't win. Her brother is a local hero for calling 911 after seeing their elderly neighbor collapse, and only her best friend was able to win a role in the play they both auditioned for. Feeling cast aside from all angles, Suzy sees a kindred spirit in Emily Dickinson, the subject of her summer project. Suzy decides to escape from her disappointments by emulating the poet's life of solitude: no visitors or phone calls (only letters delivered through her window), no friends (except her goldfish, Ottilie), and no outings (except church, but only if she can wear her long white Emily dress). But being a recluse is harder than Suzy predicted. Will she find a way to fold Emily into her life while also remaining true to herself?

NEW YORK TIMES BESTSELLER • Celebrate all the ways love makes us who we are with this enthralling and poignant follow-up to the New York Times bestseller Every Day--now a major motion picture. David Levithan turns his New York Times bestseller Every Day on its head by flipping perspectives in this exploration of love and how it can change you. Every day is the same for Rhiannon. She has accepted her life, convinced herself that she deserves her distant, temperamental boyfriend, Justin, even established guidelines by which to live: Don’t be too needy. Avoid upsetting him. Never get your hopes up. Until the morning everything changes. Justin seems to see her, to want to be with her for the first time, and they share a perfect day—a perfect day Justin doesn’t remember the next morning. Confused, depressed, and desperate for another day as great as that one, Rhiannon starts questioning everything. Then, one day, a stranger tells her that the Justin she spent that day with, the one who made her feel like a real person . . . wasn’t Justin at all.

Winner of the 2017 J. Anthony Lukas PrizeShortlisted for the 2017 Hurston/Wright Foundation AwardFinalist for the 2017 Helen Bernstein Book Award for Excellence in JournalismLonglisted for the 2017 Andrew Carnegie Medal for Excellence in Non Fiction On an average day in America, seven children and teens will be shot dead. In Another Day in the Death of America, award-winning journalist Gary Younge tells the stories of the lives lost during one such day. It could have been any day, but he chose November 23, 2013. Black, white, and Latino, aged nine to nineteen, they fell at sleepovers, on street corners, in stairwells, and on their own doorsteps. From the rural Midwest to the barrios of Texas, the narrative crisscrosses the country over a period of twenty-four hours to reveal the full human stories behind the gun-violence statistics and the brief mentions in local papers of lives lost. This powerful and moving work puts a human face-a child's face-on the "collateral damage" of gun deaths across the country. This is not a book about gun control, but about what happens in a country where it does not exist. What emerges in these pages is a searing and urgent portrait of youth, family, and firearms in America today.

A powerful and vibrant collection of stories offering an intimate look into the souls of unforgettable characters, confused and oppressed by the realities of their lives Time passes relentlessly in the lives of the fragile characters populating the pages of Christine Schutt’s outstanding collection of stories, revealing much but often changing nothing. Whether it brings a grandfather to the sad realization that his daughter has passed on her lifelong emotional struggles to her own daughter, or allows a child to understand her mother’s tragic disconnect from reality, the passage of days, months, and years offers melancholy understanding for those caught in its drift. Yet there can be a certain grace in the painful wisdom brought by experience. These lyrical masterworks of short fiction from an acclaimed American literary artist provide poignant looks behind closed doors, where the lives of women and men, children and families are defined and diminished by love, loss, and misunderstanding.

She doesn't know him, but the symbol she draws on her skin has always been in his nightmares Emily Lindsey doesn't speak when they find her. Holding a hunting knife and covered in blood that is not her own, she communicates with a single, ominous drawing. Detective Steven Paul has had the same nightmare for as long as he can remember, a strange symbol figuring prominently into his terror. He decided long ago that the recurring dreams are nothing more than an unfortunate side effect of his often traumatic profession. Until, that is, he's assigned to the case of Emily Lindsey, the beautiful, elusive, and controversial blogger found alone, who can't possibly know the symbol from his nightmares... unless she does.

In 1975, Angola was tumbling into pandemonium; everyone who could was packing crates, desperate to abandon the beleaguered colony. With his trademark bravura, Ryszard Kapuscinski went the other way, begging his was from Lisbon and comfort to Luanda—once famed as Africa's Rio de Janeiro—and chaos.Angola, a slave colony later given over to mining and plantations, was a promised land for generations of poor Portuguese. It had belonged to Portugal since before there were English-speakers in North America. After the collapse of the fascist dictatorship in Portugal in 1974, Angola was brusquely cut loose, spurring the catastrophe of a still-ongoing civil war. Kapuscinski plunged right into the middle of the drama, driving past thousands of haphazardly placed check-points, where using the wrong shibboleth was a matter of life and death; recording his imporessions of the young soldiers—from Cuba, Angola, South Africa, Portugal—fighting a nebulous war with global repercussions; and examining the peculiar brutality of a country surprised and divided by its newfound freedom.Translated from the Polish by William R. Brand and Katarzyna Mroczkowska-Brand.

Emily Dickinson, probably the most loved and certainly the greatest of American poets, continues to be seen as the most elusive. One reason she has become a timeless icon of mystery for many readers is that her developmental phases have not been clarified. In this exhaustively researched biography, Alfred Habegger presents the first thorough account of Dickinson’s growth–a richly contextualized story of genius in the process of formation and then in the act of overwhelming production. Building on the work of former and contemporary scholars, My Wars Are Laid Away in Books brings to light a wide range of new material from legal archives, congregational records, contemporary women's writing, and previously unpublished fragments of Dickinson’s own letters. Habegger discovers the best available answers to the pressing questions about the poet: Was she lesbian? Who was the person she evidently loved? Why did she refuse to publish and why was this refusal so integral an aspect of her work? Habegger also illuminates many of the essential connection sin Dickinson’s story: between the decay of doctrinal Protestantism and the emergence of her riddling lyric vision; between her father’s political isolation after the Whig Party’s collapse and her private poetic vocation; between her frustrated quest for human intimacy and the tuning of her uniquely seductive voice. The definitive treatment of Dickinson’s life and times, and of her poetic development, My Wars Are Laid Away in Books shows how she could be both a woman of her era and a timeless creator. Although many aspects of her life and work will always elude scrutiny, her living, changing profile at least comes into focus in this meticulous and magisterial biography.