All it takes is one missed step for your life to change forever. Luca Mason knows exactly who he is and what he wants: In six months, he’s going to be accepted into the Australian Ballet School, leave his fancy private high school, and live his life as a star of the stage—at least that’s the plan until he falls down a flight of stairs and breaks his foot in a way he can never recover from. With his dancing dreams dead on their feet, Luca loses his performing arts scholarship and transfers to the local public school, leaving behind all his ballet friends and his whole future on stage. The only bright side is that he strikes up unlikely friendships with the nicest (and nerdiest) girl at his new school, Amina, and the gorgeous, popular, and (reportedly) straight school captain, Jordan Tanaka-Jones. As Luca’s bond with Jordan grows stronger, he starts to wonder: who is he without ballet? And is he setting himself up for another heartbreak?

When lines are drawn how do you find courage in the face of hate, and what does it truly mean to take a stand? Stella and Farida have been best friends forever, but lately things have been tense. It all started when Stella's brother came home from his latest tour with the US Marines in Afghanistan paranoid and angry. But Stella won't talk about it, and Farida can tell she's keeping something from her.Desperate to help Rob, Stella thinks she just needs to get him out of the house. She definitely didn't expect going to the movies to end with Rob in handcuffs for assaulting one of her classmates after his anger spiraled out of control.When a video of the fight goes viral, everyone has an opinion of Stella and her "violent vet" brother.The entire school takes sides, the media labels Rob a terrorist sympathizer, and even Farida is dragged into the mess despite not being there. As the story continues trending, Stella will have to decide just how far she's willing to go for the truth, even if it means admitting her own failures.

Bryce remembers it like it was yesterday. The scent of chlorine. The blinding crack and flash of pain. Blood in the water. When she wakes up in the hospital, all Bryce can think of is her disastrous Olympic diving trial. But everything is different now. Bryce still feels seventeen, so how can her little sister be seventeen, too? Life went on without her while Bryce lay in a coma for five years. Her best friend and boyfriend have just graduated from college. Her parents barely speak. And everything she once dreamed of doing-winning a gold medal, traveling the world, falling in love-seems beyond her reach. But Bryce has changed too, in seemingly impossible ways. She knows things she shouldn't. Things that happened while she was asleep. Things that haven't even happened yet. During one luminous summer, as she comes to understand that her dreams have changed forever, Bryce learns to see life for what it truly is: extraordinary.

Jason, a twelve-year-old autistic boy who wants to become a writer, relates what his life is like as he tries to make sense of his world.

Sophie is starting a new school year. Shopping for it with her best friend should be fun, but nothing seems to fit, which is a major issue to a high school girl. But her biggest problem is the secret she's keeping. And she's about to find out that she won't be able to keep things under wraps for much longer. This page-turning novel explores the tangled web of choices, secrets, and love that all teen girls navigate. Melody Carlson enjoys a huge audience of teen readers. Now, Revell presents another new stunning story from an author who understands teen girls right where they are.

A beloved memoir from one of the most acclaimed radical writers in American literature—whose graphic, funny, and caustic voice has by turns haunted and influenced the literary and artistic establishments. "[Indiana] becomes the connective tissue that binds together a diaspora of subcultures: the beatnik-era experimental writing and happenings of downtown New York, the 1960s co-opted counterculture gone awry, the punk movement that followed, and the art and intellectual circles of the Reagan 80s, when the AIDS crisis was wiping out a generation of young gay men like him." —Los Angeles Times With I Can Give You Anything but Love, Gary Indiana has composed a literary, unabashedly wicked, and revealing montage of excursions into his life and work—from his early days growing up gay in rural New Hampshire to his escape to Haight-Ashbury in the post–summer-of-love era, the sweltering 1970s in Los Angeles, and ultimately his existence in New York in the 1980s as a bona fide downtown personality. Interspersed throughout his vivid recollections are present-day chapters set against the louche culture and raw sexuality of Cuba, where he lived and worked occasionally over the past decades. Connoisseurs will recognize in this—his most personal book—the same mixture of humor and realism, philosophy and immediacy, that have long confused the definitions of genre applied to his writing. Vivid, atmospheric, revealing, and entertaining, this is an engrossing read and a serious contribution to the genres of gay and literary memoir.

The first in-depth study in English to analyze post-utopian historical novels written during and in the wake of brutal Latin American dictatorships and authoritarian regimes During neoliberal reforms in the 1980s and 1990s, murder, repression, and exile had reduced the number of intellectuals and Leftists, and many succumbed to or were coopted by market forces and ideologies. The opposition to the economic violence of neoliberal projects lacked a united front, and feasible alternatives to the contemporary order no longer seemed to exist. In this context, some Latin American literary intellectuals penned post-utopian historical novels as a means to reconstruct memory of significant moments in national history. Through the distortion and superimposition of distinct genres within the narratives, authors of post-utopian historical novels incorporated literary, cultural, and political traditions to expose contemporary challenges that were rooted in unresolved past conflicts. In Anything but Novel, Jennie Irene Daniels closely examines four post-utopian novels--César Aira's Ema, la cautiva, Rubem Fonseca's O Selvagem da Ópera, José Miguel Varas's El correo de Bagdad, and Santiago Páez's Crónicas del Breve Reino--to make their contributions more accessible and to synthesize and highlight the literary and social interventions they make. Although the countries the novels focus on (Argentina, Brazil, Chile, and Ecuador) differ widely in politics, regime changes, historical precedents, geography, and demographics, the development of a shared subgenre among the literary elite suggests a common experience and interpretation of contemporary events across Latin America. These novels complement one another, extending shared themes and critiques. Daniels argues the novels demonstrate that alternatives exist to neoliberalism even in times when it appears there are none. Another contribution of these novels is their repositioning of the Latin American literary intellectuals who have advocated for the marginalized in their societies. Their work has opened new avenues and developed previous lines of research in feminist, queer, and ethnic studies and for nonwhite, nonmale writers.