Can she be herself in a one-size-fits-all world? Lori Palmer is the new girl at Bay Water High, where students prize glossy hair, “beach” bodies, and thigh gaps above all else, which is so not her. She misses her old school, where her artistic talent was more important to her peers than a chia smoothie recipe ever was. Uncomfortable in her own size-sixteen skin, Lori decides to survive senior year as best she can by blending into the background while she melts in the summer heat. But her plans go completely awry when she discovers popular jock Jake volunteering at her brother Zac’s school. When her brother befriends Jake’s sister, Lori is suddenly thrust into Jake’s unfamiliar world of water polo, parties, and stargazing. As she grows closer to Jake, and her relationship with her mother starts to deteriorate, Lori’s old anxieties resurface and she throws herself into her art. It’s a wildly new direction for Lori, and through it she realizes that finding her voice might get her into a world of trouble, but standing up for what she believes in is as important as standing up for herself.

Life is reasonably rosy for plus-size ex-pop star turned Assistant Dormitory Director and sometime sleuth Heather Wells. Her freeloading ex-con dad is finally moving out. She still yearns for her hot landlord, Cooper Cartwright, but her relationship with "rebound beau," vigorous vegan math professor Tad Tocco, is more than satisfactory. Best of all, nobody has died lately in "Death Dorm," the aptly nicknamed student residence that Heather assistant-directs. Of course every silver lining ultimately has some black cloud attached. And when the latest murdered corpse to clutter up her jurisdiction turns out to be her exceedingly unlovable boss, Heather finds herself on the shortlist of prime suspects—along with the rabble-rousing boyfriend of her high-strung student assistant and an indecently handsome young campus minister who's been accused of taking liberties with certain girls' choir members. With fame beckoning her back into show business (as the star of a new kids' show!) it's a really bad time to get wrapped up in another homicide. Plus Tad's been working himself up to ask her a Big Question, which Heather's not sure she has an answer for . . .

"When I first decided to write this book it was because I wanted to share my weight loss experience with others. I figured that if I could overcome a life long struggle with obesity then others could as well. I compiled all my tips in one place hoping that after people read them they would understand that weight loss is an achievable goal. The odd thing is, the more I wrote the more I realized that it wasnt a diet program alone that helped me to lose weight it was the fact that I had finally stopped lying to myself about why I was fat in the first place."

A delightful collection of "Sylvia" cartoons.

The heartwarming new novel from the sparkling Laura Dockrill, introducing Bluebelle, and her moving, hilarious take on food, body image and how we look after ourselves and others. It's a food diary. I have to tell the truth. That's the point. Bluebelle, aka BB, aka Big Bones - is a sixteen-year-old girl encouraged to tackle her weight even though she's perfectly happy, thank you, and getting on with her life and in love with food. Then a tragedy in the family forces BB to find a new relationship with her body and herself. . . Tuck in for best mates, belly laughs, boys and the best Bakewell tart. ----- Love for BIG BONES 'Big Bones is the book I wish I'd had as a teenager and Bluebelle is a friend I wish I had today. Laura has written a beautiful love letter to some of the most important things in life: friends, family and food.' Linsdey Kelk 'Stuffed with lashings of laugh-out-loud loveliness (just wait until you read about Bum Tills...), relatable real-life truths and love in all its complicated, dizzying forms (food-love, friend-love, sisterly-love, boy-love, self-love), this is, quite simply, the best YA book about self-esteem and body image I've ever read' Lovereading

In this 2018 New York Times Notable Book,Paige Williams "does for fossils what Susan Orlean did for orchids" (Book Riot) in her account of one Florida man's attempt to sell a dinosaur skeleton from Mongolia--a story "steeped in natural history, human nature, commerce, crime, science, and politics" (Rebecca Skloot). In 2012, a New York auction catalogue boasted an unusual offering: "a superb Tyrannosaurus skeleton." In fact, Lot 49135 consisted of a nearly complete T. bataar, a close cousin to the most famous animal that ever lived. The fossils now on display in a Manhattan event space had been unearthed in Mongolia, more than 6,000 miles away. At eight-feet high and 24 feet long, the specimen was spectacular, and when the gavel sounded the winning bid was over $1 million. Eric Prokopi, a thirty-eight-year-old Floridian, was the man who had brought this extraordinary skeleton to market. A onetime swimmer who spent his teenage years diving for shark teeth, Prokopi's singular obsession with fossils fueled a thriving business hunting, preparing, and selling specimens, to clients ranging from natural history museums to avid private collectors like actor Leonardo DiCaprio. But there was a problem. This time, facing financial strain, had Prokopi gone too far? As the T. bataar went to auction, a network of paleontologists alerted the government of Mongolia to the eye-catching lot. As an international custody battle ensued, Prokopi watched as his own world unraveled. In the tradition of The Orchid Thief, The Dinosaur Artist is a stunning work of narrative journalism about humans' relationship with natural history and a seemingly intractable conflict between science and commerce. A story that stretches from Florida's Land O' Lakes to the Gobi Desert, The Dinosaur Artist illuminates the history of fossil collecting--a murky, sometimes risky business, populated by eccentrics and obsessives, where the lines between poacher and hunter, collector and smuggler, enthusiast and opportunist, can easily blur. In her first book, Paige Williams has given readers an irresistible story that spans continents, cultures, and millennia as she examines the question of who, ultimately, owns the past.

Presents the text of Alice Walker's story "Everyday Use"; contains background essays that provide insight into the story; and features a selection of critical response. Includes a chronology and an interview with the author.