Tracey was the first in her lineage to be diagnosed with breast cancer. She read many books on the subject of breast cancer, but the vast majority was written by celebrities, wealthy persons, and oncologists. She wanted to write a book that would help guide the average person on this horrific journey. There are no visits with renowned specialists or vacations away just because you feel like getting away. This is a book about going through the motions at home and at work each and every day, what to do, and what to expect.

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.

This “wickedly pacey page-turner” (Total Film) unfurls the behind-the-scenes story of the making of The Godfather, fifty years after the classic film’s original release. The story of how The Godfather was made is as dramatic, operatic, and entertaining as the film itself. Over the years, many versions of various aspects of the movie’s fiery creation have been told—sometimes conflicting, but always compelling. Mark Seal sifts through the evidence, has extensive new conversations with director Francis Ford Coppola and several heretofore silent sources, and complements them with colorful interviews with key players including actors Al Pacino, James Caan, Talia Shire, and others to write “the definitive look at the making of an American classic” (Library Journal, starred review). On top of the usual complications of filmmaking, the creators of The Godfather had to contend with the real-life members of its subject matter: the Mob. During production of the movie, location permits were inexplicably revoked, author Mario Puzo got into a public brawl with an irate Frank Sinatra, producer Al Ruddy’s car was found riddled with bullets, men with “connections” vied to be in the cast, and some were given film roles. As Seal notes, this is the tale of a “movie that revolutionized filmmaking, saved Paramount Pictures, minted a new generation of movie stars, made its struggling author Mario Puzo rich and famous, and sparked a war between two of the mightiest powers in America: the sharks of Hollywood and the highest echelons of the Mob.” “For fans of books about moviemaking, this is a definite must-read” (Booklist).

A MURDERER IN NAME ONLY Young Jed Brand is on the run. He's wanted for cattle rustling and three killings -- and the harder he rides, the more mayhem and murder he has to his name. The problem is, he's not the one doing it. Silas Colter is as cold and cunning as any other lifelong lawbreaker. After he suckered in Dan and Jed Brand to help drive stolen cattle to Abilene, the scheme went bad, with Colter killing Dan and two lawmen -- and leaving Jed to hang. Now, he's assumed Jed's identity to cut a swath of blood through the West. To avenge his brother and clear his name, Jed hunts the vicious Colter across the plains, dodging bounty hunters and a relentless U.S. Marshal whose motives are as personal as Jed's. All Jed knows is that if he ever wants to see the end of the Owlhoot Trail, someone's going to have to die....

Georgia 2001. "Your mission, Jo, should you choose to accept it, is to find out what young Georgians want," said the man from the Foreign and Commonwealth Office, or words to that effect. "We're keen to know what will happen when President Shevardnadze moves on." Jo Seaman went to the South Caucasus as director of the British Council in Georgia at a time of political uncertainty and turmoil. In attempting to fulfill her mission of cultural diplomacy she rubs shoulders with ballerinas and border guards, ambassadors and activists, ministers and musicians, despots and dodgy officials. Jo's intimate descriptions of a culture only relatively recently emerged from the shadow of the Iron Curtain are underpinned with a genuine warmth and compassion for the Georgian people. A consummate diplomat, Jo needs all her skills as she ventures out into the fraught and often amusing sphere of international relations, and is drawn into the heady events of the Rose Revolution. And life at home is far from uneventful...

My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?