1968. Steve’s older brother has just broken the news that he’s quit college to enlist in the army. Before David departs for Vietnam in September, their father decides to send the brothers on a canoe trip down the Susquehanna River. Steve knows that David isn’t happy about the plan, and he’s not looking forward to being trapped with his swaggering, tough-guy brother either. “Look out for each other!” is the last thing they hear Dad shout as they round a bend out of sight, David in the rear, controlling the canoe. At first narrow and quiet as a stream, the river soon grows wider and more complicated, carrying the boys through gritty small-town America on a journey that pushes their adversarial relationship into new territory. There is no map or guide for this trip: just two brothers going forward, navigating the twists and turns of the river, learning to fight for each other. In this lyrical first novel, Don Brown tells the powerful story of two brothers coming of age in a challenging time.

Frogs, fish, a turtle, and other creatures who live in or around a river state their need for the river, making a plea for protecting this natural resource.

"Time and the River is about freedom and slavery, hope and betrayal. It tells the story of people who don't own their own land or time, or even their own bodies. Leah Lawson is the daughter of a slave owner and a slave woman in Belize (the former British Honduras). In dreaming of a better future Leah must make some difficult choices. Her life takes drastic turns, changing her from slave into mistress, and forcing her to take the lives of her family and best friend into her own hands."--Jacket.

Emmy Pérez’s poetry collection With the River on Our Face flows through the Southwest and the Texas borderlands to the river’s mouth in the Rio Grande Valley/El Valle. The poems celebrate the land, communities, and ecology of the borderlands through lyric and narrative utterances, auditory and visual texture, chant, and litany that merge and diverge like the iconic river in this long-awaited collection. Pérez reveals the strengths and nuances of a universe where no word is “foreign.” Her fast-moving, evocative words illuminate the prayers, gasps, touches, and gritos born of everyday discoveries and events. Multiple forms of reference enrich the poems in the form of mantra: ecologist’s field notes, geopolitical and ecofeminist observations, wildlife catalogs, trivia, and vigil chants. “What is it to love / within viewing distance of night / vision goggles and guns?” is a question central to many of these poems. The collection creates a poetic confluence of the personal, political, and global forces affecting border lives. Whether alluding to El Valle as a place where toxins now cross borders more easily than people or wildlife, or to increased militarization, immigrant seizures, and twenty-first-century wall-building, Pérez’s voice is intimate and urgent. She laments, “We cannot tattoo roses / On the wall / Can’t tattoo Gloria Anzaldúa’s roses / On the wall”; yet, she also reaffirms Anzaldúa’s notions of hope through resilience and conocimiento. With the River on Our Face drips deep like water, turning into amistad—an inquisition into human relationships with planet and self.

While recovering from breast cancer in a remote cabin in North Carolina, Mia Landan finds the journal of Kate Watkins, a 1920s fly fisher, and, inspired by Kate's example, learns to fish and uncovers many secrets around her.

Winner of the ALA Coretta Scott King–John Steptoe New Talent Award, The Rock and the River was described in a Booklist starred review as a “taut, eloquent first novel [that] will make readers feel what it was like to be young, black, and militant.” The Time: 1968 The Place: Chicago For thirteen-year-old Sam it’s not easy being the son of known civil rights activist Roland Childs. Especially when his older (and best friend), Stick, begins to drift away from him for no apparent reason. And then it happens: Sam finds something that changes everything forever. Sam has always had faith in his father, but when he finds literature about the Black Panthers under Stick’s bed, he’s not sure who to believe: his father or his best friend. Suddenly, nothing feels certain anymore. Sam wants to believe that his father is right: You can effect change without using violence. But as time goes on, Sam grows weary of standing by and watching as his friends and family suffer at the hands of racism in their own community. Sam beings to explore the Panthers with Stick, but soon he’s involved in something far more serious—and more dangerous—than he could have ever predicted. Sam is faced with a difficult decision. Will he follow his father or his brother? His mind or his heart? The rock or the river?