I turned and faced the road we'd come down, my face hard and set. The kids moved on without me. I could still see a slight glow and the murky, gray smoke reaching above the trees, where it spread to the south.... When I thought they were out of earshot, I took a deep breath. "You lied to me," I whispered toward the building, to all the people it represented, to the hours I'd spent on those hard, split-log seats, and to my childish epiphanies born there .... "You lied," I said. "These are my best friends now." Rare is the gift of a writer who is able to conjure up the voices of very different worlds, to give them heat and power and make them sing. Such is the talent of Nancy E. Turner. Her beloved first novel, These Is My Words, opened readers to the challenges of a woman's life in the nineteenth-century Southwest. Now this extraordinary writer shifts her gaze to a very different world -- East Texas in the years of the Second World War -- and to the life of a young woman named Philadelphia Summers, known against her will as Frosty. From the novel's harrowing opening scene, Frosty's eyes survey the landscape around her -- white rural America -- with the awestruck clarity of an innocent burned by sin. In her mother and sisters she sees fear and small-mindedness; in the eyes of local boys she sees racial hatred and hunger for war. When that war finally comes, it offers her a chance for escape -to California, and the caring arms of Gordon Benally a Native-American soldier. But when she returns to Texas she must face the rejection of a town still gripped by suspicion -- and confront the memory of the crime that has marked her soul since adolescence. Propelled by the quiet power of one woman's voice, The Water and the Blood is a moving and unforgettable portrait of an America of haunted women and dangerous fools -- an America at once long perished and with us still.

Seventeen-year-old Jay Harris lives in a world struck down by a deadly virus. His parents are dead, along with half the planet. When Jay's sister Maia falls ill, he must find a cure before he loses her, too. But unbeknownst to Maia, Jay is also sick... and he's running out of time to save them both. When Jay's friends tell him there might be a cure for him in France, he must decide whether to pursue it. The journey will be difficult and dangerous, especially in his weakened state, but with little time left-for himself and for Maia-it soon becomes clear there's no other choice. Jay leaves the relative comfort of London to search for help, knowing he may never find it. Along the way, he experiences the effects of disaster on the bonds of friendship and fluctuating notions of family. These teens, decimated by a dangerous plague, face stark choices in their search for help, not knowing if their efforts will end in loss and pain. Will Jay and Maia find a cure before the virus takes them?

"Haunting ... teems with raw emotion, and McCullough deftly captures the experience of learning to behave in a male-driven society and then breaking outside of it."—The New Yorker "I will be haunted and empowered by Artemisia Gentileschi's story for the rest of my life."—Amanda Lovelace, bestselling author of the princess saves herself in this one A William C. Morris Debut Award Finalist 2018 National Book Award Longlist Her mother died when she was twelve, and suddenly Artemisia Gentileschi had a stark choice: a life as a nun in a convent or a life grinding pigment for her father's paint. She chose paint. By the time she was seventeen, Artemisia did more than grind pigment. She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost. He will not consume my every thought. I am a painter. I will paint. Joy McCullough's bold novel in verse is a portrait of an artist as a young woman, filled with the soaring highs of creative inspiration and the devastating setbacks of a system built to break her. McCullough weaves Artemisia's heartbreaking story with the stories of the ancient heroines, Susanna and Judith, who become not only the subjects of two of Artemisia's most famous paintings but sources of strength as she battles to paint a woman's timeless truth in the face of unspeakable and all-too-familiar violence. I will show you what a woman can do. ★"A captivating and impressive."—Booklist, starred review ★"Belongs on every YA shelf."—SLJ, starred review ★"Haunting."—Publishers Weekly, starred review ★"Luminous."—Shelf Awareness, starred review

“Fascinating! [A] must-read for all concerned about how humans manage to live together. Or not.” —Margaret Atwood “Superb... an instant true crime classic.” —Publishers Weekly (starred review) A masterfully told true story, perfect for fans of Say Nothing and Furious Hours: a brutal murder in a small Nova Scotia fishing community raises urgent questions of right and wrong, and even the very nature of good and evil. In his riveting and meticulously reported final book, Silver Donald Cameron offers a stunning, intricate narrative about a notorious killing and its devastating repercussions. Cameron’s searing, utterly gripping story about one small community raises a disturbing question: Are there times when taking the law into your own hands is not only understandable but the responsible thing to do? In June 2013, three upstanding citizens of a small town on Cape Breton Island murdered their neighbor, Phillip Boudreau, at sea. While out checking their lobster traps, two Landry cousins and skipper Dwayne Samson saw Boudreau in his boat, the Midnight Slider, about to vandalize their lobster traps. Like so many times before, the small-time criminal was about to cost them thousands of dollars out of their seasonal livelihood. Boudreau seemed invincible, a miscreant who would plague the village forever. Meanwhile the police and local officials were frustrated, cowed, and hobbled by shrinking budgets. One of the men took out a rifle and fired four shots at Boudreau and his boat. Was the Boudreau killing cold blooded murder, a direct reaction to credible threats, or the tragic result of local officials failing to protect the community? As many local people have said, if those fellows hadn't killed him, someone else would have...

Powerful feminist nature writing by the pioneer of women's big-wave surfing in Ireland. Easkey Britton provides a rare female perspective on surfing, exploring the mental skills it fosters, and the need to recognize the value of the ocean and of nature's cycles in our lives. This is an incredibly inspiring exploration of the sea's role in the wellness of people and the planet, beautifully written by Easkey Britton – surfer, scientist and social activist. She offers a powerful female perspective on the sea and surfing, explaining what it’s like to be a woman in a man's world and how she promoted the sport to women in Iran, surfing while wearing a hijab. She speaks of the undiscussed taboo around entering the water while menstruating – and of how she has come to celebrate her own bodily cycles. She has developed her own approach to surfing, which instead of seeking to dominate the waves, works in tune with the natural cycles of her body, the moon and the seasons. In a society that rewards busyness, she believes that understanding the influence of cycles becomes even more important – and we all have them, men and women. For Easkey, the sea is a source of mental and physical wellbeing. She explores the mental toughness needed in big-wave surfing, and presents surfing as an embodied mindfulness practice in which we can find flow and connect with the movement of the waves. She stresses the need to recognize the ocean as our most powerful ally when addressing our greatest global challenge: the climate crisis. Above all, Easkey’s relationship to the sea has taught her about the need to meet life and evolve with it, rather than seeking to control it. By such wisdom our planet might just survive and thrive.

PULITZER PRIZE WINNER • The definitive history of the infamous 1971 Attica Prison uprising, the state's violent response, and the victim's decades-long quest for justice. • Thompson served as the Historical Consultant on the Academy Award-nominated documentary feature ATTICA “Gripping ... deals with racial conflict, mass incarceration, police brutality and dissembling politicians ... Makes us understand why this one group of prisoners [rebelled], and how many others shared the cost.” —The New York Times On September 9, 1971, nearly 1,300 prisoners took over the Attica Correctional Facility in upstate New York to protest years of mistreatment. Holding guards and civilian employees hostage, the prisoners negotiated with officials for improved conditions during the four long days and nights that followed. On September 13, the state abruptly sent hundreds of heavily armed troopers and correction officers to retake the prison by force. Their gunfire killed thirty-nine men—hostages as well as prisoners—and severely wounded more than one hundred others. In the ensuing hours, weeks, and months, troopers and officers brutally retaliated against the prisoners. And, ultimately, New York State authorities prosecuted only the prisoners, never once bringing charges against the officials involved in the retaking and its aftermath and neglecting to provide support to the survivors and the families of the men who had been killed. Drawing from more than a decade of extensive research, historian Heather Ann Thompson sheds new light on every aspect of the uprising and its legacy, giving voice to all those who took part in this forty-five-year fight for justice: prisoners, former hostages, families of the victims, lawyers and judges, and state officials and members of law enforcement. Blood in the Water is the searing and indelible account of one of the most important civil rights stories of the last century. (With black-and-white photos throughout)