The sun will be rising soon. And you say you still aren’t tired? How’s that? You’re…trying to stay awake? You’re afraid to begin…dreaming? You’re scared you might run into…me? …PERCHANCE TO SCREAM… “But I’m already in the book you’re holding! I’m here in all my twisted glory, in seven grotesque tales by the masters of the macabre, including Nancy A. Collins, Bentley Little, and Tom Elliott. Stories about my bone-chilling past, my devilish present—and the horrifyingly vile plans I have for the future. AYE, THERE’S THE RUB! “What’s that? You thought I said—plans for your future? Well, now that you mention it…I can see you’re getting drowsy now. I’ll be waiting for you.”

    In smart prose with a light touch, Goners reveals the last days, hours, and moments of 50 notable and notorious figures in history such as Alexander the Great, John Belushi, Billy the Kid, Joan Crawford, Princess Diana, Charles Dickens, Cary Grant, Ernesto Che Guevara, Harry Houdini, Bruce Lee, Marie Antoinette, Pablo Picasso, Tupac Shakur, and Andy Warhol. You’d have to read 50 biographies to get all the in-depth information that author Gordon Kerr has compiled under one cover.  Read straight through or just dipped into, Goners is a compelling and curious ride.

    The pink covers, the flimsy paper, the zillion volumes in the series that kept you reading for your entire adolescence. Spurred by the commercial success of Sweet Valley High and The Babysitters Club, these were not the serious-issue YA novels of the 1970s, nor were they the blockbuster books of the Harry Potter and Twilight ilk. They were cheap, short, and utterly beloved.PAPERBACK CRUSH dives in deep to this golden age with affection, history, and a little bit of snark. Readers will discover (and fondly remember) girl-centric series on everything from correspondence (Pen Pals and Dear Diary) to sports (The Pink Parrots, Cheerleaders, and The Gymnasts) to a newspaper at an all-girls Orthodox Jewish middle school (The B.Y. Times) to a literal teen angel (Teen Angels: Heaven Can Wait, where an enterprising guardian angel named Cisco has to earn her wings “by helping the world’s sexist rock star.”) Some were blatant ripoffs of the successful series (looking at you, Sleepover Friends and The Girls of Canby Hall), some were sick-lit tearjerkers à la Love Story (Abby, My Love) and some were just plain perplexing (Uncle Vampire??) But all of them represent that time gone by of girl-power and endless sessions of sustained silent reading.In six hilarious chapters (Friendship, Love, School, Family, Jobs, Terror, and Tragedy), Bustle Features Editor Gabrielle Moss takes the reader on a nostalgic tour of teen book covers of yore, digging deep into the history of the genre as well as the stories behind the best-known series.

    In response, the distressed mother, who grew up a Quaker and has never seen a gun, steals weapons from the sheriff’s office and tools from a local hardware store. Frantically racing to rescue her stolen daughter, she is surprised to discover she knows how to expertly handle these dangerous, heavy tools. And it suddenly occurs to Karen that not only has her town changed, she has no idea who she is either!

    Estranging, broadening, darkening forms of children emerge as this book illuminates the child queered by innocence, the child queered by color, the child queered by Freud, the child queered by money, and the grown homosexual metaphorically seen as a child (or as an animal), alongside the gay child. What might the notion of a “gay” child do to conceptions of the child? How might it outline the pain, closets, emotional labors, sexual motives, and sideways movements that attend all children, however we deny it?Engaging and challenging the work of sociologists, legal theorists, and historians, Stockton coins the term “growing sideways” to describe ways of growing that defy the usual sense of growing “up” in a linear trajectory toward full stature, marriage, reproduction, and the relinquishing of childish ways. Growing sideways is a mode of irregular growth involving odd lingerings, wayward paths, and fertile delays. Contending that children’s queerness is rendered and explored best in fictional forms, including literature, film, and television, Stockton offers dazzling readings of works ranging from novels by Henry James, Radclyffe Hall, Virginia Woolf, Djuna Barnes, and Vladimir Nabokov to the movies Guess Who’s Coming to Dinner, The Hanging Garden, Heavenly Creatures, Hoop Dreams, and the 2005 remake of Willy Wonka and the Chocolate Factory. The result is a fascinating look at children’s masochism, their interactions with pedophiles and animals, their unfathomable, hazy motives (leading them at times into sex, seduction, delinquency, and murder), their interracial appetites, and their love of consumption and destruction through the alluring economy of candy.

    But to seventeen-year-old Celine Rousseau, New Orleans provides her a refuge after she's forced to flee her life as a dressmaker in Paris. Taken in by the sisters of the Ursuline convent along with six other girls, Celine quickly becomes enamored with the vibrant city from the music to the food to the soirées and—especially—to the danger. She soon becomes embroiled in the city's glitzy underworld, known as La Cour des Lions, after catching the eye of the group's leader, the enigmatic Sébastien Saint Germain. When the body of one of the girls from the convent is found in the lair of La Cour des Lions, Celine battles her attraction to him and suspicions about Sébastien's guilt along with the shame of her own horrible secret.When more bodies are discovered, each crime more gruesome than the last, Celine and New Orleans become gripped by the terror of a serial killer on the loose—one Celine is sure has set her in his sights . . . and who may even be the young man who has stolen her heart. As the murders continue to go unsolved, Celine takes matters into her own hands and soon uncovers something even more shocking: an age-old feud from the darkest creatures of the underworld reveals a truth about Celine she always suspected simmered just beneath the surface.At once a sultry romance and a thrilling murder mystery, master storyteller Renée Ahdieh embarks on her most potent fantasy series yet: The Beautiful.

    Alys, and all the other children, were spared—and they were sent to live in a neighboring village. There the devout people created a strict world where good and evil are as fundamental as the nursery rhymes children sing. Fear of the soul eaters—and of the Beast they believe guides them—rule village life. But the Beast is not what they think it is. And neither is Alys.Inside, Alys feels connected to the soul eaters, and maybe even to the Beast itself. As she grows from a child to a teenager, she longs for the freedom of the forest. And she has a gift she can tell no one, for fear they will call her a witch. When disaster strikes, Alys finds herself on a journey to heal herself and her world. A journey that will take her through the darkest parts of the forest, where danger threatens her from the outside—and from within her own heart and soul.

    The Fears. Those they love -- and hate. The entire town of Shadyside. All are tainted forever by the evil of the family's curse.No one can escape.Nora Goode and Daniel Fear hoped to end the curse of the Fear family. But on their wedding day, a horrible fire swept through the Fear mansion, taking the life of every member of the doomed family.Except one. A new Fear. The child of Nora and Daniel. Will he be able to live his life untouched by the evil of his family? Or will the dark forces claim yet another Fear for their own?

    With taunting messages in backwards Latin left at the crime scenes and even more inexplicable clues like the fingerprints that appear to have been burned into one victim's throat, his handiwork bears all the hallmarks of a demonic possession.But consulting detective Harrison Fearing Pell is convinced her quarry is a man of flesh and blood. Encouraged by her uncle, Arthur Conan Doyle, Harry hopes to make her reputation by solving the bizarre case before the man the press has dubbed Mr. Hyde strikes again.From the squalor of the Five Points to the high-class gambling dens of the Tenderloin and the glittering mansions of Fifth Avenue, Harry and her best friend, John Weston, follow the trail of a remorseless killer, uncovering a few embarrassing secrets of New York's richest High Society families along the way. Are the murders a case of black magic—or simple blackmail? And will the trail lead them closer to home than they ever imagined?

    But soon after her arrival at Coldthistle House, Louisa begins to realize that the house’s mysterious owner, Mr. Morningside, is providing much more than lodging for his guests. Far from a place of rest, the house is a place of judgment, and Mr. Morningside and his unusual staff are meant to execute their own justice on those who are past being saved.Louisa begins to fear for a young man named Lee who is not like the other guests. He is charismatic and kind, and Louisa knows that it may be up to her to save him from an untimely judgment. But in this house of distortions and lies, how can Louisa be sure whom to trust?

    Adam Brake, an astrophysicist, and his son Matthew try to unravel the mystery behind the peculiar behavior of the inhabitants of the little English village of Milbury while investigating the ancient stone circle surrounding it.

    Because it contains its own mythology and its own set of rules, it has also proved a psychologically attractive genre for many writers from its Romantic inception to the present day.

    Monsters provide a key to understanding the culture that spawned them. So argue the essays in this wide-ranging and fascinating collection that asks the question, What happens when critical theorists take the study of monsters seriously as a means of examining our culture? aIn viewing the monstrous body as a metaphor for the cultural body, the contributors to Monster Theory consider beasts, demons, freaks, and fiends as symbolic expressions of cultural unease that pervade a society and shape its collective behavior. Through a historical sampling of monsters, these essays argue that our fascination for the monstrous testifies to our continued desire to explore difference and prohibition. Contributors: Mary Baine Campbell, Brandeis U; David L. Clark, McMaster U; Frank Grady, U of Missouri, St. Louis; David A. Hedrich Hirsch, U of Illinois; Lawrence D. Kritzman, Dartmouth College; Kathleen Perry Long, Cornell U; Stephen Pender; Allison Pingree, Harvard U; Anne Lake Prescott, Barnard College; John O'Neill, York U; William Sayers, George Washington U; Michael Uebel, U of Virginia; Ruth Waterhouse. "

    When another boy vanishes, parents begin to worry about their children. When bodies turn up in the local river, cut to pieces, stuffed inside industrial-strength black trash bags, the town begins to shut down.The day that Brandon Grey is last seen walking home from school by teachers, two young boys are starting a street hockey game. A man stops at the end of their block, takes a picture of them, and drives off. All they catch is the model and color of the car he’s driving.Jake and Colin, fueled by their ambition to form a detective club, decide to go searching for the car that haunts them. They soon take it upon themselves to find Brandon Grey. As tensions in town rise, and so does the body count, they find themselves deep in a mystery they never bargained for, closer to the serial killer than they could have ever imagined.

    River rents the guest house behind Violet’s crumbling estate, and as eerie, grim things start to happen, Violet begins to wonder about the boy living in her backyard. Is River just a crooked-smiling liar with pretty eyes and a mysterious past? Or could he be something more?Violet’s grandmother always warned her about the Devil, but she never said he could be a dark-haired boy who takes naps in the sun, who likes coffee, who kisses you in a cemetery... who makes you want to kiss back. Violet’s already so knee-deep in love, she can’t see straight. And that’s just how River likes it.Blending faded decadence and the thrilling dread of gothic horror, April Genevieve Tucholke weaves a dreamy, twisting contemporary romance, as gorgeously told as it is terrifying—a debut to watch.