But they also shed light on a more complex issue. The killers were three drifters scrounging for a living among a burgeoning counterculture population. Soon this community of runaways and transients became vulnerable scapegoats of a modern witch hunt. The supposedly progressive residents of San Francisco’s Haight-Ashbury, only two generations removed from the Summer of Love, now feared all of society’s outcasts as threats.In Those Who Wander, Vivian Ho delves deep into a rising subculture that’s changing the very fabric of her city and all of urban America. Moving beyond the disheartening statistics, she gives voices to these young people—victims of abuse, failed foster care, mental illness, and drug addiction. She also doesn’t ignore the threat they pose to themselves and to others as a dangerous dark side emerges. With alarming urgency, she asks what can be done to save the next generation of America’s vagabond youth.

    In the same nation but worlds apart, Beauty Mbali, a Xhosa woman in a rural village in the Bantu homeland of the Transkei, struggles to raise her children alone after her husband's death. Both lives have been built upon the division of race, and their meeting should never have occurred...until the Soweto Uprising, in which a protest by black students ignites racial conflict, alters the fault lines on which their society is built, and shatters their worlds when Robin’s parents are left dead and Beauty’s daughter goes missing.After Robin is sent to live with her loving but irresponsible aunt, Beauty is hired to care for Robin while continuing the search for her daughter. In Beauty, Robin finds the security and family that she craves, and the two forge an inextricable bond through their deep personal losses. But Robin knows that if Beauty finds her daughter, Robin could lose her new caretaker forever, so she makes a desperate decision with devastating consequences. Her quest to make amends and find redemption is a journey of self-discovery in which she learns the harsh truths of the society that once promised her protection.Told through Beauty and Robin's alternating perspectives, the interwoven narratives create a rich and complex tapestry of the emotions and tensions at the heart of Apartheid-era South Africa. Hum If You Don’t Know the Words is a beautifully rendered look at loss, racism, and the creation of family.

    She saw a queen—one with dynamic self-assurance, regality, beauty, and truth who captured this young girl’s imagination. When a nearby museum-goer snapped a photo of a mesmerized Parker, it became an internet sensation. Inspired by this visit, Parker, and her mother, Jessica Curry, tell the story of a young girl and her family, whose trip to a museum becomes an extraordinary moment, in a moving picture book. Parker Looks Up follows Parker, along with her baby sister and her mother, and her best friend Gia and Gia’s mother, as they walk the halls of a museum, seeing paintings of everyone and everything from George Washington Carver to Frida Kahlo, exotic flowers to graceful ballerinas. Then, Parker walks by Sherald’s portrait of Michelle Obama…and almost passes it. But she stops...and looks up! Parker saw the possibility and promise, the hopes and dreams of herself in this powerful painting of Michelle Obama. An everyday moment became an extraordinary one…that continues to resonate its power, inspiration, and indelible impact. Because, as Jessica Curry said, “anything is possible regardless of race, class, or gender.” **FOREWORD BY ARTIST AMY SHERALD**

    Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave-owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave-owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave-owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.

    Systems of oppression thrive off our inability to make peace with difference and injure the relationship we have with our own bodies.The Body Is Not an Apology offers radical self-love as the balm to heal the wounds inflicted by these violent systems. World-renowned activist and poet Sonya Renee Taylor invites us to reconnect with the radical origins of our minds and bodies and celebrate our collective, enduring strength. As we awaken to our own indoctrinated body shame, we feel inspired to awaken others and to interrupt the systems that perpetuate body shame and oppression against all bodies. When we act from this truth on a global scale, we usher in the transformative opportunity of radical self-love, which is the opportunity for a more just, equitable, and compassionate world--for us all.

    But when family secrets spill out and racism at school ramps up, she must decide what she believes in and take a stand.Fifteen-year-old Liliana is fine, thank you very much. It’s fine that her best friend, Jade, is all caught up in her new boyfriend lately. It’s fine that her inner-city high school is disorganized and underfunded. It’s fine that her father took off again—okay, maybe that isn’t fine, but what is Liliana supposed to do? She’s fifteen! Being left with her increasingly crazy mom? Fine. Her heathen little brothers? Fine, fine, fine. But it turns out Dad did leave one thing behind besides her crazy family. Before he left, he signed Liliana up for a school desegregation program called METCO. And she’s been accepted. Being accepted into METCO, however, isn’t the same as being accepted at her new school. In her old school, Liliana—half-Guatemalan and half-Salvadorian—was part of the majority where almost everyone was a person of color. But now at Westburg, where almost everyone is white, the struggles of being a minority are unavoidable. It becomes clear that the only way to survive is to lighten up—whiten up. And if Dad signed her up for this program, he wouldn’t have just wanted Liliana to survive, he would have wanted her to thrive. So what if Liliana is now going by Lili? So what if she’s acting like she thinks she’s better than her old friends? It’s not a big deal. It’s fine. But then she discovers the gutting truth about her father: He’s not on one of his side trips. And it isn’t that he doesn’t want to come home…he can’t. He’s undocumented and he’s been deported back to Guatemala. Soon, nothing is fine, and Lili has to make a choice: She’s done trying to make her white classmates and teachers feel more comfortable. Done changing who she is, denying her culture and where she came from. They want to know where she’s from, what she’s about? Liliana is ready to tell them.

    At an increasingly fraught time for immigrants and their families, Good Talk delves into the difficult conversations about race, sex, love, and family that seem to be unavoidable these days.Inspired by her popular BuzzFeed piece "37 Difficult Questions from My Mixed-Raced Son," here are Jacob's responses to her six-year-old, Zakir, who asks if the new president hates brown boys like him; uncomfortable relationship advice from her parents, who came to the United States from India one month into their arranged marriage; and the imaginary therapy sessions she has with celebrities from Bill Murray to Madonna. Jacob also investigates her own past, from her memories of being the only non-white fifth grader to win a Daughters of the American Revolution essay contest to how it felt to be a brown-skinned New Yorker on 9/11. As earnest and moving as they are sometimes laugh-out-loud funny, these are the stories that have formed one American life.