As she moves through the world navigating banal, familiar, and sometimes uncomfortable interactions with the familiar-faced strangers she sees daily, Williams weaves together a riveting collection of flashbacks. Her recollections highlight the indefinable moments when lines are crossed and a woman must ask herself if the only way to avoid being objectified is to simply cease to draw any attention to her physical being. She delves into the gray space that lives between consent and assault and tenderly explores the complexity of the shame, guilt, vulnerability, and responsibility attached to both.

    Her father is a known criminal who once used Ashley to help him elude justice, and in his attempt to escape, a life was taken. He now sits in federal prison, but still casts a shadow over Ashley's life. In the meantime, Ashley has bounced from foster home to foster home and represents a real challenge to the social workers who try to help her--not because she's inherently bad, but because trouble always seems to find her.Ashley's latest set of presumably short-term foster parents are Kitch and Yuka Nolan. Like Ashley, Kitch happens to be an artist. Yuka, on the other hand, is a geneticist working for a very high-level tech company, one that's contracted out to work for the government and the military. And it's Yuka's latest top secret project that has her very concerned. Developed for the military, it's a set of body paints that, when applied to the wearer, grant them a wide range of special powers. Fearful that this invention will be misused, Yuka sneaks the set of paints home, substituting a dummy suitcase with an ordinary set of paints in their place.From here, signals get crossed. Ashley comes home from school one day with her new friend Luke and, thinking that the Nolans have purchased a surprise gift for her upcoming birthday, finds the set of paints. Being an artist, Ashley naturally assumes these are for her. It isn't long before she realizes that she's stumbled upon something much bigger and a lot more dangerous. Although she uses her newly discovered powers for good, it's not long before the military becomes wise to what happened to their secret weapon. And this spells big trouble not only for Ashley, but for her newfound family and friends as well.

    Luciana Cimino’s meticulously researched graphic-novel biography tells Bly’s story through Miriam, a fictionalized female student at the Columbia School of Journalism in 1921. While interviewing the famous journalist, Miriam learns not only about Bly's more sensational adventures, but also about her focus on self-reliance from an early age, the scathing letter to the editor that jump-started her career as a newspaper columnist, and her dedication to the empowerment of women. In fact, in 1884, Bly was one of the few journalists who interviewed Belva Ann Lockwood, who was the first woman candidate for a presidential election—a contest that was ultimately won by Grover Cleveland—and Bly predicted correctly that women would not get the vote until 1920. Of course Bly’s most well-known exploits are also covered—how she pretended to be mad in order to get institutionalized so she could carry out an undercover investigation in an insane asylum, and Bly's greatest feat of all, her journey around the world in 72 days—alone—which was unthinkable for a woman in the late 19th century. As Miriam learns more of Bly's story, she realizes that the most important stories are necessarily the ones with the most dramatic headlines, but the ones that, in Nellie’s words, “come from a deep feeling.” This beautifully executed graphic novel paints a portrait of a woman who defied societal expectations—not only with her investigative journalism, but with her keen mind for industry, and her original inventions.

    No era or tome emerges unscathbed as Beaton rightly skewers the Western world's revolutionaries, leaders, sycophants, and suffragists while equally honing her wit on the hapless heroes, heroines, and villains of the best-loved fiction. She deftly points out what really happened when Brahms fell asleep listening to Liszt, that the world's first hipsters were obviously the Incroyables and the Merveilleuses from eighteenth-century France, that Susan B. Anthony is, of course, a "Samantha," and that the polite banality of Canadian culture never gets old. Hark! A Vagrant features sexy Batman, the true stories behind classic Nancy Drew covers, and Queen Elizabeth doing the albatross. As the 5600.000 unique monthly visitors to harkavagrant.com already know, no one turns the ironic absurdities of history and literature into comedic fodder as hilarious as Beaton.

    Before he became the revered master of science fiction, Rod Serling was a just a writer who had to fight to make his voice heard. He vehemently challenged the networks and viewership alike to expand their minds and standards―rejecting notions of censorship, racism and war. But it wasn’t until he began to write about real world enemies in the guise of aliens and monsters that people lent their ears. In doing so, he pushed the television industry to the edge of glory, and himself to the edge of sanity. Rod operated in a dimension beyond that of contemporary society, making him both a revolutionary and an outsider.

    My father works at a factory, my mother at a dairy. Social problems are at their height. Empty stores are our daily bread.I’m scared of spiders and the world of adults doesn’t seem like a walk in the park.”Told from a young girl’s perspective, Marzena Sowa’s memoir of a childhood shaped by politics feels remarkably fresh and immediate. Structured as a series of vignettes that build on one another, MARZI is a compelling and powerful coming-of-age story that portrays the harsh realities of life behind the Iron Curtain while maintaining the everyday wonders and curiosity of childhood. With open and engaging art by Sylvain Savoia, MARZI is a moving and resonant story of an ordinary girl in turbulent, changing times.

    Other kids are into punk or ska, but Una is learning to play "Mull of Kintyre" by Wings on the guitar, and she thinks it’s a really good song. There's another song, chanted on the terraces by Leeds United fans. It might not have made it on to Top of the Pops, but the boys all sing it on the walk home from school: "One Yorkshire Ripper . . . There’s only one Yorkshire Ripper . . . One Yorkshire Ri-pper . . ."  A serial murderer is at large in West Yorkshire and the police—despite spending more than two million man-hours hunting the killer and interviewing the man himself no less than nine times—are struggling to solve the case. As this national news story unfolds around her, Una finds herself on the receiving end of a series of violent acts for which she feels she is to blame. Unbecoming explores gender violence, blame, shame, and social responsibility. Through image and text Una asks what it means to grow up in a culture where male violence goes unpunished and unquestioned. With the benefit of hindsight Una explores her experience, wonders if anything has really changed and challenges a global culture that demands that the victims of violence pay its cost.

    But she’s about to discover that witches aren’t just the stuff of movies, books, and spooky stories. When some eighth-grade bullies try to ruin her Halloween, something really strange happens. It turns out that Founder’s Bluff, Massachusetts, has a centuries-old history of witch drama. And, surprise: Moth’s family is at the center of it all! When Moth’s new powers show up, things get totally out-of-control. She meets a talking cat, falls into an enchanted diary, and unlocks a hidden witch world. Secrets surface from generations past as Moth unravels the complicated legacy at the heart of her town, her family, and herself.

    First, she'll win the battle of the bands with her two best friends, then she'll join the Gotham City Junior Police Academy so she can solve crimes just like her dad. Who knows, her rock star group of friends may even save the world, but first they'll need to agree on a band name.When a mysterious figure keeps getting in the way of Dinah's goals and threatens her friends and family, she'll learn more about herself, her mother's secret past, and navigating the various power chords of life.

    In 1991, Jeffrey Dahmer — the most notorious serial killer since Jack the Ripper — seared himself into the American consciousness. To the public, Dahmer was a monster who committed unthinkable atrocities. To Derf Backderf, “Jeff” was a much more complex figure: a high school friend with whom he had shared classrooms, hallways, and car rides. In My Friend Dahmer, a haunting and original graphic novel, writer-artist Backderf creates a surprisingly sympathetic portrait of a disturbed young man struggling against the morbid urges emanating from the deep recesses of his psyche — a shy kid, a teenage alcoholic, and a goofball who never quite fit in with his classmates. With profound insight, what emerges is a Jeffrey Dahmer that few ever really knew, and one readers will never forget.

    Wake up, grab the ice skates, and head to the rink while the world was still dark.Weekends were spent in glitter and tights at competitions. Perform. Smile. And do it again.She was good. She won. And she hated it.For ten years, figure skating was Tillie Walden's life. She woke before dawn for morning lessons, went straight to group practice after school, and spent weekends competing at ice rinks across the state. It was a central piece of her identity, her safe haven from the stress of school, bullies, and family. But over time, as she switched schools, got into art, and fell in love with her first girlfriend, she began to question how the close-minded world of figure skating fit in with the rest of her life, and whether all the work was worth it given the reality: that she, and her friends on the figure skating team, were nowhere close to Olympic hopefuls. It all led to one question: What was the point? The more Tillie thought about it, the more Tillie realized she'd outgrown her passion--and she finally needed to find her own voice.

    Now, a second thrilling tale of filial sleuthery, this time about her mother: voracious reader, music lover, passionate amateur actor. Also a woman, unhappily married to a closeted gay man, whose artistic aspirations simmered under the surface of Bechdel's childhood . . . and who stopped touching or kissing her daughter good night, forever, when she was seven. Poignantly, hilariously, Bechdel embarks on a quest for answers concerning the mother-daughter gulf. It's a richly layered search that leads readers from the fascinating life and work of the iconic twentieth-century psychoanalyst Donald Winnicott, to one explosively illuminating Dr. Seuss illustration, to Bechdel’s own (serially monogamous) adult love life. And, finally, back to Mother—to a truce, fragile and real-time, that will move and astonish all adult children of gifted mothers.

    With her father off fighting for the Hungarian army and the German troops quickly approaching, Katin and her mother are forced to flee to the countryside after faking their deaths. Leaving behind all of their belongings and loved ones, andunable to tell anyone of their whereabouts, they disguise themselves as a Russian servant and illegitimate child, while literally staying a few steps ahead of the German soldiers.We Are on Our Own is a woman's attempt to rebuild her earliest childhood trauma in order to come to an understanding of her lifelong questioning of faith. Katin's faith is shaken as she wonders how God could create and tolerate such a wretched world, a world of fear and hiding, bargaining and theft, betrayal and abuse. The complex and horrific experiences on the run are difficult for a child to understand, and as a child, Katin saw them with the simple longing, sadness, andcuriosity she felt when her dog ran away or a stranger made her mother cry. Katin's ensuing lifelong struggle with faith is depicted throughout the book in beautiful full-color sequences.We Are on Our Own is the first full-length graphic novel by Katin, at the age of sixty-three.

    It is an unforgettable story of survival and a disarming look at the legacy of trauma.

    She taught herself to read, and supported her extended family working as a secretary for the notorious NKVD (which became the KGB) and later as a lieutenant for the Red Army. Her family, including 4-year-old Yulia, moved to the U.S. in the wake of Chernobyl and forged a new life. Soviet Daughter united two generations of strong, independent women against a sweeping backdrop of the history of the USSR. Like Sarah Glidden in How to Understand Israel in 60 Days or Less , or Marjane Satrapi in Persepolis , Alekseyeva deftly combines compelling stories of women finding their way in the world with an examination o the ties we all have with out families, ethnicities, and the still-fresh traumas of the 20th century.