College is two years away. Her mom was killed in a car accident when she was three, her dad drinks, and her stepmom is a non-entity. Her boyfriend Derek is boring and her coworker Rob has a very cute butt that she can't stop staring at. Then there's the kiss she shared with her classmate Tessa...But when Morgan discovers that the one person in the world she trusted most has kept a devastating secret from her, Morgan must redefine her life and herself.

    The text taps into students' inherent interest in the subject of human development, encouraging them to draw connections between the material and their own experiences.

    Through the eyes of Antoine, grandson of the tribal leader, we see the tribe attempt to overcome their demoralization at the hands of advancing white civilization.The Indians respond to the building of a dam by trying to gain the return of a sacred medicine bundle. McNickle's ability to depict psychologically complex characters of both races, such as Bull, the aging leader of the Little Elk, and Rafferty, the Indian Agency Superintendent, results in a convincing story and leads the reader to hope that tragedy can be averted. At the same time, McNickle provides a sensitive portrait of the religious depth and human warmth of Indian culture. But although whites and Indians grow in their understanding of one another, the mistakes of the past compound to bring about the violent final confrontation, envisioned in the dreams of the mysterious Two Sleeps.

    The next, she’s a Shield, the result of a decades-old experiment gone wrong, bound by DNA to defend her best friend from an unknown killer.The threat could come at home, at school, anywhere. All Evie knows is that it will be a fight to the death.And then there’s Jamie. irresistible. off-limits.

    Soon she discovers she has no choice, unless she can win an ancient and mysterious board game. And every roll of the dice leads her further into danger. The Name at the End of the Ladder is a fantasy adventure for younger readers by award-winning New Zealand poet Elena de Roo. This junior fiction novel about the power of language and friendship is ideal for fans of Jumanji, Zathura and The Phantom Tollbooth. For more about the author and her books, please visit www.elenaderoo.com

    In the first few chapters we meet a little girl named Song Byrd, who keenly reports on the world around her. She is African American (in a mostly Hispanic neighborhood), unwanted (conceived during an adulterous affair), and poor in the material sense but extraordinarily rich in spirit. In piercingly insightful prose, Nicole Bailey-Williams takes readers on Song’s journey through life as she struggles against outsider status and intense guilt over her mother’s murder. Behind it all, places of pure joy, “dreaming the hurt away,” and glorious little pieces of sky shine through. Song’s tales--and Bailey-Williams’s narrative gift--are truly words to treasure.

    They own nothing that can't fit in the back of a van, and they never stay very long in any one place. Home is wherever they are, as long as they're together. But as Nina begins to yearn for a settled life and lasting friendships, Joyce begins to move at a more and more frantic pace. Will Nina ever get the stability she craves? Or will Joyce's compulsion to keep moving cause both their lives to spiral out of control? With finely drawn characters and a frank, compelling narrative voice, Amy Ehrlich weaves a complex story about an unusual mother-daughter relationship—a story that explodes in a final, heartbreaking climax.aka "Where It Stops, Nobody Knows"

    Harnham agrees to help her young protegee Anna write to her lover, she begins the development of an ill-fated misunderstanding.

    i 1922. godine u Beogradu, ali delovi ove pripovetke su izlazili u zagrebačkom Književnom jugu. Iako je osnova za sadržinu i značenje Puta Alije Đerzeleza, Mustafe Madžara, Mosta na Žepi i Trupa pronađena u istoriji, legendi i sudbini pojedinca u njima, Andrić istoriju ne posmatra kao zbir poznatih i poverljivih događaja medju njenim učesnicima, niti legendu doživljava kao gotovu i nepromenljivu sižejnu činjenicu priče, nego kao adekvatnu početnu osnovu za dublje i postojanije shvatanje smisla i značenja istorije, legende u životu pojedinca i trajanju sveta. Vidi ih kao simboličan doživljaj istorije, kao pozornicu na kojoj se odvija čovekov susret sa neminovnostima svoje prolaznosti, nesavršenstva, straha i nemoći. Andrić’s first short story, published in 1920. Its protagonist is the hero of a large number of Moslem heroic ballads. Bearing in mind the special place accorded to “legend” and “fairy-tale” in Andrić’s statements about art, we should consider exactly what form “the grain of truth contained in legend” takes in this tale. The traditional ballads concerned with Alija deal exclusively with his prowess on the battlefield. Andrić refers to his fame in just one sentence: "He was renowed for many battles and his fearful strength... " and immediatelly takes him off his horse, setting him down in a context where he appears awkward because he is not used to being on the ground, or to normal social interaction. His stature is a t once diminished: “In a few days the magic circle around Đerzelez had quite disappeared. “There is no clear reason why the label “hero“ should have attached itself to this particular person. He is small, unprepossessing and ungainly as soon as he dismounts, awkward and uninteresting in conversation. He is slow-witted and chronically lacking in imagination. But he is also obsessive. Once he sees a beautiful woman he can think of nothing else but possessing her. Or he abandons himself wholeheartedly to the singing of a particularly fine traditional singer: “Đerzelez felt that the singer tugging at his soul and that any moment now, he would expire, from excessive strength, or excessive weakness. “ Đerzelez can flourish only in circumstances where his simple-minded strength energy can be expressed in the immediate violent ways he understands. He is quite baffled by more intricate social relationships and by the whole deeply disturbing question of women. Andrić here exploits the comic possibilities exposing a renowned hero to the demands made on men by their ballads about Marko Kraljević.

    He didn't expect it to be in the morgue. Or that he would accidentally discover a murder cover-up. Or that his discovery would lead him to a full-blown investigation involving bribery, kidnappings, more murders... and his best friend. And he certainly could never have predicted that Tina - loud, insanely hot, ambitious newspaper reporter Tina - would be his partner. But all of that did happen. And Christopher's life will never be the same. With plenty of plot twists, red herrings, and dry wit, The Morgue and Me is a page-turning modern take on the classic detective genre.

    His classmates cannot make him come down, not even by pelting him with rocks. So to prove to Pierre-Anthon that life has meaning, the children decide to give up things of importance. The pile starts with the superficial—a fishing rod, a new pair of shoes. But as the sacrifices become more extreme, the students grow increasingly desperate to get Pierre-Anthon down, to justify their belief in meaning. Sure to prompt intense thought and discussion, Nothing—already a treasured work overseas—is not to be missed.

    Watts, object of much curiosity and scorn, who sweeps out the ruined schoolhouse and begins to read to the children each day from Charles Dickens's classic Great Expectations.So begins this rare, original story about the abiding strength that imagination, once ignited, can provide. As artillery echoes in the mountains, thirteen-year-old Matilda and her peers are riveted by the adventures of a young orphan named Pip in a city called London, a city whose contours soon become more real than their own blighted landscape. As Mr. Watts says, “A person entranced by a book simply forgets to breathe.” Soon come the rest of the villagers, initially threatened, finally inspired to share tales of their own that bring alive the rich mythology of their past. But in a ravaged place where even children are forced to live by their wits and daily survival is the only objective, imagination can be a dangerous thing.

    In two hundred thirty-two days, they wore out thirty-two pairs of shoes, crossed mountains, deserts, and plains, and survived a highwayman attack, flash flood, blizzards, and days without food and water. For a year, they were famous as they met governors and mayors, camped with Indians, and visited the new president-elect, William McKinley.They intended to write a book about their adventures, but because of the way their trip ended, their journals were burned. Fortunately, newspapers across the country reported on their travels, and THE YEAR WE WERE FAMOUS is based on those articles, with imagination filling the gaps between known facts.THE YEAR WE WERE FAMOUS won the Will Rogers Medallion, the Willa award from Women Writing the West, was selected by the American Library Association for its 2012 Amelia Bloomer List of Best Feminist Fiction, and won the Sue Alexander Award from the Society of Children's Book Writers and Illustrators.

    She was born and raised on the Yankton Sioux Reservation in South Dakota by her mother. Zitkala-Sa lived a traditional lifestyle until the age of eight when she left her reservation to attend Whites Manual Labor Institute, a Quaker mission school in Indiana. She went on to study for a time at Earlham College in Indiana and the New England Conservatory of Music in Boston. A considerable talent, Bonnin co-composed the first American Indian grand opera, The Sun Dance in 1913. After working as a teacher at Carlisle Indian Industrial School, she began publishing short stories and autobiographical vignettes. Her autobiographical writings were serialized in Atlantic Monthly and, later, published in a collection called American Indian Stories in 1921. Her first book, Old Indian Legends (1901), is a collection of folktales that she gathered during her visits home to the Yankton Reservation. Her other works include Stories of Iktomi and Other Legends of the Dakotas (1901) and Oklahoma's Poor Rich Indians (1924).

    She gives one of them away to wealthy Mrs Lyons and they grow up as friends in ignorance of their fraternity until the inevitable quarrel unleashes a blood-bath. 'Willy Russell is less concerned with political tub-thumping than with weaving a close-knit story about the working of fate and destiny … it carries one along with it in almost unreserved enjoyment" Guardian One of the longest-running and most successful ever West End musicals, Blood Brothers premiered at the Liverpool Playhouse in January 1983.