But when she trips into a quiet boy in the hall, Jaime Thompson, she's already broken the first rule, and the mean kids start calling her the "nerder girlfriend." How does she handle this crisis? By shoving poor Jaime and running away!Falling back on rule two and surrounding herself with new friends in the art club, Peppi still can't help feeling ashamed about the way she treated Jaime. Things are already awkward enough between the two, but to make matters worse, he's a member of her own club's archrivals--the science club! And when the two clubs go to war, Peppi realizes that sometimes you have to break the rules to survive middle school!

    . . A rich examination of America’s treatment of race, and the ways we attempt to discuss and confront it today.” —The Huffington Post The Freeman family--Charles, Laurel, and their daughters, teenage Charlotte and nine-year-old Callie--have been invited to the Toneybee Institute to participate in a research experiment. They will live in an apartment on campus with Charlie, a young chimp abandoned by his mother. The Freemans were selected because they know sign language; they are supposed to teach it to Charlie and welcome him as a member of their family. But when Charlotte discovers the truth about the institute’s history of questionable studies, the secrets of the past invade the present in devious ways.   The power of this shattering novel resides in Greenidge’s undeniable storytelling talents. What appears to be a story of mothers and daughters, of sisterhood put to the test, of adolescent love and grown-up misconduct, and of history’s long reach, becomes a provocative and compelling exploration of America’s failure to find a language to talk about race. “A magnificently textured, vital, visceral feat of storytelling . . . [by] a sharp, poignant, extraordinary new voice of American literature.” —Téa Obreht, author of The Tiger’s Wife

    SuperMutant Magic Academy, which she has been serializing online for the past four years, paints a teenaged world filled with just as much ennui and uncertainty, but also with a sharp dose of humor and irreverence. Tamaki deftly plays superhero and high-school Hollywood tropes against what adolescence is really like: The SuperMutant Magic Academy is a prep school for mutants and witches, but their paranormal abilities take a backseat to everyday teen concerns.Science experiments go awry, bake sales are upstaged, and the new kid at school is a cat who will determine the course of human destiny. In one strip, lizard-headed Trixie frets about her nonexistent modeling career; in another, the immortal Everlasting Boy tries to escape this mortal coil to no avail. Throughout it all, closeted Marsha obsesses about her unrequited crush, the cat-eared Wendy. Whether the magic is mundane or miraculous, Tamaki’s jokes are precise and devastating.SuperMutant Magic Academy has won two Ignatz Awards. This volume combines the most popular content from the webcomic with a selection of all-new, never-before-seen strips that conclude Tamaki’s account of life at the academy.

    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.

    But the way is filled with sandstorms, wild beasts, and rogues that wield inhuman powers and prey on poor desert dwellers. When one of these rogues threatens the town where Abbie takes refuge, she must choose between running, or unleashing her own hidden power to meet danger head-on.Journeys are hard on the social recluses of the world.

    She’s loved them from a young age and has carried that love with her to her new life in the big city of Tokyo. There, she resides in Amamizukan, a safe-haven for girl geeks who regularly gush over a range of things from trains to Japanese dolls. However, a chance meeting at a pet shop has Tsukimi crossing paths with one of the things that the residents of Amamizukan have been desperately trying to avoid—a beautiful and fashionable woman! But there’s much more to this woman than her trendy clothes! This odd encounter is only the beginning of a new and unexpected path for Tsukimi and her friends.

    VAUGHAN launches a brand-new ONGOING SERIES with superstar Wonder Woman artist CLIFF CHIANG! In the early hours after Halloween of 1988, four 12-year-old newspaper delivery girls uncover the most important story of all time.

    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.