The book is an urgent recall of heartbreak, a stark portrait of an identity in crisis.

    After being orphaned as a young girl, Asghar grapples with coming-of-age as a woman without the guidance of a mother, questions of sexuality and race, and navigating a world that put a target on her back. Asghar's poems at once bear anguish, joy, vulnerability, and compassion, while exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests in our relationships with friends and family, and in our own understanding of identity. Using experimental forms and a mix of lyrical and brash language, Asghar confronts her own understanding of identity and place and belonging.

    Lansdale compiles and introduces 26 of his own favorite and most violent dark horror tales in this review of his work. "God of the Razor" introduces the dark god behind serial killers. A martial arts fight to the death between a reluctant champion and a sadistic alpha male is featured in "Master of Misery." Human sacrifice to ensure prosperity and as a coming-of-age ritual, are themes of "On a Dark October" and "Duck Hunt." In "The Fat Man," young boys learn the hard way that some mysteries should not be investigated. Many of the tales are truly weird, such as "Chompers," a story of false teeth with an appetite. All of the stories are individually introduced by Lansdale, who explains the humorous, weird, and sometimes sad genesis for each.

    This three-book saga chronicles their rise and fall in one bumper omnibus edition.

    Narrated by a speaker in mourning marked as an at-risk juvenile, psychologically troubled, an offender, expelled and sent to alternative school for adolescents with behavioral issues, and eventually, a psychiatric hospital, she survives the school to prison pipeline, the immigrant working class condition, grueling low- pay service jobs, conservative classism against Latinos in Texas, queerness, assimilation, and life wrapped up in frivolous citations, fines, and penalties. The traumatic catalyst for the long line of trouble begins with the death of a beloved young grandmother from preventable cervical cancer—another violence of systemic racism and sexism that prevents regular reproductive and sexual health care to poor immigrant communities—and the subsequent deaths of other immigrant family members who are mourned in the dissociative states amidst the depressive trauma that opens the book. The dissociative states that mark the middle—a surreal kind of shadowland where the narrator encounters her animal self and ancestors imagined as animals faces brutal surreal challenges on the way back to life beyond trauma—is a kind of mictlan, reimagined as a state of constant mourning that challenges American notions of "healing" from trauma, and rather acknowledges sadness, mourning, and memory as a necessary state of constant awareness to forge a "way back" toward a broader healing of earth, time, body, history.

    Includes One, Two Buckle My Shoe, Five Little Pigs, Taken at The Flood. It seems Hitler's Luftwaffe aren't the only ones responsible for the deaths of innocent people as World War II rages -- it seems plenty of murderers are willing to help them reduce Britain' war-torn population even further. And it's up to Hercule Poirot to stop them! ONE, TWO, BUCKLE MY SHOE The dentist was found with a blackened hole below his right temple. A pistol lay on the floor near his outflung right hand. Later, one of his patients was found dead from a lethal dose of anaesthetic. A clear case of murder and suicide -- but why would a dentist commit a crime in the middle of a busy day of appointments? A show buckle holds the key to the mystery. Now -- in the words of the rhyme -- can Poirot pick up the sticks and lay them straight? FIVE LITTLE PIGS Beautiful Caroline Crale was convicted of poisoning her husband, yet there were five other subjects: Philip Blake (the stockbroker) who went to market; Meredith Blake (the amateur herbalist) who stayed at home; Elsa Greer (the three-time divorcee) who had roast beef; Cecilia Williams (the devoted governess) who had none; and Angela Warren (the disfigured sister) who cried 'wee wee wee' all the way home. It is sixteen years later, but Hercule Poirot just can't get that nursery rhyme out of his head! TAKEN AT THE FLOOD A few weeks after marrying an attractive young widow, Gordon Cloade is tragically killed by a bomb blast in the London Blitz. Overnight, the former Mrs Underhay finds herself in sole possession of the Cloade family fortune. Shortly afterward, Hercule Poirot receives a visit from the dead man's sister-in-law, who claims she has been warned by 'spirits' that Mrs Underhay's first husband is still alive. Yet, what mystifies Poirot most is the woman's true motive for approaching him.

    Born in 1958 in Birmingham, he grew up in Jamaica and in Handsworth, where he was sent to an approved school for being uncontrollable, rebellious and 'a born failure', ending up in jail for burglary. After prison he turned from crime to music and poetry. In 1989 he was nominated for Oxford Professor of Poetry, and has since received honorary doctorates from several English universities, but famously refused to accept a nomination for an OBE in 2003. He has appeared in a number of television programmes, including Eastenders, The Bill, Live and Kicking, Blue Peter and Wise Up, and played Gower in a BBC Radio 3 production of Shakespeare's Pericles in 2005. Best known for his performance poetry with a political edge for adults -- and his poetry with attitude for children -- he has his own rap/reggae band. He was the first person to record with the Wailers after the death of Bob Marley, in a musical tribute to Nelson Mandela, which Mandela heard while in prison on Robben Island. Their later meetings led to Zephaniah working with children in South African townships and hosting the President's Two Nations Concert at the Royal Albert Hall in 1996.

    She's savvy. She's...well, she's working on the thighs. And with God as her witness, she'll never let that man spoil her happy ending!Phoebe Grant is everyone's favorite movie geek-unbeatable at trivia, convinced that all the world's a movie screen. She can organize a four-hankie chick-flickathon with a wave of her tall, nonfat, double mocha. And she's a shoo-in for the job of her dreams-movie reviewer for the newpaper where she works.Enter Alex Spencer-not only gorgeous but also a film buff, perfectly cast for a celluloid kiss and a fade to sunset. Unfortunately, Alex is the villain who sends Phoebe packing to the last place on earth she wants to be-back home to boring little Barley, California.But wait. It couldn't be. Dark, handsome, and annoying Alex...in Barley?Can Phoebe protect her hometown-and her heart-and prove It's a Wonderful Life? Or is her promising future truly Gone with the Wind?

    Rankine's questions disrupt the false comfort of our culture's liminal and private spaces--the airport, the theater, the dinner party, the voting booth--where neutrality and politeness live on the surface of differing commitments, beliefs, and prejudices as our public and private lives intersect.This brilliant arrangement of essays, poems, and images includes the voices and rebuttals of others: white men in first class responding to, and with, their white male privilege; a friend's explanation of her infuriating behavior at a play; and women confronting the political currency of dying their hair blond, all running alongside fact-checked notes and commentary that complements Rankine's own text, complicating notions of authority and who gets the last word.Sometimes wry, often vulnerable, and always prescient, Just Us is Rankine's most intimate work, less interested in being right than in being true, being together.

    

    The same women who killed her mother without a single scratch.But when Mia's father announces an alliance with the royal family, she is forced to trade in her knives and trousers for a sumptuous silk gown. Determined to forge her own path forward, Mia plots a daring escape, but could never predict the greatest betrayal of all: her own body. Mia possesses the very magic she has sworn to destroy.Now, as she untangles the secrets of her past, Mia must learn to trust her heart…even if it kills her.Fans of Leigh Bardugo and Laini Taylor won’t want to miss this gorgeously written, bold novel, the first in the Heart of Thorns trilogy.

    The Cheese Monkeys is a college novel that takes place over a tightly written two semesters. The book is set in the late 1950s at State U, where the young narrator, has decided to major in art, much to his parents’ dismay. It is an autobiographical, coming-of-age novel which tells universally appealing stories of maturity, finding a calling in life, and being inspired by a loving, demanding, and highly eccentric teacher.

    Any high school student with a chemjet and internet connection can download recipes and print drugs, or invent them. A seventeen-year-old street girl finds God through a new brain-altering drug called Numinous, used as a sacrament by a new Church that preys on the underclass. But she is arrested and put into detention, and without the drug, commits suicide.Lyda Rose, another patient in that detention facility, has a dark secret: she was one of the original scientists who developed the drug. With the help of an ex-government agent and an imaginary, drug-induced doctor, Lyda sets out to find the other three survivors of the five who made the Numinous in a quest to set things right.A mind-bending and violent chase across Canada and the US, Daryl Gregory's Afterparty is a marvelous mix of William Gibson’s Neuromancer, Philip K. Dick’s Ubik, and perhaps a bit of Peter Watts’s Starfish: a last chance to save civilization, or die trying.

    One of the extras, who claims to be a dwarf, offers to help. And that’s when things start to get weird. Could the sword really be magic, as the "dwarf" claims? Are dragons really living among us as shapeshifters? And as if things weren’t surreal enough, Sarah’s girlfriend Katie breaks out the dreaded phrase… “I love you.” As her life begins to fall apart, first her relationship with Katie, then her job at the movie studio, and finally her blacksmithing career, Sarah hits rock bottom. It is at this moment, when she has lost everything she has prized, that one of the dragons makes their move.And suddenly what was unthinkable becomes all too real…and Sarah will have to decide if she can reject what is safe and become the heroine who is needed to save her world.

    In The Chronology of Water, Lidia Yuknavitch expertly moves the reader through issues of gender, sexuality, violence, and the family from the point of view of a lifelong swimmer turned artist. In writing that explores the nature of memoir itself, her story traces the effect of extreme grief on a young woman’s developing sexuality that some define as untraditional because of her attraction to both men and women. Her emergence as a writer evolves at the same time and takes the narrator on a journey of addiction, self-destruction, and ultimately survival that finally comes in the shape of love and motherhood.