All four of the girls have grown up in the United States, all four want to make it into college and succeed, but only two have immigration papers. Meanwhile, after a Mexican immigrant shoots and kills a local police officer, Colorado becomes the place where national argu- ments over immigration rage most fiercely. As the girls’ lives play out against this backdrop of intense debate over whether they have any right to live here, readers will gain remarkable insight into both the power players and the most vulnerable members of society as they grapple with understanding one of the most complicated social issues of our times.Moving, timely, and passionately told, Just Like Us is a riv- eting story about girlhood, friendship, identity, and survival.

    It includes hundreds of whimiscal superstitions as well as folk cures, charms, and chants practiced by the early settlers of Appalachia.

    The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”

    A unique body of medieval literature, the Sagas rank with the world’s great literary treasures – as epic as Homer, as deep in tragedy as Sophocles, as engagingly human as Shakespeare. Set around the turn of the last millennium, these stories depict with an astonishingly modern realism the lives and deeds of the Norse men and women who first settled in Iceland and of their descendants, who ventured farther west to Greenland and, ultimately, North America. Sailing as far from the archetypal heroic adventure as the long ships did from home, the Sagas are written with psychological intensity, peopled by characters with depth, and explore perennial human issues like love, hate, fate and freedom.

    Selected from the archives of Catapult magazine, the essays in A Map Is Only One Story highlight the human side of immigration policies and polarized rhetoric, as twenty writers share provocative personal stories of existing between languages and cultures.Victoria Blanco relates how those with family in both El Paso and Ciudad Juárez experience life on the border. Nina Li Coomes recalls the heroines of Japanese animator Hayao Miyazaki and what they taught her about her bicultural identity. Nur Nasreen Ibrahim details her grandfather’s crossing of the India-Pakistan border sixty years after Partition. Krystal A. Sital writes of how undocumented status in the United States can impact love and relationships. Porochista Khakpour describes the challenges in writing (and rewriting) Iranian America. Through the power of personal narratives, as told by both emerging and established writers, A Map Is Only One Story offers a new definition of home in the twenty-first century.

    Turns out he's Mr. Charles, her dad's new boss at the oil and gas company, and he's alarmingly interested in Nizhoni and her brother, Mac, their Navajo heritage, and the legend of the Hero Twins. Nizhoni knows he's a threat, but her father won't believe her.When Dad disappears the next day, leaving behind a message that says "Run!", the siblings and Nizhoni's best friend, Davery, are thrust into a rescue mission that can only be accomplished with the help of Diné Holy People, all disguised as quirky characters. Their aid will come at a price: the kids must pass a series of trials in which it seems like nature itself is out to kill them. If Nizhoni, Mac, and Davery can reach the House of the Sun, they will be outfitted with what they need to defeat the ancient monsters Mr. Charles has unleashed. But it will take more than weapons for Nizhoni to become the hero she was destined to be . . .

    Selected by Gwyn Jones--the eminent Celtic scholar--for their excellence and variety, these nine Icelandic sagas include Hen-Thorir, The Vapnfjord Men, Thorstein Staff-Struck, Hrafnkel the Priest of Frey, Thidrandi whom the Goddesses Slew, Authun and the Bear, Gunnlaug Wormtongue, King Hrolf and his Champions, and the title piece.