Crest is not excited to be on their Journey: the monthlong sojourn on land all teen merfolk must undergo. The rules are simple: Help a human within one moon cycle and return to Pacifica to become an Elder--or fail and remain stuck on land forever. Crest is eager to get their Journey over and done with: after all, humans are disgusting. They've pollluted the planet so much that there's a floating island of trash that's literally the size of a country. In Los Angeles with a human body and a new name, Crest meets Sean, a human lifeguard whose boyfriend has recently dumped him. Crest agrees to help Sean make his ex jealous and win him back. But as the two spend more time together and Crest's pespective on humans begins to change, they'll soon be torn between two worlds. And fake dating just might lead to real feelings... This instant New York Times bestselling novel from Jason June dives into the many definitions of the world home and shows how love can help us find the truest versions of ourselves.

Crest is not excited to be on their Journey: the monthlong sojourn on land all teen merfolk must undergo. The rules are simple: Help a human within one moon cycle and return to Pacifica to become an Elder--or fail and remain stuck on land forever. Crest is eager to get their Journey over and done with: after all, humans are disgusting. They've pollluted the planet so much that there's a floating island of trash that's literally the size of a country. In Los Angeles with a human body and a new name, Crest meets Sean, a human lifeguard whose boyfriend has recently dumped him. Crest agrees to help Sean make his ex jealous and win him back. But as the two spend more time together and Crest's pespective on humans begins to change, they'll soon be torn between two worlds. And fake dating just might lead to real feelings... This instant New York Times bestselling novel from Jason June dives into the many definitions of the world home and shows how love can help us find the truest versions of ourselves.

As a biracial, unenrolled tribal member and the product of a scandal, Daunis Fontaine has never quite fit in—both in her hometown and on the nearby Ojibwe reservation. When her family is struck by tragedy, Daunis puts her dreams on hold to care for her fragile mother. The only bright spot is meeting Jamie, the charming new recruit on her brother’s hockey team. After Daunis witnesses a shocking murder that thrusts her into a criminal investigation, she agrees to go undercover. But the deceptions—and deaths—keep piling up and soon the threat strikes too close to home. How far will she go to protect her community if it means tearing apart the only world she’s ever known?

The story of Christine Jorgensen, America’s first prominent transsexual, famously narrated trans embodiment in the postwar era. Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence. Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible. Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

Henri “Halti” Haltiwanger can charm just about anyone. He is a star debater and popular student at the prestigious FATE academy, the dutiful first-generation Haitian son, and the trusted dog walker for his wealthy New York City neighbors. But his easy smiles mask a burning ambition to attend his dream college, Columbia University. There is only one person who seems immune to Henri’s charms: his “intense” classmate and neighbor Corinne Troy. When she uncovers Henri’s less-than-honest dog-walking scheme, she blackmails him into helping her change her image at school. Henri agrees, seeing a potential upside for himself. Soon what started as a mutual hustle turns into something more surprising than either of them ever bargained for. . . . This is a sharply funny and insightful novel about the countless hustles we have to keep from doing the hardest thing: being ourselves.

The story of Christine Jorgensen, America’s first prominent transsexual, famously narrated trans embodiment in the postwar era. Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence. Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible. Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

Henri “Halti” Haltiwanger can charm just about anyone. He is a star debater and popular student at the prestigious FATE academy, the dutiful first-generation Haitian son, and the trusted dog walker for his wealthy New York City neighbors. But his easy smiles mask a burning ambition to attend his dream college, Columbia University. There is only one person who seems immune to Henri’s charms: his “intense” classmate and neighbor Corinne Troy. When she uncovers Henri’s less-than-honest dog-walking scheme, she blackmails him into helping her change her image at school. Henri agrees, seeing a potential upside for himself. Soon what started as a mutual hustle turns into something more surprising than either of them ever bargained for. . . . This is a sharply funny and insightful novel about the countless hustles we have to keep from doing the hardest thing: being ourselves.

In this YA urban fantasy graphic novel, Alex must return to the town where she was born to unravel the magical mysteries her late grandmother left behind Alex Wilson hasn’t been back to Indigo Harbor, the seaside village where she grew up, in years. In fact, she can barely remember anything about it. But when her grandmother dies unexpectedly, Alex will have to return to her childhood home to say goodbye. Accompanied by her best friend, Grim, Alex travels back to her hometown and begins cleaning out her grandmother’s house, but the longer they stay, the stranger things get. Indigo Harbor isn’t your average town—there are falling stars, witches running tea shops, and a name that comes up again and again: Elizabeth. Who was this woman, and how did she know Alex’s grandmother? As she explores the town and sorts through her grandmother’s belongings, Alex reconnects with her past and tries with increasing desperation to uncover the greatest secret of all, the identity of the mysterious Elizabeth. Tackling grief, acceptance, and how to honor a loved one’s life, Bex Glendining has crafted a beautiful and moving graphic novel perfect for readers who loved The Dark Matter of Mona Starr, Girl From the Sea, and the Magic Fish.

From one of the fiercest critics writing today, Morgan Jerkins’ highly-anticipated collection of linked essays interweaves her incisive commentary on pop culture, feminism, black history, misogyny, and racism with her own experiences to confront the very real challenges of being a black woman today—perfect for fans of Roxane Gay’s Bad Feminist, Rebecca Solnit’s Men Explain Things to Me, and Chimamanda Ngozie Adichie’s We Should All Be Feminists. Morgan Jerkins is only in her twenties, but she has already established herself as an insightful, brutally honest writer who isn’t afraid of tackling tough, controversial subjects. In This Will Be My Undoing, she takes on perhaps one of the most provocative contemporary topics: What does it mean to “be”—to live as, to exist as—a black woman today? This is a book about black women, but it’s necessary reading for all Americans.