After the death of her son, Regina Segal takes her granddaughter Mica to Warsaw, hoping to reclaim a family property lost during the Second World War. As they get to know modern Warsaw, Regina is forced to recall difficult things about her past, and Mica begins to wonder if maybe their reasons for coming aren’t a little different than what her grandmother led her to believe.

Raised in a small village near the spirit-wood, Liska Radost knows that Magic is monstrous, and its practitioners, monsters. After Liska unleashes her own powers with devastating consequences, she is caught by the demon warden of the wood – the Leszy – who offers her a bargain: one year of servitude in exchange for a wish. Whisked away to his crumbling manor, Liska soon discovers the sinister roots of their bargain. And if she wants to survive the year and return home, she must unravel her host’s spool of secrets and face the ghosts of his past. Those who enter the wood do not always return…

If your house were on fire, what one thing would you save? Newbery Medalist Linda Sue Park explores different answers to this provocative question in linked poems that capture the diverse voices of a middle school class. Recipient of four starred reviews! "[Park's] message is We don’t need a great blazing tragedy to determine what we hold most precious in our lives; we can define what’s vital through our thoughts and memories, always at hand, in our heads and hearts—safe, where the flames don’t reach."— New York Times Book Review When a teacher asks her class what one thing they would save in an emergency, some students know the answer right away. Others come to their decisions more slowly. And some change their minds when they hear their classmates’ responses. A lively dialog ignites as the students discover unexpected facets of one another—and themselves. With her ear for authentic dialog and knowledge of kids’ priorities and emotions, Linda Sue Park brings the varied voices of an inclusive classroom to life through carefully honed, engaging, and instantly accessible verse. Elegantly illustrated with black-and-white by Robert Sae-Heng art throughout.

'There is a fish on the sand; I see it clearly. But it is not on its side, lying still. It is partly upright. It moves. I can see its gills, off the ground and wide open. It looks as though it’s standing up.' A few decades into the twenty-first century, in their permanently flooded garden in Cornwall, Cathy and her wife Ephie give up on their vegetable patch and plant a paddy field instead. Thousands of miles away, expat Margaret is struggling to adjust to life in Kuala Lumpur, now a coastal city. In New Zealand, two teenagers marvel at the extreme storms hitting their island. But they are not the only ones adapting to the changing climate. The starfish on Cathy’s kitchen window are just the start. As all manner of sea creatures begin to leave the oceans and invade the land, the new normal becomes increasingly hard to accept.

From Atlantic critic and Pulitzer Prize finalist Sophie Gilbert, a blazing critique of how early-aughts pop culture turned women and girls against each other—and themselves—with disastrous consequencesWhat happened to feminism in the 21st century? This question feels increasingly urgent after a period of reactionary cultural and legislative backlash, when widespread uncertainty about the movement’s power, focus, and currency threatens decades of progress. Sophie Gilbert, a staff writer at The Atlantic and finalist for the Pulitzer Prize in criticism, provides one answer, identifying an inflection point in the late 1990s and early 2000s when the energy of third-wave and “riot girrrl” feminism collapsed into a regressive period of hyper-objectification, sexualization, and infantilization. Gilbert mines the darker side of nostalgia, training her keen analytic eye on the most revealing cultural objects of the era, across music, film, television, fashion, tabloid journalism, and more. And what she recounts is harrowing, from the leering aesthetic of American Apparel ads and explicit music videos to a burgeoning internet culture vicious towards women in the spotlight and damaging for those who weren’t. Gilbert tracks many of the period’s dominant themes back to the explosion of internet porn, tracing its widespread influence as it began to pervade our collective consciousness. Gilbert paints a devastating picture of an era when a distinctly American confluence of excess, materialism, and power-worship collided with the culture’s reactionary, puritanical, and chauvinistic currents. Amid a collective reconsideration of the way women are treated in public, Girl on Girl is a blistering indictment of the matrix of misogyny that undergirded the cultural production of the early twenty-first century, and how it continues to shape our world today.