A Gentleman's Guide to Vice and Virtue meets Miss Fisher's Murder Mystery in this rollicking romp of truth, lies, and troubled pasts. New Year's Eve, 1929. Millie is running the show at the Cloak & Dagger, a swinging speakeasy in the French Quarter, while her aunt is out of town. The new year is just around the corner, and all of New Orleans is out to celebrate, but even wealthy partiers' diamond earrings can't outshine the real star of the night: the boy in the red dress. Marion is the club's star performer and his fans are legion--if mostly underground. When a young socialite wielding a photograph of Marion starts asking questions, Millie wonders if she's just another fan. But then her body is found crumpled in the courtyard, dead from an apparent fall off the club's balcony, and all signs point to Marion as the murderer. Millie knows he's innocent, but local detectives aren't so easily convinced. As she chases clues that lead to cemeteries and dead ends, Millie's attention is divided between the wry and beautiful Olive, a waitress at the Cloak & Dagger, and Bennie, the charming bootlegger who's offered to help her solve the case. The clock is ticking for the fugitive Marion, but the truth of who the killer is might be closer than Millie thinks.

While on a book tour in Cambodia, author James Moore unwittingly seeks refuge in a brothel to escape a devastating flash flood. He and his translator witness the atrocities of girls forced into prostitution, including a young child with a special gift. Together, they fight to not only save the girls from the rising flood waters, but from the menacing brothel owner and his men.

"Graceful and impassioned, The Woman in the Red Dress offers important new approaches to narratives about father-daughter incest as well as stories that contaminate the myth of home as a safe space and map a geography of sexual violence, victimization, and survival. Gwin situates her analysis of fiction such as Morrison's The Bluest Eye. Alice Walker's The Color Purple, Dorothy Allison's Bastard out of Carolina, and Jane Smiley's A Thousand Acres within contemporary debates concerning survivor discourse, theories of domestic space, and issues of race and class. She also explores books - such as Hulme's The Bone People - that enter a murky and liminal queer space in which gender itself travels and the most claustrophic physical and social spaces can unexpectedly unhinge and open.".

"In this adaptation of a Texas folk song, the illustrations show the story of Katy Bear's birthday party, while the repetitive verses are a catalog of what the guests wore. . . . The pictures pick up color as the guests arrive and the activities get livelier. To further focus attention on color, the words are printed in boxed insets of the appropriate hue. . . . The music-a simple, singable tune-is printed at the end. The subject and the highly predictable pattern of text have appeal for just-beginning readers as well as for preschool listeners and singers."-Language Arts

Writing in free verse honed to a wicked edge, the incomparable Ron Koertge brings dark and contemporary humor to twenty iconic fairy tales. Once upon a time, there was a strung-out match girl who sold CDs to stoners. Twelve impetuous sisters escaped King Daddy’s clutches to jiggle and cavort and wear out their shoes. A fickle Thumbelina searched for a tiny husband, leaving bodies in her wake. And Little Red Riding Hood confessed that she kind of wanted to know what it’s like to be swallowed whole. From bloodied and blinded stepsisters (they were duped) to a chopped-off finger flying into a heroine’s cleavage, this is fairy tale world turned upside down. Ron Koertge knows what really happened to all those wolves and maidens, ogres and orphans, kings and piglets, and he knows about the Ever After. So come closer — he wants to whisper in your ear.

The Melling sisters and their mother are preparing for a wedding. Cathy is to be bridesmaid and her dress is a thing of awe and beauty, but not in Cathy’s eyes—she hates the idea of being a bridesmaid. Vivienne would love to wear it, and perhaps she will. Dresses of Red and Gold, the second book in the Melling Sisters Trilogy, is a warm and humorous story of four sisters—their rivalries and their loyalty and affection—growing up in an Australian country town in the 1940s The beautiful dress settled luxuriously about her ankles as smoothly as water, the little gold cap sat on the back of her head like an opened flower. She climbed a chair to look, entranced, into the sideboard mirror. The dress fitted perfectly, apart from being slightly too long because Cathy was taller, and she curtsied to her reflection. Robin Klein was born 28 February 1936 in Kempsey, New South Wales into a family of nine children. Leaving school at age 15, Klein worked several jobs before becoming established as a writer, having her first story published at age 16. She would go on to write more than 40 books, including Hating Alison Ashley (adapted into a feature film starring Delta Goodrem in 2005), Halfway Across the Galaxy and Turn Left (adapted into a television series for the Seven Network in 1992), and Came Back to Show You I Could Fly (adapted into a film directed by Richard Lowenstein in 1993). Klein’s books are hugely celebrated, having won the CBCA Children’s Book of the Year Award in both the Younger Readers and the Older Readers categories, as well as a Human Rights Award for Literature in 1989 for Came Back to Show You I Could Fly. Klein is widely considered one of Australia’s most prolific and beloved YA authors. ‘Touching, poignant, fresh and engaging’ Bulletin, USA ‘All in the Blue Unclouded Weather, Dresses of Red and Gold and The Sky in Silver Lace are such wonderful, honest, Australian stories, still relevant to readers today. The sisters are a delight to read about, their adventures are entertaining and touching.’ Bookish Manicurist ‘When I was young, I read it for its sweetness and the way it portrayed growing up. As an adult, I appreciate the way Klein subtly deals with gender, privilege and what it means to belong to a small community.’ Eliza Henry-Jones ‘The schemes and shenanigans of these vibrant, tenacious characters are as lively and funny as ever, their more poignant feelings as skillfully suggested. A fine sequel.’ Kirkus Reviews