When a boy's beloved teddy bear is stolen from a restaurant by a naughty girl, the boy's dog goes to the rescue.

Fans of Libba Bray's The Diviners will love the blend of fantasy and jazz-hot Chicago in this stylish series. After rescuing her parents from the Seelie king at Hearst Castle, Callie is caught up in the war between the fairies of the Midnight Throne and the Sunlit Kingdoms. By accident, she discovers that fairies aren't the only magical creatures in the world. There's also Halfers, misfits that are half fairy and half other--laced with strange magic and big-city attitude. As the war heats up, Callie's world falls apart. And even though she's the child of prophecy, she doubts she can save the Halfers, her people, her family, and Jack, let alone herself. The fairies all say Callie is the Bad Luck Girl, and she's starting to believe them. A strong example of diversity in YA, the American Fairy Trilogy introduces Callie LeRoux, a half-black teen who stars in this evocative story full of American history and fairy tales. Supports the Common Core State Standards. Praise for Bad Luck Girl "All the powers that be want to use Callie's magic to win the war for their side, and nobody cares what happens to Callie, Jack or the Halfers, raising the stakes to frighteningly high levels. Callie and Zettel bring this stellar trilogy to a satisfyingly sentimental conclusion." --Kirkus Reviews, Starred Review " Zettel's] strong characterizations, historical detail, and carefully constructed fantastic elements create a high-energy literary fusion that fans will devour." --SLJ

"A girl is inspired by an ambitious woman to ponder the word and claim it for herself as well"--

Bestselling author of Odd Girl Out, Rachel Simmons exposes the myth of the Good Girl, freeing girls from its impossible standards and encouraging them to embrace their real selves In The Curse of the Good Girl, bestselling author Rachel Simmons argues that in lionizing the Good Girl we are teaching girls to embrace a version of selfhood that sharply curtails their power and potential. Unerringly nice, polite, modest, and selfless, the Good Girl is a paradigm so narrowly defined that it's unachievable. When girls inevitably fail to live up-experiencing conflicts with peers, making mistakes in the classroom or on the playing field-they are paralyzed by self-criticism, stunting the growth of vital skills and habits. Simmons traces the poisonous impact of Good Girl pressure on development and provides a strategy to reverse the tide. At once expository and prescriptive, The Curse of the Good Girl is a call to arms from a new front in female empowerment. Looking to the stories shared by the women and girls who attend her workshops, Simmons shows that Good Girl pressure from parents, teachers, coaches, media, and peers erects a psychological glass ceiling that begins to enforce its confines in girlhood and extends across the female lifespan. The curse of the Good Girl erodes girls' ability to know, express, and manage a complete range of feelings. It expects girls to be selfless, limiting the expression of their needs. It requires modesty, depriving the permission to articulate their strengths and goals. It diminishes assertive body language, quieting voices and weakening handshakes. It touches all areas of girls' lives and follows many into adulthood, limiting their personal and professional potential. Since the popularization of the Ophelia phenomenon, we have lamented the loss of self-esteem in adolescent girls, recognizing that while the doors of opportunity are open to twenty-first-century American girls, many lack the confidence to walk through them. In The Curse of the Good Girl, Simmons provides a catalog of tangible lessons in bolstering the self and silencing the curse of the Good Girl. At the core of Simmons's radical argument is her belief that the most critical freedom we can win for our daughters is the liberty not only to listen to their inner voice but also to act on it.

After getting caught hooking up with her best friend’s ex on the last day of junior year, Kendall starts senior year friendless and ostracized. She plans to keep her head down until she graduates. But after discovering her online identity has been hacked and she’s being framed for stealing from a dealer, Kendall is drawn into a tenuous partnership with the mastermind of a drug ring lurking in the shadows of her Brooklyn private school. If she wants to repair her tattered reputation and save her neck, she’ll have to decide who she really is—and own it. The longer she plays the role of “bad girl,” the more she becomes her new reputation. Friends and enemies, detectives and drug dealers—no one is who they appear to be. Least of all Kendall.