Seventeen-year-old Millie joins forces with her classmate, gorgeous but mysterious Chase Colton, to try to uncover who murdered head football coach "Hollerin' Hank" Killdare--and why.

Ruben is an unconventional superhero who gets his powers through the consumption of alcohol and illicit drugs. On one fateful day, facing a world-ending threat, Reuben drank so much that he blacked out. He saved the world...but he has no idea how or why. Now, he's in recovery, trying to get sober and piece together not only the events of the night in question, but the broken parts of his life as an alcoholic and an addict. Now back in print from Image Comics, BUZZKILL is a critically acclaimed miniseries from the creative team that brought you GOD COUNTRY and The Paybacks, and the writer of REDNECK, Babyteeth, Ghost Fleet, and more. Collects BUZZKILL #1-4

"Pandora Lynch lives in Alaska with her single dad, an online therapist for Silicon Valley's brightest and squirreliest. Homeschooled by computer and a self-taught hacker, Pandora is about to enter high school to learn how to be normal. That's the plan at least. NorCal runaway George Jedson is a hacker too--one who leaves the systems he attacks working better than before. After being scooped up by a social media giant, will George go legit--or pull off the biggest hack ever? Not even his therapist knows for sure, but maybe the headshrinker's daughter... After meeting in cyberspace, the two young hackers combine their passions to conceive a brainchild named BUZZ. Can this baby AI learn to behave, or will it be like its parents and think outside the box?"--Provided by publisher.

Stephen Colbert of "The Colbert Report" said, "Buzzkill is a Hollywood 'Who done it' with sharp satire and hard laughs from the man who taught me the fake news game - Rob Fox." Comedian Lewis Black of "The Daily Show" said, "Buzzkill is more than just a fast, funny and quirky mystery, it's a dead on satire of the entertainment industry. Rob Fox, through his cast of movers, shakers, perverts and cast-offs, gives us ironic insight into why the system produces so little that is entertaining." Synopsis: Hollywood producer Stu Mahr is in trouble. His last three films tanked at the box office and now the star of a popular children's show has turned up dead at Mahr's house amid a wild party filled with drugs and high priced call girls. And Stu is the prime suspect. If his career is to survive, he must clear himself before the studio cancels his latest movie. Zack Donnelly just lost out a part on a TV detective show as "the burnt -out cop with a drinking problem." It was a role he thought he was a shoe-in for considering he spent the last ten years of his life as a real-life "burnt-out cop with a drinking problem." So when he gets a call from Stu Mahr offering a movie role, Zack jumps at the chance. The only catch is he has to get the producer off the hook for murder first. The only problem is that Zack thinks Stu is guilty as hell. Zack enlists the help of his halfway housemate, Snip, a former biker with "confrontation issues," and together they follow the trail of a killer from the mansions of Belaire to the strip Clubs of North Hollywood. After run-ins with a violent Beverly Hills shampoo boy, a hitman out to make a nickname for himself and a community watch made up of transvestite prostitutes, Zack and Snip find themselves in a place where the big business of Hollywood collides with the bigger business of X-rated adult movies.

The provocative account of Peter Goodman who copes with bipolar disorder despite past misdiagnoses, denial, over and under medication and humiliation.

When Lunds Plastics Division hits the skids, it turns to its newly hired Chinese research and development director, Dr. Chen, whodespite his best intentionsstruggles with both the English language and American corporate policies. When hes told to hire a new scientist, Chen advertises for a young Chinese male who is preferably single. (He isnt sure what religion would be best.) Chens innocent faux pas leads to mandatory sensitivity training, an experience so brutal, even Dick Cheney would call it torture. He builds a new R&D team, featuring Dr. Miao, a Chinese transplant who favors Red Man chewing tobacco and NASCAR driver Jeff Gordon. Chen and Miao are joined by the sultry VP of finance, Blinda Mae Trophy Jones, whose best parts are nicknamed Bonnie and Clyde; Monique DEstaing, a tall, black, Harley-riding Cajun lesbian; and sales director Bob Davis, a good ol boy who specializes in strip clubs as customer entertainment. To save the day, his team pulls out all the stopslike celebrity dress-up rollerblade scavenger hunts in Miami Beachbut their antics attract unfavorable attention from corporate human resources. Can Chens company survive his help? Written for anyone whos ever worked in a large company, suffered through sensitivity training, or wondered if Thanksgiving is an anti-turkey display of Eurocentric imperialism, Buzz Kill is an uproariously twisted tale of Americas corporate culture.

Winner of the Children’s Literature Association’s 2018 Edited Book Award Contributions by Robin Calland, Lauren Causey, Karen Coats, Sara K. Day, Lisa Rowe Fraustino, Dorina K. Lazo Gilmore, Anna Katrina Gutierrez, Adrienne Kertzer, Kouen Kim, Alexandra Kotanko, Jennifer Mitchell, Mary Jeanette Moran, Julie Pfeiffer, and Donelle Ruwe Living or dead, present or absent, sadly dysfunctional or merrily adequate, the figure of the mother bears enormous freight across a child's emotional and intellectual life. Given the vital role literary mothers play in books for young readers, it is remarkable how little scholarly attention has been paid to the representation of mothers outside of fairy tales and beyond studies of gender stereotypes. This collection of thirteen essays begins to fill a critical gap by bringing together a range of theoretical perspectives by a rich mix of senior scholars and new voices. Following an introduction in which the coeditors describe key trends in interdisciplinary scholarship, the book's first section focuses on the pedagogical roots of maternal influence in early children's literature. The next section explores the shifting cultural perspectives and subjectivities of the twentieth century. The third section examines the interplay of fantasy, reality, and the ethical dimensions of literary mothers. The collection ends with readings of postfeminist motherhood, from contemporary realism to dystopian fantasy. The range of critical approaches in this volume will provide multiple inroads for scholars to investigate richer readings of mothers in children's and young adult literature.