Being an outsider is tough.Being an outsider in your own home and not knowing why is soul-crushing. It is isolating, painful, and confusing. Loneliness and longing are your reality. You're consumed with guilt, self-deprecating inner dialogue, and worst of all, the fear of doing even the smallest thing wrong. You spend a lot of time alone...even when you're not. You watch a lot of TV.Obviously, this is all your fault. Obviously, the reason you are living this way is because of something you did to warrant it. If they beat you, you deserved it. If they punish you, you asked for it. You never want to go home, but you don't have a choice because you've never had a choice. This is it. This is what you have. This is all you know.And yet, you still smile when you sometimes catch a glimpse of the sweeter things and treasure the smallest kindness. Inside, you know life isn't supposed to be like this, but it is. Your life is like a bubble of poison gas that could burst at any moment...you know that. You live that. But how are you supposed to make sense of any of this? How do you make it stop?You can't. You are powerless. You haven't even reached kindergarten yet.From a severely abusive childhood in the inner city of Baltimore, a string of unsatisfying relationships and several broken marriages, to a six-figure income from the multi-million dollar business I built out of my home, this is my story in my own words.I was stolen as a baby when my mother died. I was lied to by my kidnapper and used as a Cinderella punching bag by his never-ending parade of "step-mothers" and girlfriends, and much worse when he didn't have one.This memoir covers the good, the bad, and the ugly.As this story unfolds, my hope is that you, the reader, will discover a little girl who survived that abusive childhood, healed, and empowered herself through discipline and hard work. I hope you see a girl who became a woman who learned from her mistakes and a whole human being who loves her newfound family with all her heart.I am no longer an outsider. I can go home now.

“Do you remember Savannah?” How could she forget? Two decades ago, Trinity Calhoun's best friend—18-year-old Savannah Stuart—went missing. Just weeks later, Savannah’s body was found brutally slain outside the mountain town. With no suspects or leads, the local authorities dismissed the murder as a tragic one-off, likely perpetrated by a tourist. But Trinity wasn’t convinced. Determined to do better for other victims, she left town and settled in Vancouver, rising through the ranks to become a detective. She’s never looked back. But now, an unexpected phone call from her former lover has her barreling down the highway to face the past. Another young woman has disappeared under eerily similar circumstances. Allegedly. But the local police are disinterested. Trinity’s ex has a tenuous—at best—hold on his mental and physical health. And Savannah’s secretive and handsome brother is in town, asking an awful lot of questions. Trinity’s focus is clouded. Maybe her judgment, too. As she wades through her past, she needs to answer a potentially life-threatening question: is there a dangerous, repeat criminal on the loose, or is she just desperate for closure?

Now available from Thomas Wolfe’s original publisher, the final novel by the literary legend, that “will stand apart from everything else that he wrote” (The New York Times Book Review)—first published in 1940 and long considered a classic of twentieth century literature. A twentieth-century classic, Thomas Wolfe’s magnificent novel is both the story of a young writer longing to make his mark upon the world and a sweeping portrait of America and Europe from the Great Depression through the years leading up to World War II. Driven by dreams of literary success, George Webber has left his provincial hometown to make his name as a writer in New York City. When his first novel is published, it brings him the fame he has sought, but it also brings the censure of his neighbors back home, who are outraged by his depiction of them. Unsettled by their reaction and unsure of himself and his future, Webber begins a search for a greater understanding of his artistic identity that takes him deep into New York’s hectic social whirl; to London with an uninhibited group of expatriates; and to Berlin, lying cold and sinister under Hitler’s shadow. He discovers a world plagued by political uncertainty and on the brink of transformation, yet he finds within himself the capacity to meet it with optimism and a renewed love for his birthplace. He is a changed man yet a hopeful one, awake to the knowledge that one can never fully “go back home to your family, back home to your childhood…away from all the strife and conflict of the world…back home to the old forms and systems of things which once seemed everlasting but which are changing all the time.”

When You Can't Go Home tells the story refugees and their families alongside breath-taking portraits by artist, Karisa Keasey. For every book sold, Karisa will donate 50% of the profits to World Relief to help in their efforts with refugees. In addition to raising funds, awareness and compassion for refugees, Karisa hopes that this book will inspire readers to use their own unique gifts to make a positive impact for others in their own communities.

Now available in an all-new HarperPerennial Classics edition Thomas Wolfe's YOU CAN'T GO HOME AGAIN tells the poignant story of a successful novelist, ostracized by family and friends, who subsequently embarks on a world-wide search for his own identity and personal renewal. Perennial Classics editions include updated author biographies and a history of the book's publication.

Afrocentrism has been a controversial but popular movement in schools and universities across America, as well as in black communities. But in We Can't Go Home Again, historian Clarence E. Walker puts Afrocentrism to the acid test, in a thoughtful, passionate, and often blisteringly funny analysis that melts away the pretensions of this "therapeutic mythology." As expounded by Molefi Kete Asante, Yosef Ben-Jochannan, and others, Afrocentrism encourages black Americans to discard their recent history, with its inescapable white presence, and to embrace instead an empowering vision of their African (specifically Egyptian) ancestors as the source of western civilization. Walker marshals a phalanx of serious scholarship to rout these ideas. He shows, for instance, that ancient Egyptian society was not black but a melange of ethnic groups, and questions whether, in any case, the pharaonic regime offers a model for blacks today, asking "if everybody was a King, who built the pyramids?" But for Walker, Afrocentrism is more than simply bad history--it substitutes a feel-good myth of the past for an attempt to grapple with the problems that still confront blacks in a racist society. The modern American black identity is the product of centuries of real history, as Africans and their descendants created new, hybrid cultures--mixing many African ethnic influences with native and European elements. Afrocentrism replaces this complex history with a dubious claim to distant glory. "Afrocentrism offers not an empowering understanding of black Americans' past," Walker concludes, "but a pastiche of 'alien traditions' held together by simplistic fantasies." More to the point, this specious history denies to black Americans the dignity, and power, that springs from an honest understanding of their real history.

What if your path forward leads you back home? When Toronto party girl Kylie is fired from her perfect job, she's forced to do the one thing she never wanted to do: go home. Returning to her sleepy hometown is her definition of failure. She drags herself back to the lakeside town of Camden with her tail between her legs, and she'll do whatever it takes to get back to the big city. When Derek runs a routine traffic stop on a speeder, the one person he never expects to see in Camden again is Kylie. In fact, he barely recognizes her. She doesn't look like the quiet, sweet girl he had a crush on in high school. Kylie's brother offers her a job back in the city if she can prove she’s changed her ways. She finds the perfect opportunity, but it means working with Derek to save the town’s waterfront. Can she look past their feud and get the job done? Can she avoid falling in love with him and complicating her plans to return to the big city?