Today Fanny Burney's venture into authorship would not be questionable. She was, after all, a daughter of a celebrated musician, and the Burney family was know to the circle of Samuel Johnson and Hester Thrale. Yet as Kristina Straub ably shows, the public recognition which followed the publication of her first novel placed Fanny Burney in a situation of disturbing ambiguity. Did she become famous or notorious? Was she a prodigy or a freak? In this study of Burney, Straub not only describes and analyzes the disturbing transition of a writer's self-awareness as a woman and a literary artist from private to public terms, but also reveals in Burney's works a hitherto unacknowledged complexity."

Winner of the Pura Belpré Award! “We need books to break open our hearts, so that we might feel more deeply, so that we might be more human in these unkind times. This is a book doing work of the spirit in a time of darkness.” —Sandra Cisneros, author of The House on Mango Street Efrén Nava’s Amá is his Superwoman—or Soperwoman, named after the delicious Mexican sopes his mother often prepares. Both Amá and Apá work hard all day to provide for the family, making sure Efrén and his younger siblings Max and Mía feel safe and loved. But Efrén worries about his parents; although he’s American-born, his parents are undocumented. His worst nightmare comes true one day when Amá doesn’t return from work and is deported across the border to Tijuana, México. Now more than ever, Efrén must channel his inner Soperboy to help take care of and try to reunite his family. A glossary of Spanish words is included in the back of the book.

"DIVIDED WE FALL delivers cover-to-cover action, intrigue and suspense, all with a gut-punch of an ending that'll leave you begging for the next installment." -- Brad Thor, author of THE LAST PATRIOT Danny Wright never thought he'd be the man to bring down the United States of America. In fact, he enlisted in the Idaho National Guard because he wanted to serve his country the way his father did. When the Guard is called up on the governor's orders to police a protest in Boise, it seems like a routine crowd-control mission ... but then Danny's gun misfires, spooking the other soldiers and the already fractious crowd, and by the time the smoke clears, twelve people are dead. The president wants the soldiers arrested. The governor swears to protect them. And as tensions build on both sides, the conflict slowly escalates toward the unthinkable: a second American civil war.With political questions that are popular in American culture yet rare in YA fiction, and a provocative plot that asks what happens when the states are no longer united, Divided We FAll is Trent Reedy's very timely YA debut.

Nineteenth-century Japanese literary discourse and narrative developed a striking preoccupation with ninjō—literally “human emotion,” but often used in reference to amorous feeling and erotic desire. For many writers and critics, fiction’s capacity to foster both licentiousness and didactic values stood out as a crucial source of ambivalence. Simultaneously capable of inspiring exemplary behavior and a dangerous force transgressing social norms, ninjō became a focal point for debates about the role of the novel and a key motor propelling narrative plots. In Licentious Fictions, Daniel Poch investigates the significance of ninjō in defining the literary modernity of nineteenth-century Japan. He explores how cultural anxieties about the power of literature in mediating emotions and desire shaped Japanese narrative from the late Edo through the Meiji period. Poch argues that the Meiji novel, instead of superseding earlier discourses and narrative practices surrounding ninjō, complicated them by integrating them into new cultural and literary concepts. He offers close readings of a broad array of late Edo- and Meiji-period narrative and critical sources, examining how they shed light on the great intensification of the concern surrounding ninjō. In addition to proposing a new theoretical outlook on emotion, Licentious Fictions challenges the divide between early modern and modern Japanese literary studies by conceptualizing the nineteenth century as a continuous literary-historical space.

New expanded edition of a classic anthropology title that examines ethnicity as a dynamic and shifting aspect of social relations.

Recorded and transcribed throughout the 1960s, Carla Lonzi's Self-portrait ruptures the linear tradition of art-historical writing. Lonzi first abolishes the role of the critic, her own, seeking change over self-preservation by theorising against the act of theorising. This is the voice of feminist experimentalism in Italian art and literature, and here Lonzi speaks for herself in English. Self-portrait montages her verbatim conversations with fourteen prominent artists working at the time, all men except one. Lonzi's vital feeling that it was impossible to respond professionally to the political and existential problems embedded in the production and distribution of artworks drives the book's contingent structure. Artmaking struck Lonzi as the invitation to be together in a humanly satisfying way. This first English translation brings Lonzi's final work of criticism before her break with 'art' to an international audience. Her uncompromising enactment and pragmatic drop-out discontinues the narration of postwar modern art in Italy and beyond.

From NYT bestselling author Jennifer A. Nielsen comes a stunning thriller about a girl who must escape to freedom after the Berlin Wall divides her family between east and west. A Night Divided joins the Scholastic Gold line, which features award-winning and beloved novels. Includes exclusive bonus content!With the rise of the Berlin Wall, Gerta finds her family suddenly divided. She, her mother, and her brother Fritz live on the eastern side, controlled by the Soviets. Her father and middle brother, who had gone west in search of work, cannot return home. Gerta knows it is dangerous to watch the wall, yet she can't help herself. She sees the East German soldiers with their guns trained on their own citizens; she, her family, her neighbors and friends are prisoners in their own city.But one day on her way to school, Gerta spots her father on a viewing platform on the western side, pantomiming a peculiar dance. Gerta concludes that her father wants her and Fritz to tunnel beneath the wall, out of East Berlin. However, if they are caught, the consequences will be deadly. No one can be trusted. Will Gerta and her family find their way to freedom?