GOOD MORNING AMERICA BUZZ PICK • The Pulitzer Prize–winning playwright and co-writer of In the Heights tells her lyrical story of coming of age against the backdrop of an ailing Philadelphia barrio, with her sprawling Puerto Rican family as a collective muse. LONGLISTED FOR THE ANDREW CARNEGIE MEDAL • ONE OF THE BEST BOOKS OF THE YEAR: NPR, New York Public Library, BookPage, and BookRiot • “Quiara Alegría Hudes is in her own league. Her sentences will take your breath away. How lucky we are to have her telling our stories.”—Lin-Manuel Miranda, award-winning creator of Hamilton and In the Heights Quiara Alegría Hudes was the sharp-eyed girl on the stairs while her family danced their defiance in a tight North Philly kitchen. She was awed by her mother and aunts and cousins, but haunted by the unspoken, untold stories of the barrio—even as she tried to find her own voice in the sea of language around her, written and spoken, English and Spanish, bodies and books, Western art and sacred altars. Her family became her private pantheon, a gathering circle of powerful orisha-like women with tragic real-world wounds, and she vowed to tell their stories—but first she’d have to get off the stairs and join the dance. She’d have to find her language. Weaving together Hudes’s love of music with the songs of her family, the lessons of North Philly with those of Yale, this is a multimythic dive into home, memory, and belonging—narrated by an obsessed girl who fought to become an artist so she could capture the world she loved in all its wild and delicate beauty.

The author of the “masterfully plotted, compulsive page-turner” (The Guardian) Our House takes you on a haunting and nail-biting journey of tragedy and revenge. The Heights is a tall, slender apartment building among warehouses in London. Its roof terrace is so discreet, you wouldn’t know it existed if you weren’t standing at the window of the flat directly opposite. But you are. And that’s when you see a man up there—a man you’d recognize anywhere. He may be older now, but it’s definitely him. But that can’t be because he’s been dead for over two years. You know this for a fact. Because you’re the one who killed him. With Louise Candlish’s signature dark and twisty prose, The Heights shows “the ferocity of maternal love” (Hannah Beckerman, author of If Only I Could Tell You). It is an unputdownable thriller that will keep you guessing until the final page.

Winner of the 2016 Pulitzer Prize for Drama Now a major motion picture, available on Disney Plus. Goodreads best non-fiction book of 2016 From Tony Award-winning composer-lyricist-star Lin-Manuel Miranda comes a backstage pass to his groundbreaking, hit musical Hamilton. Lin-Manuel Miranda's groundbreaking musical Hamilton is as revolutionary as its subject, the poor kid from the Caribbean who fought the British, defended the Constitution, and helped to found the United States. Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims the origins of the United States for a diverse new generation. HAMILTON: THE REVOLUTION gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda, along with Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages - "since before this was even a show," according to Miranda - traces its development from an improbable performance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here. Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer, Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sondheim, leading political commentators, and more than 50 people involved with the production; and multiple appearances by President Obama himself. The book does more than tell the surprising story of how a Broadway musical became an international phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.

Reprint of the original, first published in 1875. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

Evan, soon to be thirteen, is disturbed by his parents' divorce and dragged from his home in New York City to live with his mother in the Midwest, all while trying to figure out just who he really is.

I don't belong in the Heights. Truth be told, no one does. It's dirty, grimy. Riddled with crime, the destitute, and the desperate. Where the family unit doesn't always mean a mom, a dad, and two-point-five kids. It's whoever gives you the time of day. That's how the Heights Crew came about. The only relationship that counts in the Heights is if you're a part of the Crew. There, gang ties are thicker than blood. More important than money, safety, or any other promise we're supposed to have in this life. Even more important than yourself. Me? I'm in, and I can't get out. Some days, I'm not even sure I want to.

The tranquil life he led in the quiet enclave of Brooklyn Heights stood in sharp contrast to the glittering scene he adored on the other side of the Brooklyn Bridge, but for a few years in the 1950's and '60's, Truman Capote happily made his home in a yellow brick house on Willow Street. By turns wistful and farcical, A House on the Heights vividly evokes a neighborhood Capote described as among Brooklyn's "splendid contradictions," a world of grand homes and dimly recalled gentility, of mysterious warehouses and cartoonish street thugs, of antiques and dowagers, a broad yard overhung with wisteria, and the famous Esplanade with its incomparable view—all rendered in Capote's deft and stylish prose.