Orange Boy Blue reveals what identity can do to ravish yet define a love that evolves during a war steeped in inherited bias. Middle class Belfast, 1979, Ella and Will, two young would be lovers offer opposing perspectives of growing up in Chaos, from the same side of the street.

WINNER OF THE WATERSTONES CHILDREN'S BOOK PRIZE FOR OLDER READERS, SHORTLISTED FOR THE COSTA CHILDREN'S BOOK AWARD AND THE YA BOOK PRIZE "A truly brilliant book." Malorie Blackman "Incredible book. Thank you Patrice Lawrence for such a fresh and riveting piece of fiction." Ben Bailey Smith (Doc Brown) "What a book! Such a gripping, gritty storyline, with such wonderful, believable characters. Loved it." Tanya Landman, author of Buffalo Soldier Not cool enough, not clever enough, not street enough for anyone to notice me. I was the kid people looked straight through. NOT ANY MORE. NOT SINCE MR ORANGE. Sixteen-year-old Marlon has made his mum a promise - he'll never follow his big brother, Andre, down the wrong path. So far, it's been easy, but when a date ends in tragedy, Marlon finds himself hunted. They're after the mysterious Mr Orange, and they're going to use Marlon to get to him. Marlon's out of choices - can he become the person he never wanted to be, to protect everyone he loves?

Wayne Koestenbaum returns with a zesty and hyper-literate collection of personal and critical essays on the 1980s, including essays on major cultural figures such as Andy Warhol and Brigitte Bardot. Wayne Koestenbaum has been described as "an impossible lovechild from a late-night, drunken three-way between Joan Didion, Roland Barthes, and Susan Sontag" (Bidoun). In My 1980s and Other Essays, a collection of extravagant range and style, he rises to the challenge of that improbable description. My 1980s and Other Essays opens with a series of manifestos—or, perhaps more appropriately, a series of impassioned disclosures, intellectual and personal. It then proceeds to wrestle with a series of major cultural figures, the author's own lodestars and lodestones: literary (John Ashbery, Roberto Bolaño, James Schuyler), artistic (Diane Arbus, Cindy Sherman, Andy Warhol), and simply iconic (Brigitte Bardot, Cary Grant, Lana Turner). And then there is the personal—the voice, the style, the flair—that is unquestionably Koestenbaum. It amounts to a kind of intellectual autobiography that culminates in a string of passionate calls to creativity; arguments in favor of detail and nuance, and attention; a defense of pleasure, hunger, and desire in culture and experience. Koestenbaum is perched on the cusp of being a true public intellectual—his venues are more mainstream than academic, his style is eye-catching, his prose unfailingly witty and passionate, his interests profoundly wide-ranging and popular. My 1980s should be the book that pushes Koestenbaum off that cusp and truly into the public eye.