This groundbreaking novel in verse from Walter Dean Myers—two-time Newbery Honor winner and five-time Coretta Scott King Award winner—is a modern-day Romeo and Juliet story set in Harlem. Share this one with readers taken with books by Jason Reynolds, Nic Stone, and Elizabeth Acevedo. Whether read at home or in the classroom, and alongside the original inspiration or on its own. Street Love is sure to spark opinions and conversations. "This verse novel, in which entire poems dazzle readers with rhyme and rhythm and voice, finds Damien, a straight-A student, headed for Brown University. But he falls in love with Junice, a girl whose mother has just been incarcerated for selling drugs, and his direction could change. Readers enjoy multiple perspectives on this romance and the decision Damien makes." (Kirkus starred review) "Hip-hop fans, readers of poetry, and hopeless romantics will respond to the emotional vibrancy of this powerful work." (VOYA) Your first love is totally wrong for you. Do you follow your heart? Or do you run away? Walter Dean Myers was a New York Times bestselling author, Printz Award winner, five-time winner of the Coretta Scott King Award, two-time Newbery Honor recipient, and the National Ambassador for Young People's Literature. Maria Russo, writing in the New York Times, called Myers "one of the greats and a champion of diversity in children’s books well before the cause got mainstream attention."

Far too many poor Black communities struggle with gun violence and homicide. The result has been the unnatural contortion of Black families and the inter-generational perpetuation of social chaos and untimely death. Young people are repeatedly ripped away from life by violence, while many men are locked away in prisons. In neighborhoods like those of Wilmington, Delaware, residents routinely face the pressures of violence, death, and incarceration. Murder Town, USA is thus a timely ethnography with an innovative structure: the authors helped organize fifteen residents formerly involved with the streets and/or the criminal justice system to document the relationship between structural opportunity and experiences with violence in Wilmington's Eastside and Southbridge neighborhoods. Earlier scholars offered rich cultural analysis of violence in low-income Black communities, and yet this literature has mostly conceptualized violence through frameworks of personal responsibility or individual accountability. And even if acknowledging the pressure of structural inequality, most earlier researchers describe violence as the ultimate result of some moral failing, a propensity for crime, and the notion of helplessness. Instead, in Murder Town USA, Payne, Hitchens, and Chamber, along with their collaborative team of street ethnographers, instead offer a radical re-conceptualization of violence in low-income Black communities by describing the penchant for violence and involvement in crime overall to be a logical, "resilient" response to the perverse context of structural inequality.

To Virginia Woolf, London was a source of creative inspiration, a setting for many of her works, and a symbol of the culture in which she lived and wrote. In a 1928 diary entry, she observed, "London itself perpetually attracts, stimulates, gives me a play & a story & a poem, without any trouble, save that of moving my legs through the streets." The city fascinated Woolf, yet her relationship with it was problematic. In her attempts to resolve her developmental struggles as a woman write in a patriarchal society, Woolf shaped and reshaped the image and meaning of London. Using psychoanalytic, feminist, and social theories, Susan Squier explores the transformed meaning of the city in Woolf's essays, memoirs, and novels as it functions in the creation of a mature feminist vision. Squier shows that Woolf's earlier works depict London as a competitive patriarchal environment that excluded her, but her mature works portray the city as beginning to accept the force of female energy. Squier argues that this transformation was made possible by Woolf's creative ability to appropriate and revise the masculine literary and cultural forms of her society. The act of writing, or "scene making," allowed Woolf to break from her familial and cultural heritage and recreate London in her own literary voice and vision. Virginia Woolf and London is based on analyses of Woolf's memoirs, her little-known early and mature London essays, Night and Day, Mrs. Dalloway, Flush, and The Years. By focusing on Woolf's changing attitudes about the city, Squier is able to define Woolf's evolving belief that women could "reframe" the city-scape and use it to imagine and create a more egalitarian world. Squier's study offers significant new insights into the interplay between self and society as it shapes the work of a woman writer. Originally published in 1985. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.