Two young men from disparate backgrounds disappear on a winter camping trip in the Laurentians led by Amanda Doucette. One boy turns up dead, and the other is suspected of having terrorist links. Amanda and Chris Tymko race to find the missing boy, but there is also a killer on their heels.

On Halloween: the Tricksters came. On Halloween: the Tricksters joked. On Halloween: the Tricksters played pranks. On Halloween: the Tricksters murdered. Now, Logan Parsons and her best friend, Yvette Wyss, must try to survive the night. They are alone, scared, horrified, and about to come face-to-face with an evil far greater than man has ever known. The tricks are about to begin...

A compilation of more than 120 folk songs, tales, poems, and stories telling the history of America and reflecting its multicultural society. Illustrated by award-winning artists.

At once criminal and savior, clown and creator, antagonist and mediator, the character of trickster has made frequent appearances in works by writers the world over. Usually a figure both culturally specific and transcendent, trickster leads the way to the unconscious, the concealed, and the seemingly unattainable. This book offers thirteen interpretations of trickster in American writing, including essays on works by African America, Native America, Pacific Rim, and Latino writers, as well as an examination of trickster politics. This collection conveys the trickster's imprint on the modern world.

Tricksters and Cosmopolitans is the first sustained exploration into the history of cross-cultural collaborations between Asian American writers and their non–Asian American editors and publishers. The volume focuses on the literary production of the cosmopolitan subject, featuring the writers Sui Sin Far, Jessica Hagedorn, Karen Tei Yamashita, Monique Truong, and Min Jin Lee. The newly imagined cosmopolitan subject that emerges from their works dramatically reconfigured Asian American female subjectivity in metropolitan space with a kind of fluidity and ease never before seen. But as Rei Magosaki shows, these narratives also invariably expose the problematic side of this figure, which also serves to perpetuate exploitative structures of Western imperialism and its legacies in late capitalism. Arguing that the actual establishment of such a critical standpoint on imperialism and globalization required the expansive and internationalist vision of editors who supported, cultivated, and promoted these works, Tricksters and Cosmopolitans reveals the negotiations between these authors and their publishers and between the shared investment in both politics and aesthetics that influenced the narrative structure of key works in the Asian American literary canon.