In The Dogs Buried Over the Bridge, nationally syndicated columnist Rheta Grimsley Johnson uses a parade of beloved dogs to take readers on a colorful journey. It's not really a dog book in the Old Yeller sense; it's a personal story that uses dogs as metaphors for love, loss, and life."Working for newspapers ages you exponentially; it's like dog years," Rheta says. Readers follow her as a starry-eyed newlywed starting a weekly newspaper on Georgia's exotic St. Simons Island, through stints at various other Southern newspapers, and finally to her writing life in remote and dog-friendly Fishtrap Hollow, MS. That's the dateline for her long-running column and the place Rheta has called home for almost 30 years, despite growing up "a girl of curbs and gutters, not creeks and critters."Along the way, readers meet Rheta's eccentric neighbors, her friends, her three husbands, and--best of all--her dogs. She introduces Monster, "a big galoot of a mutt, the variegated color of a hand-knitted sweater a dour aunt might give you for Christmas"; Humphrey, who spent much of one night in an apartment complex "patiently lining stolen shoes up at our back door like a clearance rack at Payless"; Mabel (pronounced May-Belle), the first of the dogs to be buried "over the bridge" in Rheta's sad little dog cemetery, who was "so beautiful that it never really mattered how much toilet paper she shredded, whose hairbrush she destroyed, where she sat or slept. . . . Scolding Mabel would have been stomping a rose"; and Pogo and Albert, who taught Rheta that "grief can kill you, whatever your species. It isn't pretty, and it's a walk you must take alone." There are other dogs as well, for hers has been a life that measures its quality in canines.

A harrowing story of blue on black violence, of black lives that seemingly did not matter. On September 4, 2005, six days after Hurricane Katrina’s landfall in New Orleans, two groups of people intersected on the Danziger Bridge, a low-rising expanse over the Industrial Canal. One was the police who had stayed behind as Katrina roared near, desperate to maintain control as their city spun into chaos. The other was the residents forced to stay behind with them during the storm and, on that fateful Sunday, searching for the basics of survival: food, medicine, security. They collided that morning in a frenzy of gunfire. When the shooting stopped, a gentle forty-year-old man with the mind of a child lay slumped on the ground, seven bullet wounds in his back, his white shirt turned red. A seventeen-year-old was riddled with gunfire from his heel to his head. A mother’s arm was blown off; her daughter’s stomach gouged by a bullet. Her husband’s head was pierced by shrapnel. Her nephew was shot in the neck, jaw, stomach, and hand. Like all the other victims, he was black—and unarmed. Before the blood had dried on the pavement, the shooters, each a member of the New Orleans Police Department, and their supervisors hatched a cover-up. They planted a gun, invented witnesses, and charged two of their victims with attempted murder. At the NOPD, they were hailed as heroes. Shots on the Bridge explores one of the most dramatic cases of police violence seen in our country in the last decade—the massacre of innocent people, carried out by members of the NOPD, in the brutal, disorderly days following Hurricane Katrina. It reveals the fear that gripped the police of a city slid into anarchy, the circumstances that drove desperate survivors to the bridge, and the horror that erupted when the police opened fire. It carefully unearths the cover-up that nearly buried the truth. And finally, it traces the legal maze that, a decade later, leaves the victims and their loved ones still searching for justice. This is the story of how the people meant to protect and serve citizens can do violence, hide their tracks, and work the legal system as the nation awaits justice. Named one of the top books of 2015 by NewsOne Now, and named one of the best books of August 2015 by Apple Winner of the 2015 Investigative Reporters and Editors Book Award

John Homans adopted his dog, Stella, from a shelter for all the usual reasons: fond memories of dogs from his past, a companion for his son, an excuse for long walks around the neighborhood. Soon enough, she is happily ensconced in the daily workings of his family. And not only that: Stella is treated like a family member—in ways that dogs of his youth were not. Spending humanlike sums on vet bills, questioning her diet and exercise regimens, contemplating her happiness—how had this all come to pass, when the dogs from Homans’s childhood seemed quite content living mostly out in the yard? In What’s a Dog For?, Homans explores the dog’s complex and prominent place in our world and how it came to be. Evolving from wild animals to working animals to nearly human members of our social fabric, dogs are now the subject of serious scientific studies concerning pet ownership, evolutionary theory, and even cognitive science. From new insights into what makes dogs so appealing to humans to the health benefits associated with owning a dog, Homans investigates why the human-canine relationship has evolved so rapidly—how dogs moved into our families, our homes, and sometimes even our beds in the span of a generation, becoming a $53 billion industry in the United States in the process. As dogs take their place as coddled family members and their numbers balloon to more than seventy-seven million in the United States alone, it’s no surprise that canine culture at large is also undergoing a massive transformation. They are now subject to many of the same questions of rights and ethics as people, and the politics of dogs are more tumultuous and public than ever— with fierce moral battles raging over kill shelters, puppy mills, and breed standards. Incorporating interviews and research from scientists, activists, breeders, and trainers, What’s a Dog For? investigates how dogs have reached this exalted status and why they hold such fascination for us. With one paw in the animal world and one paw in the human world, it turns out they have much to teach us about love, death, and morality—and ultimately, in their closeness and difference, about what it means to be human.

Learn to communicate with your dog—using their language “Good reading for dog lovers and an immensely useful manual for dog owners.”—The Washington Post An Applied Animal Behaviorist and dog trainer with more than twenty years’ experience, Dr. Patricia McConnell reveals a revolutionary new perspective on our relationship with dogs—sharing insights on how “man’s best friend” might interpret our behavior, as well as essential advice on how to interact with our four-legged friends in ways that bring out the best in them. After all, humans and dogs are two entirely different species, each shaped by its individual evolutionary heritage. Quite simply, humans are primates and dogs are canids (as are wolves, coyotes, and foxes). Since we each speak a different native tongue, a lot gets lost in the translation. This marvelous guide demonstrates how even the slightest changes in our voices and in the ways we stand can help dogs understand what we want. Inside you will discover: • How you can get your dog to come when called by acting less like a primate and more like a dog • Why the advice to “get dominance” over your dog can cause problems • Why “rough and tumble primate play” can lead to trouble—and how to play with your dog in ways that are fun and keep him out of mischief • How dogs and humans share personality types—and why most dogs want to live with benevolent leaders rather than “alpha wanna-bes!” Fascinating, insightful, and compelling, The Other End of the Leash is a book that strives to help you connect with your dog in a completely new way—so as to enrich that most rewarding of relationships.

In this collection of poetry and essays, Gaspar de Alba incorporates the Mexican archetypal wailing woman who wanders in search of her lost children. La Llorona is more than an archetype: she is a tour guide through the ruins of love and family and the constant presence of the poet's voice. She transcends time, place, and gender. The lines of the poems breathe that haunted spirit as they describe her movidas, both geographic and figurative, in search of the lost mother, the absent father, the abandoned child, the lover, the self. These essays track other movements of thought: reflections on identity, sexuality, and resistance. As a leading interpreter of border life and culture, poet, storyteller, and essayist Gaspar de Alba explores the borders and limits of place, body, and language through a painful series of moves and losses. She prevails and becomes the forger of her own destiny, her own image on the landscape, the interpreter of her own dreams and history. These vibrant poems and essays of self-creation, even to the basic task of choosing her own name, are a testament to the phoenix-like quality of art: the poet can create beauty out of destruction and desolation.

When the war effort drained Germany of manpower, thousands of young Polish men and boys like Stanislaus were marched at gunpoint into trains that would take them to labor in the Nazis' fields and factories. Barely a teenager, Stanislaus arrived cold, friendless and penniless in Germany. His first sight of the Bavarian village where he would toil included the bridge over the Main. He had no idea of the painful memories it would bring him, of how he would cling to the bridge as Hitler Youth pummeled him into jumping into the river below, or how he would warn Allied units that the bridge has been sabotaged. Trapped with no hope of escape and beaten mercilessly for the slightest infraction, Stanislaus always stood up for himself and spoke his mind. That strength helped him survive and helped him burn every detail into his memory.

Two English boys, David and Adam, spend the summer canoeing on the River Say and, with just an old riddle for a clue, try to find a treasure hidden along its banks by one of Adam's ancestors.