Puffin Classics: the definitive collection of timeless stories, for every child. Not a speck, not a stain on her gray school skirt and blue blouse to show what terrible thing had happened . . . If only by putting on something fresh and new, they could begin the day again. When twelve-year-old Sade's mother is killed, she and her little brother Femi are forced to flee from their home in Nigeria to Britain. They're not allowed to tell anyone - not even their best friends - as their whole journey is secret, dangerous - and illegal. Their dad promises to follow when he can, but once the children arrive in London, things go from bad to worse when they're abandoned by the people they had been told would protect them. Sade faces challenge after challenge - but her dad has always taught her to stand up for what is right, and to tell the truth no matter what. And with that strength of spirit in her heart, Sade will find the courage to fight for the new, happy life she, Femi and her dad deserve. A powerful novel which explores what it means to be classified as 'illegal' and the difficulties which come with being a refugee - winner of the Carnegie Medal 2000. 'A marvellous read ... that refuels the desire for justice and freedom' - Jon Snow 'Beverley Naidoo breaks the rules, producing books for young people which recognize that they want to know about the real world' Guardian 'This novel wholly deserves its classic status . . . still relevant and poignant.' Booktrust

Two years after their flight from Nigeria, 14-yr-old Sade, her younger brother Femi and her father are living in a council flat in London, waiting for their claim for asylum to be approved. Sade is upset when Femi is drawn into a violent possibly drug-dealing gang, and even more upset when their father doesn't seem to notice. He's too taken up with his new friend Mrs Wallace, a refugee from Sierra Leone. But when Femi is arrested for murder, and the gang set fire to their flat, the family has to pull together to get through this most difficult time.

Chiefly on the partition of Punjab, 1947.

The pioneering autobiographical story of a British Zionist in her fifties who moves to Israel and chooses to live among 25,000 Muslims in the all-Arab Israeli town of Tamra, a few miles from Nazareth.

Mr. Elives’s magic shop is back, and this time it is on the other side of Tucker’s Swamp. And Tucker’s Swamp is where Charlie Eggleston heads to escape a beating-for lying. Charlie can’t seem to keep from lying, though sometimes his lies are for a good cause. When Charlie stumbles into Mr. Elives’s magic shop, his eyes light upon The Skull. Charlie steals The Skull and it puts him under some sort of spell-he can only tell the truth. Trouble is, now no one believes him. . . .

"Hope and insight and empathy spring from every page. . . . [McKesson] stares down the faces of bigotry and unfreedom and cynicism and doesn't flinch in writing out our marching orders toward freedom." --Ibram X. Kendi, #1 New York Times bestselling author of How to Be an Antiracist From the internationally recognized civil rights activist/organizer and host of the podcast Pod Save the People, a meditation on resistance, justice, and freedom, and an intimate portrait of a movement from the front lines. In August 2014, twenty-nine-year-old activist DeRay Mckesson stood with hundreds of others on the streets of Ferguson, Missouri, to push a message of justice and accountability. These protests, and others like them in cities across the country, resulted in the birth of the Black Lives Matter movement. Now, in his first book, Mckesson lays down the intellectual, pragmatic, and political framework for a new liberation movement. Continuing a conversation about activism, resistance, and justice that embraces our nation's complex history, he dissects how deliberate oppression persists, how racial injustice strips our lives of promise, and how technology has added a new dimension to mass action and social change. He argues that our best efforts to combat injustice have been stunted by the belief that racism's wounds are history, and suggests that intellectual purity has curtailed optimistic realism. The book offers a new framework and language for understanding the nature of oppression. With it, we can begin charting a course to dismantle the obvious and subtle structures that limit freedom. Honest, courageous, and imaginative, On the Other Side of Freedom is a work brimming with hope. Drawing from his own experiences as an activist, organizer, educator, and public official, Mckesson exhorts all Americans to work to dismantle the legacy of racism and to imagine the best of what is possible. Honoring the voices of a new generation of activists, On the Other Side of Freedom is a visionary's call to take responsibility for imagining, and then building, the world we want to live in.

A sixty-year history of Afro–South Asian musical collaborations From Beyoncé’s South Asian music–inspired Super Bowl Halftime performance, to jazz artists like John and Alice Coltrane’s use of Indian song structures and spirituality in their work, to Jay-Z and Missy Elliott’s high-profile collaborations with diasporic South Asian artists such as the Panjabi MC and MIA, African American musicians have frequently engaged South Asian cultural productions in the development of Black music culture. Sounds from the Other Side traces such engagements through an interdisciplinary analysis of the political implications of African American musicians’ South Asian influence since the 1960s. Elliott H. Powell asks, what happens when we consider Black musicians’ South Asian sonic explorations as distinct from those of their white counterparts? He looks to Black musical genres of jazz, funk, and hip hop and examines the work of Miles Davis, John Coltrane, Rick James, OutKast, Timbaland, Beyoncé, and others, showing how Afro–South Asian music in the United States is a dynamic, complex, and contradictory cultural site where comparative racialization, transformative gender and queer politics, and coalition politics intertwine. Powell situates this cultural history within larger global and domestic sociohistorical junctures that link African American and South Asian diasporic communities in the United States. The long historical arc of Afro–South Asian music in Sounds from the Other Side interprets such music-making activities as highly political endeavors, offering an essential conversation about cross-cultural musical exchanges between racially marginalized musicians.