Children discover that they can like the same things and still be different.

From acclaimed author Linda Ashman and illustrator Eve Coy comes this joyful picture book about making new friends and finding common ground We’re opposites! / You’re right—we are. Like big and small. / Like near and far. But even when we disagree / I like you, and you like me. A rhyming friendship story told in two voices, this picture book follows two children as they try to discover what they have in common, from favorite toys to shaggy dogs to pizza toppings. With its gentle message and dynamic illustrations, this sweet story is sure to resonate with young readers.

'The most perceptive book I have ever read about the female interior' DOLLY ALDERTON 'Identifiable, heart-breaking and wickedly funny. I'd say this is one of my favourite books of the year' GIOVANNA FLETCHER 'Bourne holds a mirror up to contemporary aspiration' SUNDAY TIMES ***** Everyone wants to be Tori Bailey. A straight-talking, bestselling author, she's inspired millions of women around the world with her self-help memoir and uplifting posts online. What's more, her perfect relationship with her long-term boyfriend is the envy of all their friends. But Tori isn't being honest. While everyone around her is getting engaged and having babies, Tori's boyfriend will barely look at her, let alone talk about marriage. And when her best friend Dee unexpectedly falls in love, suddenly Tori's in danger of being left behind. Tori's built a career out of telling women how to live their best life, but is she brave enough to admit it's not what she wants? ***** The debut adult novel by bestselling author Holly Bourne is a blisteringly funny, honest and moving exploration of love, friendship and navigating the emotional rollercoaster of your thirties. Everyone is raving about this book! Brutally honest, appallingly funny and very moving - so accurate on the female interior, and the loneliness life in the public gaze. I want to read everything Holly Bourne has written now' ROSIE WALSH 'It'll resonate with anyone trying to convince themselves that sticking it out is better than being alone.' EMERALD STREET 'Relatable for any woman navigating emotional time bombs' RED 'It speaks so many truths about being a woman in your thirties; friendships, love and what a fickle beast social media can be. ' CLEMMIE HOOPER 'Hilarious and painfully true' GRAZIA 'Sure toresonate with anyone navigating the emotional minefield of their thirties'RED ONLINE 'Funny, real and heartbreaking. I haven't been this obsessed with a book in years.' LUCY VINE 'Injected with such reality it can't help but be hilarious'TIMES 'A very funny novel that lives up to its hype' THE SUNDAY TELEGRAPH

“It’s fun to find ways I’m like you and you’re like me. It’s fun to find ways we’re different.” In this colorful, inviting book, kids from preschool to lower elementary learn about diversity in terms they can understand: hair that’s straight or curly, families with many people or few, bodies that are big or small. With its wide-ranging examples and fun, highly detailed art, I’m Like You, You’re Like Me helps kids appreciate the ways they are alike and affirm their individual differences. A two-page adult section in the back provides tips and activities for parents and caregivers to reinforce the themes and lessons of the book.

New York Times bestselling author Brigid Kemmerer pens a new emotionally compelling story about two teens struggling in the space between right and wrong. When his dad is caught embezzling funds from half the town, Rob goes from popular lacrosse player to social pariah. Even worse, his father's failed suicide attempt leaves Rob and his mother responsible for his care. Everyone thinks of Maegan as a typical overachiever, but she has a secret of her own after the pressure got to her last year. And when her sister comes home from college pregnant, keeping it from her parents might be more than she can handle. When Rob and Maegan are paired together for a calculus project, they're both reluctant to let anyone through the walls they've built. But when Maegan learns of Rob's plan to fix the damage caused by his father, it could ruin more than their fragile new friendship . . . In her compulsively readable storytelling, Brigid Kemmerer pens another captivating, heartfelt novel that asks the question: Is it okay to do something wrong for the right reasons?

Shakespeare's As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? "What would you say to me now an [that is, "if"] I were your very, very Rosalind?" (4.1.64-65). "Much virtue in 'if'," as one of its characters declares near the play's end; 'if' is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change? In As You Like It, unlike Shakespeare's other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were-and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in 'if' as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. Their audiences are not exempt. As You Like It doesn't tell us that it knows what we like and will give it to us. It pushes us to find out. Over the course of the play, characters and audiences experiment with other ways the world could be and come closer to learning what they do like, and how their world can be more as they like it. By exploring ways the world can be different than it is, the characters of As You Like It strive to make the world a place in which they can be at home, not as a utopia-Arden may promise that, but certainly doesn't fulfill it-but as an ongoing work of living. We get a sense at the play's end not that things have been settled once and for all, but that the characters have taken time to breathe-to live in their new situations until they discover better ones, or until they discover newer desires. As You Like It, in other words, is a kind of essay: a set of tests or attempts to be differently in the world, and to see what happens. These essays in As If: As You Like It, originally commissioned as an introductory guide for students, actors, and admirers of the play, trace the force and virtue of someof the claims of the play that run counter to what is the case-its 'ifs.' William N. West is Associate Professor of English, Classics, and Comparative Literary Studies at Northwestern University, where he is also chair of the Department of Classics and co-editor of the journal Renaissance Drama. He is co-editor (with Helen Higbee) of Robert Weimann's Author's Pen and Actor's Voice: Writing and Playing in Shakespeare's Theatre (Cambridge, 2000) and (with Bryan Reynolds) of Rematerializing Shakespeare: Authority and Representation on the Early Modern Stage (Palgrave, 2005). In addition to his book Theatres and Encyclopedias in Early Modern Europe (2002), he has recently published articles on Romeo and Juliet's understudies, irony and encyclopedic writing before and after the Enlightenment, Ophelia's intertheatricality (with Gina Bloom and Anston Bosman), humanism and the resistance to theology, Shakespeare's matter, and conversation as a theory of knowledge in Browne's Pseudodoxia. His work has been supported by grants from the NEH and the Beinecke, Folger, Huntington, and Newberry libraries.

An ode to the girl with scrapes on her knees and flowers in her hair, and every girl in between, this exquisite treasury will appeal to readers of Dear Girl and I Am Enough and have kids poring over it to find a poem that's just for them. I am a canvas Being painted on By the words of my family Friends And community From Vanessa Brantley-Newton, the author of Grandma's Purse, comes a collection of poetry filled with engaging mini-stories about girls of all kinds: girls who feel happy, sad, scared, powerful; girls who love their bodies and girls who don't; country girls, city girls; girls who love their mother and girls who wish they had a father. With bright portraits in Vanessa's signature style of vibrant colors and unique patterns and fabrics, this book invites readers to find themselves and each other within its pages. "A dynamic, uplifting, and welcoming world of girls."--Kirkus "Thoughtful, inclusive, and celebratory"--Publishers Weekly "Bursting with positivity, this would be a great book to use in primary school classrooms when discussing issues of friendship, diversity, and self-esteem."--Booklist