FIFTEEN-YEAR-OLD INDIE KONKIPUDDI HAS ALWAYS DREAMED OF BECOMING A FASHION REPORTER. She'd do anything to land an internship with glamorous Celebrity Style magazine -- even babysit publisher Aaralyn Taylor's two-year-old son. Indie's neurosurgeon dad can't understand why Indie would want to spend her weekends picking Play-Doh off of someone else's Persian carpets, and pretty soon she starts asking herself the same thing. Then Indie finds out that (1) Celebrity Style is in trouble, and (2) Hollywood's hottest star is having her wedding dress made in a village in India. Indie's sure she's scored the juiciest gossip in town -- the kind of story that will put the magazine back on the map and finally land her the internship! But when things don't pan out exactly as planned, Indie wonders -- will Aaralyn ever see her as anything more than just the hired help?
Are you a girl who’s tired of waiting for someone to design the perfect skirt? Bored by what adults think makes great "teen literature"? Insulted by the onslaught of fluffy spring break movies? Good - then you’re on the right track. The next step is to take matters into your own hands. A fun and comprehensive guide for young women, Indie Girl contains all of the information you’ll need to start independent creative ventures, like dance companies, rock bands, art galleries, fashion companies, and more. Inside you’ll find out how to shoot a new TV show, cast and produce a play, pull together a poetry slam, make your own zine, and even build a float for a parade. You’ll also read quotes from teen and professional artists, receive technical and creative advice from pros, and get a better understanding of why and how women should be working together in the arts. Indie Girl shows you that when girls get come together to be creative, there’s virtually nothing they can’t do!
Leah on the Offbeat meets We Are Okay in this pitch-perfect queer romance about falling in love and never quite falling out of it--heartbreak, unexpected new crushes, and all. Before Quinn Ryan was in love with Jamie Rudawski, she loved Jamie Rudawski, who was her best friend. But when Jamie dumps Quinn a month before their senior year, Quinn is suddenly girlfriend-less and best friend-less. Enter a new crush: Ruby Ocampo, the gorgeous and rich lead singer of the popular band Sweets, who's just broken up with her on-again, off-again boyfriend. Quinn's always only wanted to be with Jamie, but if Jamie no longer wants to be with her, why can't Quinn go all in on Ruby? But the closer Quinn grows to Ruby, the more she misses Jamie, and the more (she thinks) Jamie misses her. Who says your first love can't be your second love, too? Katie Heaney is a full-time senior writer for the Cut, a former editor at BuzzFeed, and the author of the memoirs Never Have I Ever: My Life (So Far) Without a Date and Would You Rather? Girl Crushed is her YA debut.
Through the Pacific Northwest forests and along the rugged coastal shores of California, a young environmentalist’s coming-of-age story about learning, discovery, and survival Wolf Girl takes readers on Doniga’s journey: from the wilderness immersion school where she was taught by Indigenous elders and wildlife trackers, to hitchhiking across the Pacific Northwest, to Alaska, where she fell in love with tracking wolves. These experiences shaped and inspired Doniga to become the leader in the regenerative agricultural movement that she is today. Today’s youth are at the forefront of climate change activism, and will see themselves in Doniga’s story, in the message that you can find yourself by finding—and fighting for—your place within the world at large. Youth aren’t just the activists of tomorrow—they’re the activists of today. Wolf Girl is an inspiring memoir of a young girl’s quest to save the planet. —-Michelle Roehm McCann, author of Enough is Enough: How Students Can Join the Fight for Gun Safety and the Girls Who Rocked the World series Wolf Girl makes a great gift for any young person wanting to make a difference. Publisher’s note: This is a young adult adaptation of Doniga Markegard’s Dawn Again.
A stunning and lyrical debut novel Vincent Appleton smiles at his daughters, raises a gun, and blows off his head. For the Appleton sisters, life had unravelled many times before. This time it explodes. Eight-year-old Hariet, known to all as Ari, is dispatched to Cape Breton and her Aunt Mary, who is purported to eat little girls. But Mary and her partner, Nia, offer an unexpected refuge to Ari and her steadfast companion, Jasper, an imaginary seahorse. Yet the respite does not last, and Ari is torn from her aunts and forced back to her twisted mother and fractured sisters. Her new stepfather, Len, and his family offer hope, but as Ari grows to adore them, sheÍs severed violently from them too, when her mother moves in with the brutal Dick Irwin. Through the sexual revolution and drug culture of the 1960s, Ari struggles with her fatherÍs legacy and her motherÍs addictions, testing limits with substances that numb and men who show her kindness. Ari spins through a chaotic decade of loss and love, the devilish and divine, with wit, tenacity, and the astonishing balance unique to seahorses. The Clay Girl is a beautiful tour de force about a child sculpted by kindness, cruelty, and the extraordinary power of imagination, and her families „ the one sheÍs born in to and the one she creates.
Why, despite the number of high profile female rock musicians, does rock continue to be understood as masculine? Why is rock generally assumed to be created and performed by men? Marion Leonard explores different representations of masculinity offered by, and performed through, rock music, and examines how female rock performers negotiate this gendering of rock as masculine. A major concern of the book is not specifically with men or with women performing rock, but with how notions of gender affect the everyday experiences of all rock musicians within the context of the music industry. Leonard addresses core issues relating to gender, rock and the music industry through a case study of 'female-centred' bands from the UK and US performing so called 'indie rock' from the 1990s to the present day. Using original interview material with both amateur and internationally renowned musicians, the book further addresses the fact that the voices of musicians have often been absent from music industry studies. Leonard's central aim is to progress from feminist scholarship that has documented and explored the experience of female musicians, to presenting an analytic discussion of gender and the music industry. In this way, the book engages directly with a number of under-researched areas: the impact of gender on the everyday life of performing musicians; gendered attitudes in music journalism, promotion and production; the responses and strategies developed by female performers; the feminist network riot grrrl and the succession of international festivals it inspired under the name of Ladyfest.
The long-anticipated sequel to Tanuja Desai Hidier's groundbreaking BORN CONFUSED! Dimple Lala thought that growing up would give her all the answers, but instead she has more questions than ever. Her boyfriend is distant, her classmates are predictable, and a blue mood has settled around the edges of everything she does.It's time for a change, and a change is just what Dimple is going to get - of scenery, of cultures, of mind. She thinks she's heading to Bombay for a family wedding - but really she is plunging into the unexpected, the unmapped, and the uncontrollable. The land of her parents and ancestors has a lot to reveal to her - for every choice we make can crescendo into a journey, every ending can turn into a beginning, and each person we meet can show us something new about ourselves. Tanuja Desai Hidier's BORN CONFUSED gave voice to a new multicultural generation. Now, Bombay Blues explores everything this generation faces today, with a heady mix of uncertainty and determination, despair and inspiration, haunting loss and revelatory love.
As a partner in a small Connecticut law firm, Meg Riley assesses her clients’ cases based on logic, reason, and hard evidence. But Meg’s rational approach is tested when she is appointed to represent an attractive man who was arrested on Christmas Eve for criminal trespass. His explanation for being in a stranger’s house in the middle of the night? He was delivering presents to a little boy—because he, Ralph Claus, is the son of Santa Claus. Or so he claims. From the courtroom to Santa’s workshop and back again, Meg’s efforts to win Ralph’s case are complicated by a variety of people with competing agendas. The little boy’s mother is determined to see Ralph convicted, a quest supported by a state senator who is running for governor. Ralph’s mother is more concerned about protecting the secrets of Santa than the niceties of the legal system. Meg’s law partners are becoming concerned about her ability to balance Ralph’s case with her obligations to bigger clients—and they don’t even know about Meg’s romantic feelings for Ralph. After trial, an unexpected bombshell jeopardizes Meg’s career. Faced with the potential loss of both Ralph and her profession, Meg must decide once and for all what she truly believes—and what she is willing to sacrifice for that belief. P. Jo Anne Burgh has woven a luminous tale of love and friendship, laced with drama, humor, joy, romance—and more than a touch of magic. ***** "P. Jo Anne Burgh’s State v. Claus is a splendid combination of romance, magic and legal drama. Written with verve and humor, this novel will have you 'believing' in Christmas again." — Susan Schoenberger, author of A Watershed Year "State v. Claus is a whimsical delight. P. Jo Anne Burgh has a fresh voice. You will definitely want to read her." — David Handler, Edgar Award-winning author of the Stewart Hoag and Berger & Mitry novels
This interdisciplinary volume explores the girl’s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls’ online media culture. While girls’ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichés of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl’s voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl’s voice throughout adolescence; girl’s participatory culture via youtube and rock camps, and representations of the girl’s voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative 'girlishness' in the voices of female vocalists like Joni Mitchell, Beyoncé, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women’s and gender studies, media studies, and education to investigate the importance of girls’ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.
