When Eppie falls into a pot hole and gets squashed to the size of a strawberry, her brother Zeke decides to have some fun with his yoyo. What follows is a hilarious high tale of escape, theft, bullies, brats, dobbers, goody-goodies, garbage trucks, magic lamps, scabs, snot, bribery, bravery, a blind mum, a fat nurse, a skinny teacher and a boy on a bicycle covered in vomit - and that's only the beginning!
ONE OF TIME MAGAZINE'S 100 BEST MYSTERY AND THRILLER BOOKS OF ALL TIME • BOOKER PRIZE NOMINEE • “A taut and darkly funny contemporary noir that moves at lightning speed, it’s the wittiest and most fun murder party you’ve ever been invited to.” —MARIE CLAIRE Korede’s sister Ayoola is many things: the favorite child, the beautiful one, possibly sociopathic. And now Ayoola’s third boyfriend in a row is dead, stabbed through the heart with Ayoola’s knife. Korede’s practicality is the sisters’ saving grace. She knows the best solutions for cleaning blood (bleach, bleach, and more bleach), the best way to move a body (wrap it in sheets like a mummy), and she keeps Ayoola from posting pictures to Instagram when she should be mourning her “missing” boyfriend. Not that she gets any credit. Korede has long been in love with a kind, handsome doctor at the hospital where she works. She dreams of the day when he will realize that she’s exactly what he needs. But when he asks Korede for Ayoola’s phone number, she must reckon with what her sister has become and how far she’s willing to go to protect her.
“If a person commits a crime against another people, and they are someday sorrowful of this crime, they will ask forgiveness from the person; we may or may not be forgiven; if we are not forgiven, either way we need to let it go. They will forgive you in their time, when it is right for them, that is the Creator’s job, not yours. In asking forgiveness from the Creator, you need to let it go. The Creator immediately will forgive us once we ask it of Him. It is our human nature to think, sometimes our crimes are too horrific in nature. The human in us tells us Creator can’t forgive those; it is the human in us that makes us think, it is the human in us we need to turn off. Only then is when we listen to our heart. The Creator does not have a court with a judge, jury or prosecutor; there is only One, Him. He does not have a scale or measure to determine or compare one crime to another, to Him a crime is a crime, if the crime is being an adulterer, a liar, or a murderer, to Him they are all the same, the punishment is the same. What matters is not the crime, but that you were spiritual enough to ask forgiveness from our Creator. Don’t let the human in you think you cannot be forgiven, that is Satan influencing you, Satan will want you to think you are no good and can’t possibly be forgiven. DO NOT listen to that one. Let your heart, your spirit take over with the understanding it is done. The Creator wants you to know you do not repeatedly need to be forgiven for the same crime. You have been forgiven, so you are to go on as He intended. He created us to be happy, so that is what you will do. And you are to be sure you forgive others for their crimes against you. That is just how it works.”
An autobiography of the life, challenges, and law enforcement career of Bernard B. Kerik, who was New York City's Police Commissioner when terrorists attacked the World Trade Center on September 11, 2001.
Graduated High School in 1971, three months pregnant. I left my mothers house with my Fianc. The only thing I took with me were the clothes on my back, the things I read in books, the things my Grandmother taught me which mainly involved cooking and cleaning, the Bible quotes and old folks tales my Grandmother used to say over and over, the few things my mother taught me during her brief and few periods of time into my life, and also a very special gift from God, which was the ability to play any musical instrument I chose to play. I thought I was grown and knew everything. What I didn't know was although I was very smart, I was also very naive. I got married in 1972 and had another baby in 1974. I worked for a police department from 1977 to 1985. I was in the Army National Guard from 1979 to 1985. So many unbelievable things happened to me during that time, both good and bad. So many more bad things happened than good that I started to think my life was cursed for some reason. It started to happen so much that finally I did not want to live any longer.
To date, most research on immigrant women and labor forces has focused on the participation of immigrant women on formal labor markets. In this study, contributors focus on informal economies such as health care, domestic work, street vending, and the garment industry, where displaced and undocumented women are more likely to work. Because such informal labor markets are unregulated, many of these workers face abusive working conditions that are not reported for fear of job loss or deportation. In examining the complex dynamics of how immigrant women navigate political and economic uncertainties, this collection highlights the important role of citizenship status in defining immigrant women's opportunities, wages, and labor conditions. Contributors are Pallavi Banerjee, Grace Chang, Margaret M. Chin, Jennifer Jihye Chun, Héctor R. Cordero-Guzmán, Emir Estrada, Lucy Fisher, Nilda Flores-González, Ruth Gomberg-Munoz, Anna Romina Guevarra, Shobha Hamal Gurung, Pierrette Hondagneu-Sotelo, María de la Luz Ibarra, Miliann Kang, George Lipsitz, Lolita Andrada Lledo, Lorena Muñoz, Bandana Purkayastha, Mary Romero, Young Shin, Michelle Téllez, and Maura Toro-Morn.
Laurelin: I work with the homeless, so I dress modestly. Okay, it’s not just modest - I look like a ragamuffin with my patched jeans and torn t-shirts, not to mention the soiled backpack at my feet. But imagine my surprise when a rich, handsome man mistakes me for a homeless girl and offers to let me stay with him … for a price, that is. Tate: I’m not a charitable man, but when I saw the blonde scrounging for food, my instincts kicked into high gear. No one that beautiful should be out on the street, and I offered Laurie a place to stay. What she didn’t realize is that her particular safe space is in my bed … and that she’ll be paying rent with those luscious curves as her belly grows big with my baby! Hey Readers – We’re back with a follow-up to Fake Daddy To Be, but this time the story’s about Laurelin, Channing Saint’s know-it-all little sister. Yes, Laurelin has her heart in the right place, but the problem is that Tate’s interested in more than her heart – he’s interested in that sassy body too. Get ready for a wild ride because the CEO always gets what he wants and this time, he’s willing to pay *any* price. No cheating, no cliffhangers, and always a HEA for my readers. You’ll love the story, I promise! Xoxo, Cassie
"Charming and funny . . . Mesmerizing . . . Wonderful.” —USA Today Yolanda García--Yo, for short--is the literary one in the family. Her first published novel, in which uses as characters practically everyone she knows, was a big success. Now she’s basking in the spotlight while those “characters” find their very recognizable selves dangling in that same blinding light. But turnabout is fair play, and so here, Yolanda García’s family and friends tell the truth about Yo. Her three sisters, her Mami and Papi, her grandparents, tías, tíos, cousins, housemaids, her third husband: they take turns telling their side of the story, ripping into Yo and in the process creating their own endearing self-portraits. At once funny and poignant, intellectual and gossipy, lighthearted and layered, ¡Yo! is above all a portrait of the artist. And with its bright colors, passion, and penchant for controversy, it’s a portrait that could come only from the palette of Julia Alvarez. Don't miss Alvarez’s new novel, The Cemetery of Untold Stories, available now!
Swaziland is where you think, for the first time, maybe if I got brain fever I would be able to stop worrying. I’d lose control and, maybe then, I’d understand my friend’s mind. In an attempt to break free from rationality and make her life a work of art, Gigi Fenster decides to induce a fever in herself. Fever, she surmises, is a ‘particularly writerly thing’. What follows is a captivating memoir of that attempt. Feverish ranges over Fenster’s childhood in South Africa, her relationships with her psychiatrist father, her troubled friend Simon, and her mother and four siblings, through to New Zealand and her relationships with her two teenage daughters. As she traverses her life, Fenster asks questions about bravery, transgression, vulnerability and the value we place on art.This memoir is a witty, intelligent, original examination of what it means to be a compassionate human being. ‘Without empathy,’ she writes, ‘one cannot tell the full story. There can be no proper care.’
