To respect yourself, to love yourself, should not have to be a radical decision. And yet it remains as challenging for an American girl to make today as it was in 1927 on the steps of the Supreme Court. It’s a decision that must be faced when you’re balancing on the tightrope of neurodivergence, finding your way as a second-generation immigrant, or facing down American racism even while loving America. And it’s the only decision when you’ve weighed society’s expectations and found them wanting. In The Radical Element, twelve of the most talented writers working in young adult literature today tell the stories of girls of all colors and creeds standing up for themselves and their beliefs — whether that means secretly learning Hebrew in early Savannah,
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Evelyn is a Creole woman who comes of age in New Orleans at the height of World War II. Her family inhabits the upper echelon of Black society, and when she falls for no-account Renard, she is forced to choose between her life of privilege and the man she loves.
In 1982, Evelyn’s daughter, Jackie, is a frazzled single mother grappling with her absent husband’s drug addiction. Just as she comes to terms with his abandoning the family, he returns, ready to resume their old life.
Jackie’s son, T.C., loves the creative process of growing marijuana more than the weed itself.
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Once upon a time, there was a boy who fell through a crack in time…
One November night, at the Bliss County Day School’s annual dance, Hector Espina enters the gymnasium with a gun. What happens that evening tears the town of Bliss apart. And while time does some good to help the grieving move past the tragedy, the Loving family gets no such respite. Melancholy, moody seventeen-year-old Oliver Loving is struck by a bullet and, nine years later, still lies in a coma, machines doing the work of keeping his body alive, the fate of his mind unclear.
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When Lu Spinney’s twenty-nine-year-old son, Miles, flies up on his snowboard, “he knows he is not in control as he is taken by force up the ramp,” writes his mother, “skewing sideways as his board clips the edge and then he is hurtling, spinning up, up into the free blue sky ahead . . .” He lands hard on the ice and falls into a coma.
This begins the erratic loss—Miles first in a coma and then trapped in a fluctuating state of minimal consciousness—that unravels over the next five years. Spinney, her husband, and three other children put their lives on hold to tend to Miles at various hospitals and finally in a care home.
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The story of a motherless girl named Faith and her family and close friends, all of whom are determined to see her live a happy life.
Faith’s mother died in childbirth; her overworked father cannot raise his child alone; and her unconventional grandmother refuses to acknowledge the child whose birth took away the daughter she loved. And so a motley crew of family and friends converges to see that Faith is brought up correctly. The concerned parties include Faith’s uncle, who runs a commune in northern England; the Tibetan refugees who have moved in with him;
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Edwidge Danticat’s The Art of Death: Writing the Final Story is at once a personal account of her mother dying from cancer and a deeply considered reckoning with the ways that other writers have approached death in their own work. “Writing has been the primary way I have tried to make sense of my losses,” Danticat notes in her introduction. “I have been writing about death for as long as I have been writing.” The book moves outward from the shock of her mother’s diagnosis and sifts through Danticat’s writing life and personal history, all the while shifting fluidly from examples that range from Gabriel García Márquez’s One Hundred Years of Solitude to Toni Morrison’s Sula.
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