A small girl is sent to live with foster parents on a farm in rural Ireland, without knowing when she will return home. In the strangers' house she finds affection she has not known before, and slowly she begins to blossom in their care. But when a secret is suddenly revealed, she realizes how fragile her idyll is.

Bound together by a single ancient text, these tales interweave to form a tapestry of solace and resilience and a celebration of storytelling itself. Like its predecessor All the Light We Cannot See, Anthony Doerr’s new novel is a tale of hope and of profound human connection.

Constantinople, 1453:
An orphaned seamstress and a cursed boy with a love for animals risk everything on opposite sides of a city wall to protect the people they love.

Idaho, 2020:
An impoverished, idealistic kid seeks revenge on a world that’s crumbling around him. Can he go through with it when a gentle old man stands between him and his plans?

Unknown, Sometime in the Future:
With her tiny community in peril, Konstance is the last hope for the human race. To find a way forward, she must look to the oldest stories of all for guidance.

Casas vacías habla del dolor de las mujeres ante la desaparición de un hijo y de su propia vida. Es una novela que también cuestiona la maternidad y abre la posibilidad de un diálogo sobre cómo se enfrentan las maternidades no solicitadas y que son impuestas socialmente. La maternidad, que casi siempre asociamos con la felicidad, también puede ser una pesadilla: la de una mujer cuyo hijo desaparece en el parque donde estaba jugando, y la de aquella otra mujer que se lo lleva para criarlo como propio

Brenda Navarro ha conseguido un prodigio: caminar siempre, sin caerse nunca, sobre la delgada línea que separa –pero también une– el olvido y la memoria, la esperanza y la depresión, la vida privada y la vida pública, la pérdida y el encuentro, los cuerpos de las mujeres y el acto político. Casas vacías estremece de forma tan devastadora como ilumina: brillante y extrañamente esperanzadora.

A few years ago, Chimamanda Ngozi Adichie received a letter from a dear friend from childhood, asking her how to raise her baby girl as a feminist. Dear Ijeawele is Adichie's letter of response.

Here are fifteen invaluable suggestions -compelling, direct, wryly funny, and perceptive- for how to empower a daughter to become a strong, independent woman. From encouraging her to choose a helicopter, and not only a doll, as a toy if she so desires; having open conversations with her about clothes, makeup, and sexuality; debunking the myth that women are somehow biologically arranged to be in the kitchen making dinner, and that men can "allow" women to have full careers, Dear Ijeawele goes right to the heart of sexual politics in the twenty-first century. It will start a new and urgently needed conversation about what it really means to be a woman today.

Sussex, England. A middle-aged man returns to his childhood home to attend a funeral. Although the house he lived in is long gone, he is drawn to the farm at the end of the road, where, when he was seven, he encountered a most remarkable girl, Lettie Hempstock, and her mother and grandmother. He hasn't thought of Lettie in decades, and yet as he sits by the pond (a pond that she'd claimed was an ocean) behind the ramshackle old farmhouse, the unremembered past comes flooding back. And it is a past too strange, too frightening, too dangerous to have happened to anyone, let alone a small boy.

Forty years earlier, a man committed suicide in a stolen car at this farm at the end of the road. Like a fuse on a firework, his death lit a touchpaper and resonated in unimaginable ways. The darkness was unleashed, something scary and thoroughly incomprehensible to a little boy. And Lettie—magical, comforting, wise beyond her years—promised to protect him, no matter what.

Jonathan Kozol's books have become touchstones of the American conscience. In his most personal and optimistic book to date, Jonathan returns to the South Bronx to spend another four years with the children who have come to be his friends at P.S. 30 and St. Ann's.

A fascinating narrative of daily urban life seen through the eyes of children, Ordinary Resurrections gives a human face to Northern segregation and provides a stirring testimony to the courage and resilience of the young. Sometimes playful, sometimes jubilantly funny, and sometimes profoundly sad, these are sensitive children—complex and morally insightful. Their ethical vitality denounces and subverts the racially charged labels that the world of grown-up expertise too frequently assigns to them.

Yet another classic of unblinking social observation from one of the finest writers ever to work in the genre, this book is a piercing discernment of right and wrong, of hope and despair—from our nation's corridors of power to its poorest city streets.

Andrew "Ender" Wiggin thinks he is playing computer simulated war games; he is, in fact, engaged in something far more desperate. The result of genetic experimentation, Ender may be the military genius Earth desperately needs in a war against an alien enemy seeking to destroy all human life. The only way to find out is to throw Ender into ever harsher training, to chip away and find the diamond inside, or destroy him utterly. Ender Wiggin is six years old when it begins. He will grow up fast.

But Ender is not the only result of the experiment. The war with the Buggers has been raging for a hundred years, and the quest for the perfect general has been underway almost as long. Ender's two older siblings, Peter and Valentine, are every bit as unusual as he is, but in very different ways. While Peter was too uncontrollably violent, Valentine very nearly lacks the capability for violence altogether. Neither was found suitable for the military's purpose. But they are driven by their jealousy of Ender, and by their inbred drive for power. Peter seeks to control the political process, to become a ruler. Valentine's abilities turn more toward the subtle control of the beliefs of commoner and elite alike, through powerfully convincing essays. Hiding their youth and identities behind the anonymity of the computer networks, these two begin working together to shape the destiny of Earth—an Earth that has no future at all if their brother Ender fails.

When lives are dominated by hunger, what becomes of love? When assaulted by daily acts of violence and untimely death, what happens to trust? Set in the lands of Northeast Brazil, this is an account of the everyday experience of scarcity, sickness, and death that centres on the lives of the women and children of a hillside favela. Bringing her readers to the impoverished slopes above the modern plantation town of Bom Jesus de Mata, where she has worked on and off for 25 years, Nancy Scheper-Hughes follows three generations of shantytown women as they struggle to survive through hard work, cunning and triage.

It is a story of class relations told at the most basic level of bodies, emotions, desires and needs. Most disturbing – and controversial – is her finding that mother love, as conventionally understood, is something of a bourgeois myth, a luxury for those who can reasonably expect, as these women cannot, that their infants will live.

To Kill a Mockingbird is a timeless classic that delves into the heart of a sleepy Southern town, exposing the moral dilemmas that shake its foundation. First published in 1960 and awarded the Pulitzer Prize in 1961, Harper Lee's novel captures the essence of innocence and experience, kindness and cruelty, love and hatred, humor and pathos.

This compelling narrative is told through the eyes of a young girl named Scout, whose father, Atticus Finch, is a lawyer tasked with defending a black man unjustly accused of a terrible crime. Set against the backdrop of the mid-1930s Depression in Alabama, the story is a profound commentary on the virulent prejudice that plagues the town. Atticus's quiet heroism and the events that unfold challenge the conscience of a community steeped in hypocrisy and violence.

Lee herself described the book as a simple love story, yet it resonates with readers as much more—a reflection on human behavior and societal norms.

Have a ball with Dr. Seuss and the Cat in the Hat in this classic picture book... but don't forget to clean up your mess!

A dreary day turns into a wild romp when this beloved story introduces readers to the Cat in the Hat and his troublemaking friends, Thing 1 and Thing 2 – And don't forget Fish! A favorite among kids, parents, and teachers, this story uses simple words and basic rhyme to encourage and delight beginning readers.

Originally created by Dr. Seuss himself, Beginner Books are fun, funny, and easy to read. These unjacketed hardcover early readers encourage children to read all on their own, using simple words and illustrations. Smaller than the classic large format Seuss picture books like The Lorax and Oh, The Places You'll Go!, these portable packages are perfect for practicing readers ages 3-7, and lucky parents too!

Nursery magic is very strange and wonderful, and only those playthings that are old and wise and experienced like the Skin Horse understand all about it. Like the Skin Horse, Margery Williams understood how toys—and people—become real through the wisdom and experience of love.

The Velveteen Rabbit, or How Toys Become Real, is not just a tale about a stuffed rabbit's wish to become real, but it's also a story that celebrates the power of love and the value of enduring and nurturing relationships.