Run Home If You Don T Want To Be Killed

In the heat of June in 1943, a wave of destructive and deadly civil unrest took place in the streets of Detroit. The city was under the pressures of both wartime industrial production and the nascent civil rights movement, setting the stage for massive turmoil and racial violence. Thirty-four people were killed, most of whom were Black, and over half of these were killed by police. Two thousand people were arrested, and over seven hundred sustained injuries requiring treatment at local hospitals. Property damage was estimated to be nearly $2 million. With Run Home If You Don't Want to Be Killed, Rachel Marie-Crane Williams delivers a graphic retelling of the racism and tension leading up to the violence of those summer days. By incorporating firsthand accounts collected by the NAACP and telling them through a combination of hand-drawn images, historical dialogue, and narration, Williams makes the history and impact of these events immediate, and in showing us what happened, she reminds us that many issues of the time—police brutality, state-sponsored oppression, economic disparity, white supremacy—plague our country to this day.

"In the heat of June in 1943, a wave of destructive and deadly civil unrest took place in the streets of Detroit. The city was under the pressures of both war-time industrial production and the nascent civil rights movement - a powder keg waiting to go off. Thirty-four people were killed, most were Black, and over half were killed by police. Two thousand people were arrested and over 700 required treatment at local hospitals for their injuries. Property damage was estimated to be nearly two million dollars. Composed of first-hand accounts collected by the NAACP just after the skirmish and research drawn from primary and secondary sources, Rachel Williams delivers a graphic re-telling of the violence and racism in the city's past, combining drawn images, text, and story. The history and impact of these racial rebellions is made clear with Williams' drawings, and in showing us what happened, she reminds us that many issues - like police brutality, economic disparity, and white supremacy - plague our country to this day"--

"In the heat of June in 1943, a wave of destructive and deadly civil unrest took place in the streets of Detroit. The city was under the pressures of both war-time industrial production and the nascent civil rights movement - a powder keg waiting to go off. Thirty-four people were killed, most were Black, and over half were killed by police. Two thousand people were arrested and over 700 required treatment at local hospitals for their injuries. Property damage was estimated to be nearly two million dollars. Composed of first-hand accounts collected by the NAACP just after the skirmish and research drawn from primary and secondary sources, Rachel Williams delivers a graphic re-telling of the violence and racism in the city's past, combining drawn images, text, and story. The history and impact of these racial rebellions is made clear with Williams' drawings, and in showing us what happened, she reminds us that many issues - like police brutality, economic disparity, and white supremacy - plague our country to this day"--

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.

“Honest and moving . . . Her painful tale is engrossing.”—Washington Post Book World For most of us, it was just another horrible headline. But for Deborah Spungen, the mother of Nancy, who was stabbed to death at the Chelsea Hotel, it was both a relief and a tragedy. Here is the incredible story of an infant who never stopped screaming, a toddler who attacked people, a teenager addicted to drugs, violence, and easy sex, a daughter completely out of control—who almost destroyed her parents’ marriage and the happiness of the rest of her family.

On a dark and cold November night, Vincent is on his way to close the biggest deal of his life and pave the way for his dream of opening his own tax firm to become a reality. But when he is nearly killed by his cousin’s henchmen, his life is forever changed. Readers can unravel a web of betrayal, suspense, danger and revenge in Jason Ross’ gripping novel, Don’t Wound What You Can’t Kill. Vincent works for his cousin William and is only disloyal in the way that he is about to abandon him and open his own business. He had no intentions on using any of his cousin’s money, which he could have easily embezzled without his cousin knowing a thing. A man with principles, Vincent is the one who informed his cousin that his men, Harold and Ronald were embezzling from him. But he never expected William would repay his loyalty with death. Vincent barely escapes with his life, stinging at the pain of betrayal. His love for accounting and taxes had taken a back step to another more important matter—revenge. Vincent now knew what he had to do, but he wonders at what price he would have to pay for his revenge. The choice is obvious, and there is no turning back. Vincent finally crosses that thin line between good and evil that he had straddled along when he was a child. His life as he knew it is over, and his life as he never envisioned is just beginning. Maybe man really does not have any control over how his life turns out—how events both tragic and joyful help frame one’s true destiny and set them on their true path. Is a life of crime Vincent’s true destiny? Readers can unravel the answer and witness the intriguing events unfold in Don’t Wound What You Can’t Kill.

In Sorenson, Wisconsin, a local bigshot is found with a pool cue through the heart—and Mattie Winston must untangle a web of lies to sink a killer . . . In her previous career as a nurse, Mattie Winston’s job was to keep death at bay. Now, as a medicolegal investigator, she’s required to study death intimately—to figure out causes and timing, and help deduce whether it was natural or suspicious. In the case of Montgomery “Monty” Dixon, a well-to-do Realtor, there can be little doubt: Broken pool cues do not embed themselves. Monty’s body is found in the game room of his lavish house, the walls adorned with photos of Monty and various celebrities. But as Mattie and husband Steve Hurley, a homicide detective, both know, money and connections can’t protect anyone from a killer. The first suspect is Monty’s wife, Summer, who claims to have been at a cooking class at the time. When that alibi is served up as a fake, Summer moves to the top of the suspects list, but is soon joined by Monty’s ne’er-do-well son, Sawyer, who has racked up gambling debts he hoped his dad would pay off. Monty’s twin brother is engaging in shady financial deals. An affair, a Ponzi scheme, a disputed inheritance . . . there are as many motives as suspects, and soon Mattie and Hurley have turned up other, possibly related deaths. Balancing a high-profile case with the demands of their increasingly stressful household isn’t easy. It’ll take all of Mattie’s skill—along with a lucky break or two—to stop a killer from racking up another victim . . .