They Re All Dead Aren T They

“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.

Canadian politics in the 1990s were characterized by an unwavering focus on the deficit. At the beginning of the decade, it seemed that fiscal deficits were intractable – a fait accompli of Canadian politics – yet by the end of the decade, Ottawa had taken remarkable actions to eliminate its budgetary shortfalls and had successfully eradicated its deficits. How such a radical change of political course came to pass is still not well understood. In The Long Run We’re All Dead: The Canadian Turn to Fiscal Restraint offers the first comprehensive scholarly account of this vital public policy issue. Lewis deftly analyzes the history of deficit finance from before Confederation through Canada’s postwar Keynesianism to the retrenchment of the Mulroney and Chrétien years. In doing so, he illuminates how the political conditions for Ottawa’s deficit elimination in the 1990s materialized after over 20 consecutive years in the red, and how the decline of Canadian Keynesianism has made way for the emergence of politics organized around balanced budgets. This important book provides scholars and students of Canadian politics with a new framework by which to understand the adoption of government policy, the economic and fiscal legacy of the Mulroney administrations, and the emergence of the new “politics of the surplus.” It will be of great interest to those engaged with Canadian politics, political economy, and public policy, as well as to participants in policy processes and the informed public.

**National Bestseller **A New York Times Book Review Editors' Choice **A Globe and Mail Best Book of 2017 **A National Post Best Book of 2017 **A CBC Best Book of 2017 **An Amazon Best Book of 2017 **A Popsugar Best Book of 2017 **A Kobo Best Book of 2017 **An NPR Best Book of 2017 **A Chatelaine Best Book of 2017 **A Buzzfeed Best Book of 2017 **A Book Riot Best Book of 2017 **A Chicago Review of Books Best Book of 2017 **A Paste Best Book of 2017 **An Amazon Best Humour and Entertainment Book of 2017 **Finalist for the 2018 Kobo Emerging Writer Prize **Finalist for the 2018 Stephen Leacock Memorial Medal for Humour **Nominated for the 2017 Goodreads Choice Award For readers of Mindy Kaling, Jenny Lawson and Roxane Gay, a debut collection of fierce and funny essays about growing up the daughter of Indian immigrants in Canada, "a land of ice and casual racism," by the irreverent, hilarious cultural observer and incomparable rising star, Scaachi Koul. In One Day We’ll All Be Dead and None of This Will Matter, Scaachi deploys her razor-sharp humour to share her fears, outrages and mortifying experiences as an outsider growing up in Canada. Her subjects range from shaving her knuckles in grade school, to a shopping trip gone horribly awry, to dealing with internet trolls, to feeling out of place at an Indian wedding (as an Indian woman), to parsing the trajectory of fears and anxieties that pressed upon her immigrant parents and bled down a generation. Alongside these personal stories are pointed observations about life as a woman of colour, where every aspect of her appearance is open for critique, derision or outright scorn. Where strict gender rules bind in both Western and Indian cultures, forcing her to confront questions about gender dynamics, racial tensions, ethnic stereotypes and her father’s creeping mortality—all as she tries to find her feet in the world. With a clear eye and biting wit, Scaachi Koul explores the absurdity of a life steeped in misery. And through these intimate, wise and laugh-out-loud funny dispatches, a portrait of a bright new literary voice emerges.

THE FINAL NOVEL IN THE #1 NEW YORK TIMES BESTSELLING SOOKIE STACKHOUSE SERIES—the inspiration for the HBO® original series True Blood. When a shocking murder rocks the small town of Bon Temps, Louisiana, psychic cocktail waitress Sookie Stackhouse learns that she has more than one enemy waiting to get vengeance for the past. Beacuse nothing is ever clear-cut in Bon Temps. What passes for truth is only a convenient lie. What passes for justice is more spilled blood. And what passes for love is never enough...

An unforgettable novel from the New York Times bestseller Gordon Korman Link, Michael, and Dana live in a quiet town. But it's woken up very quickly when someone sneaks into school and vandalizes it with a swastika. Nobody can believe it. How could such a symbol of hate end up in the middle of their school? Who would do such a thing? Because Michael was the first person to see it, he's the first suspect. Because Link is one of the most popular guys in school, everyone's looking to him to figure it out. And because Dana's the only Jewish girl in the whole town, everyone's treating her more like an outsider than ever. The mystery deepens as more swastikas begin to appear. Some students decide to fight back and start a project to bring people together instead of dividing them further. The closer Link, Michael, and Dana get to the truth, the more there is to face-not just the crimes of the present, but the crimes of the past. With Linked, Gordon Korman, the author of the acclaimed novel Restart, poses a mystery for all readers where the who did it? isn't nearly as important as the why?

Senior Investigator Shana Merchant has spent years running from her past. But she never imagined a murder case would drive her to the most dangerous place of all—home. After leaving the NYPD following her abduction by serial killer Blake Bram, Shana Merchant hoped for a fresh start in the Thousand Islands of Upstate New York. Her former tormentor has other plans. Shana and Bram share more than just a hometown, and he won’t let her forget it. When the decades-old skeleton of Shana's estranged uncle is uncovered, Bram issues a challenge: Return home to Vermont and solve the cold case, or the blood he spills next will be on her hands. As Shana interviews members of her family and the community, mining for secrets that could help her solve her uncle's murder, she begins to realize how little she remembers of her childhood. And when Bram grows impatient and kidnaps again, leaving a trail of clues Shana alone can understand, she knows his new victim will only survive if she wins the psychopath’s twisted game. In order to solve one mystery, Shana must wade into her murky past to unravel another.

From New York Times bestseller Kody Keplinger comes an astonishing and thought-provoking exploration of the aftermath of tragedy, the power of narrative, and how we remember what we've lost. It's been three years since the Virgil County High School Massacre. Three years since my best friend, Sarah, was killed in a bathroom stall during the mass shooting. Everyone knows Sarah's story--that she died proclaiming her faith. But it's not true. I know because I was with her when she died. I didn't say anything then, and people got hurt because of it. Now Sarah's parents are publishing a book about her, so this might be my last chance to set the record straight . . . but I'm not the only survivor with a story to tell about what did--and didn't--happen that day. Except Sarah's martyrdom is important to a lot of people, people who don't take kindly to what I'm trying to do. And the more I learn, the less certain I am about what's right. I don't know what will be worse: the guilt of staying silent or the consequences of speaking up . . .