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Two teenage boys, one black (Rashad) and one white (Quinn), are inextricably linked when Quinn witnesses Rashad being savagely beaten with little or no provocation by a policeman who has served as Quinn's de facto big brother since his father was killed in Afghanistan-and whose younger brother is one of Quinn's best friends. Can Quinn simply walk away from this apparent atrocity and pretend he hasn't seen what he has seen? And what of Rashad? Hospitalized with internal bleeding, all he wants is to be left alone so he can focus on his art. The challenge for both boys becomes more intense when the case becomes a cause célèbre dividing first their school and then the entire community. The basketball team becomes a microcosm of split loyalties and angry disputes that come to a head when a protest march powerfully demonstrates the importance of action in the face of injustice. With Reynolds writing Rashad's first-person narrative and Kiely writing Quinn's, this hard-edged, ripped-from-the-headlines book is more than a problem novel; it's a carefully plotted, psychologically acute, character-driven work of fiction that dramatizes an all-too-frequent occurrence. Police brutality and race relations in America are issues that demand debate and discussion, which this superb book powerfully enables.

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"Each of us is more than the worst thing we've ever done," proclaims Stevenson's adaptation for younger audiences of his 2014 New York Times bestseller, a deeply moving collage of true stories dedicated to transforming the U.S. criminal justice system. The story begins in 1983, when 23-year-old Stevenson, a Harvard Law intern, found the moral resolve to join the pro bono defense team of a capital punishment case in Georgia. Throughout his journey, he highlights numerous cases that demonstrate unfair policies and practices throughout our criminal justice system. These examples form an incisive critique of mass incarceration resulting from state and federal policy changes in the late 20th century. He continues to lead the Alabama-headquartered Equal Justice Initiative, whose mission it is to protect basic human rights for the most vulnerable. Stevenson argues that, "The true measure of our character is how we treat the poor, the disfavored, the accused, the incarcerated, and t he condemned." These important stories put a human face on statistics and trends and give us tested strategies to reverse the oppressive consequences of racial and economic injustice in our country. This inspiring book will ignite compassion in young readers and show connections between the history of slavery, Reconstruction, and the present day. This is required reading, embracing the ideals that "we all need mercy, we all need justice, and—perhaps—we all need some measure of unmerited grace."

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Sasha, a genderqueer teen riding the 57 bus, was asleep when Richard Thomas, an African American teen, decided to play a prank by playing with a lighter by her skirt. But the skirt caught fire. Sasha spent grueling amounts of time in a hospital burn unit, and Richard spent the rest of his high-school career mired in a long trial and awaiting sentencing. In this true-crime tale, Slater excels at painting a humanistic view of both Sasha and Richard, especially in the aftermath of the crime. Readers will enjoy that Sasha's life is completely developed, while other readers may have a few unresolved questions surrounding Richard's upbringing. Ultimately, this book will give readers a better understanding of gender nonbinary people and a deep empathy for how one rash action can irrevocably change lives forever.

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What would you do with one day left to live?In an alternate present, a company named Death-Cast calls Deckers—people who will die within the coming day—to inform them of their impending deaths, though not how they will happen. The End Day call comes for two teenagers living in New York City: Puerto Rican Mateo and bisexual Cuban-American foster kid Rufus. Rufus needs company after a violent act puts cops on his tail and lands his friends in jail; Mateo wants someone to push him past his comfort zone after a lifetime of playing it safe. The two meet through Last Friend, an app that connects lonely Deckers (one of many ways in which Death-Cast influences social media). Mateo and Rufus set out to seize the day together in their final hours, during which their deepening friendship blossoms into something more. Fleeting third-person chapters give windows into the lives of other characters they encounter, underscoring how even a tiny action can change the course of someone else's life. Engrossing, contemplative, and as heart-wrenching as the title promises.

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Queer black existence has been here forever, and yet rarely has that experience been spotlighted within literature aimed at black boyhood. This is the context in which this "memoir-manifesto" begins, as Johnson, a still relatively young 33-year-old journalist and activist, debuts his unfolding life story within a vacuum of representation. These stories wrestle with "joy and pain...triumph and tragedy" across many heavy topics—gender policing, sexual abuse, institutional violence—but with a view to freedom on the horizon. Through the witnessing of Johnson's intimate accounts, beginning with his middle-class New Jersey childhood and continuing through his attendance at a historically black university in Virginia, readers are invited on their own paths to healing, self-care, and living one's truth. Those who see themselves outside the standpoint of being black and queer are called in toward accountability, clarifying an understanding of the history, language, and actions needed to transform the world—not in pity for the oppressed but in the liberation of themselves. This title opens new doors, as the author insists that we don't have to anchor stories such as his to tragic ends: "Many of us are still here. Still living and waiting for our stories to be told—to tell them ourselves." A critical, captivating, merciful mirror for growing up black and queer today.

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In this action-packed and beautifully rendered depiction of the refugee migrant experience, Sanchez tells the story of 15-year-old Pulga; his brother by choice, Chico; and his cousin Pequeña, three teenagers from Puerto Barrios, Guatemala, who must sneak away from their town to survive. Pulga and Chico unfortunately happen to be at the wrong place at the wrong time when they witness the murder of Don Felicio, the convenience store owner who gives them Cokes in exchange for help. Pequeña, who is 17 and a new mother, wants to escape Rey, the gang member who raped her and wants to force her into marriage—and who murdered Don Felicio. The chapters switch between the first-person perspectives of Pulga, who has the heart of an artist, and Pequeña, who sees beyond her surroundings and escapes reality during stressful situations. Scared of a future controlled by Rey, the trio embark on the journey that will bring them to the United States. But first they must conquer La Bestia, the name given by migrants to the train that claims the limbs and lives of many who flee violence. Sanchez delivers a brutally honest, not-to-be-missed narrative enriched by linguistic and cultural nuances in which she gracefully describes the harrowing experiences the young people endure after making the choice to survive. A gripping, heart-wrenching, and thrilling tale of survival.