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This feminist semiotic study explores the folkloric imaginary of the jinn in the context of children’s and young adults’ Arab Gothic literature. Across the Middle East, the jinn is a common trope in literature, folklore and oral storytelling who, in diegetic terms, can manifest as the Gothic figure of an aging female, deranged older woman or succubus (known as sa’lawwa in Arabic). In this study, a novel feminist semiotic framework is developed to explore the extent to which the Gothic female succubus either haunts or liberates Arab girls’ coming-of-age fictions. This issue is addressed via a feminist semiotic reading of the narratives of Middle Eastern woman author @Ranoy7, exploring the appeal of her scary stories presented on YouTube. Findings reveal tacit fears, ambivalences and tensions embodied within the Arab Gothic sign of the aging female succubus or jinn. Overall, the research develops feminist insights into the semiotic motif of the female jinn and its role in constituting Arab females as misogynistic gendered sign objects in the context of the social media story explored.

Walking on thin ice: on Rainy Lake, in the northern reaches of Minnesota, it's more than a saying. And for Owen Jensen, nineteen and suddenly responsible for keeping his mother and five brothers alive, the ice is thin indeed. Ice-Out returns to the frigid and often brutal Prohibition-era borderland of Mary Casanova's beloved novelFrozen, and to the characters who made it a favorite among readers of all ages. Owen, smitten withFrozen's Sadie Rose, is struggling to make something of himself at a time when no one seems to hold the moral high ground. Bootlegging is rife, corruption is rampant, and lumber barons run roughshod over the people and the land. As hard as things seem when his father dies, stranding his impoverished family, they get considerably tougher-and more complicated-when Owen gets caught up in the suspicious deaths of a sheriff and deputy on the border. Inspired by real events in early 1920s Minnesota, and by Mary Casanova's own family history,Ice-Outis at once a story of young romance against terrible odds and true grit on the border between license and responsibility, rich and poor, and right and wrong in early twentieth-century America.

This landmark anniversary edition contains a selection of Twain's hard-to-find letters and notes expressing his always-engaging opinions on the publication ofTom Sawyer.

When you first realize the unfairness and randomness of death it eats into your thoughts like acid. Never before has Tamar felt so alone. Her older brother is dead, her mom is away and her dad is so wrapped up in restoring their ancient farmhouse he avoids talking about the things that really matter. Even friendly new neighbor Gavin can't get through to her, despite his eager attempts. When Tamar discovers an old handwritten sheet of music and allows herself to play piano again, she meets gifted violinist Nathaniel who may just hold the key to her future. With no one else to turn to, Tamar is unwittingly drawn into a journey through time and music.

Because the \"unifying meaning of the story, can only be posed by the one who lives it, in the form of a question,\" it is only when the story is told by another that \"the meaning of what otherwise remain an intolerable sequence of events\" is revealed (2). According to Brydon, remaining open to the experience of critical intimacy when it comes to reading literature requires \"openness to others\" in \"imaginative co-presence\" (997). Perhaps the focus on the interrelationships between these youth, instead of centring on the development of one individual, as well as the belated nature of their independence, might better reflect the realities of growing up as a second-generation youth in the twenty-first century. 3 This trope can be extended to encompass a third sense as well: in terms of literary production, the relative success of \"multicultural literature\" in Canada is in large part due to the commitment of public funding agencies which have played an important role in ensuring heterogeneity in Canada's publishing industry in the name of official multiculturalism, even though the resistant potential of such literature continually runs the risk of being co-opted by neoliberal, or \"banal\" (Dobson), multicultural discourse. Perhaps the fact that Oku is poised to go back to school to complete his ma at the end of the novel points toward the promise of combining heterogeneous forms of education. 7 On his way home late one night, Oku's body is misread as a criminal black body by police officers: that this encounter feels painfully intimate, an \"accustomed embrace\" or \"perverse fondling\" (165), offers him a glimpse into what may await him if he does not forge his own alternative to the models of black masculinity that are available to him. 8 The novel seems to warn against reading Jackie's relationship with \"the German boyfriend\" as some kind of pathology, however, by offering a complex rendering of her interiority: the description of her tumultuous feelings for Oku are fraught with conflicted feelings for her parents, while Reiner is described as predictable, safe, and separate, which suggests that her desire to be with him stems from more than just an idealization of whiteness.

Much young adult (YA) books can appeal to older consumers and bestsellers are also successful when adapted in films. Maio discusses YA bestsellers and its successful film adaptations that focus on female heroes. These are the Twilight, Hunger Games, and Divergent. Finally, she recommends How I Live Now, a little-seen movie based on a popular YA novel by Meg Rosoff.

In Hal Schrieve's Out of Salem, grieving, gender queer, and now-undead Z may not have technically survived the crash that killed their family, while Aysel has always kept to herself—as an unregistered werewolf she is vulnerable to legal repercussions, and as a gay Turkish American fat girl she's vulnerable to jerks at school. The two find themselves becoming friends, discovering community, and stretching into their identities while the town is experiencing a wave of paranoia and violence against monsters. Sisters Clementine and Aster have grown up in a \"welcome house\" in a mining town, put to work at age 16 as sex slaves.