A dark and tender debut set against a writhing backdrop of postapocalyptic New York City. Acid rainstorms have transformed New York City into a toxic wasteland, cutting its remaining citizens off from one another. In one apartment building, an unlikely family of humans and ghosts survives. Mira reels from a devastating breakup with her partner, Mal, whose whereabouts are unknown, while her mother is plagued by furious dreams and her grandfather, Grandpa Why, stakes his claims as a rambunctious ghost. Across the hall, the cockroach Shin, also a ghost. As the world around them worsens, each character must learn to redefine what it means to live, die, and love at the end of the world.

In this world, clarity and wonder go hand and hand.

As a result of his hard exterior and lonely tendencies, Tyler Steele finds himself a single father alone in the world - until a stranger and her daughter show up and change his life. Third generation Texas Ranger Tyler Steele is the last of a dying breed-- a modern day cowboy hero living in a world that doesn't quite understand his powerful sense of right and wrong and instinct to defend those who can't defend themselves. Despite his strong moral compass, Ty has trouble seeing his greatest weakness. His hard outer shell, the one essential to his work, made him incapable of forging the emotional connection his wife Andie so desperately needed. Now retired, rasing their son Brodie on his own, and at risk of losing his ranch, Ty does not know how to rebuild from the rubble of his life. The answer comes in the form of Samantha and her daughter Hope, on the run from a seemingly inescapable situation. They are in danger, desperate, and alone. Though they are strangers, Ty knows he can help-- protecting the innocent is what he does best. As his relationship with Sam and Hope unfolds, Ty realizes he must confront his true weaknesses if he wants to become the man he needs to be.

In BONE CONFETTI, there are two types of survivors at the end of the world--lovers and ghosts who die, are revived, and die again. When all that is left is the terrible residue of memory, lovers and ghosts try their best to make do, collecting debris wherever they go in the attempt to fashion a new sense of humanity.

A dark and tender debut set against a writhing backdrop of postapocalyptic New York City.

From the pen of much loved author Maggie Bennett comes this engrossing and emotional story of prejudice, passion and one woman's struggle to fight for what she wants in life. Perfect for fans of Dilly Court, Rosie Harris, Nancy Revell and Catherine Cookson. READERS ARE LOVING A CHILD OF HER TIME! 'It's a lovely story from the start. I was hooked.' -- ***** Reader review 'Wonderful story'-- ***** Reader review '[Maggie Bennett] is a real story teller who makes you want to turn each page' -- ***** Reader review 'Maggie Bennett is a brilliant writer' -- ***** Reader review ********************************************************* HAS SHE THE STRENGTH TO FIGHT FOR THE LIFE SHE'S ALWAYS YEARNED FOR? Phyllis Bird is twenty - five, a teacher, and still living with her parents in a quiet Hampshire village. With so many young men lost in the Great War, her future is without hope until she is offered the position of nursery maid in the London home of acclaimed playwright Harold Berridge. Desperate to break out of her mundane existence, she decides to take it up. Befriended by the actress Maud Ling and thrown into the glamorous world of the cinema, Phyllis falls passionately in love with Maud's younger brother Teddy. But Teddy's heart lies elsewhere. Things go from bad to worse when tragedy strikes the Berridge household, and a heartbroken Phyllis is forced to leave. Six months later, when Phyllis has started to rebuild her life, her world is turned upside down once more when she is invited to a party at Maud Ling's film studios. For there she falls under the spell of the charming but devious American actor Denver Towers, with disastrous consequences...

Between the first and second decade of the millennium, women across the world reconsidered the sexual roles they had been playing under patriarchy. The 2012 protests in India triggered some of this global change, ushering Indians squarely into the desired yet uncomfortable " third wave" feminism which demands the recognition of women as sexual subjects. Beginning from the premise that each country is in a unique relationship to patriarchy, Women's Sexuality in India: In a Rapture of Distress offers pictures of how individual Indian women locate their sexuality amidst the fantasies of Indian patriarchy, and of world culture that imagine their sexuality for them. Built from a data set of upper-middle class women, the book opens up a number of provocative questions. How is dismantling the patriarchy in the imagination different from fighting patriarchy in the outer world? What aspects of sex under patriarchy do women want to give up, and what would they like to keep? What conflicts unfold when daughters welcome as "sexual liberation" ideas that their mothers believed had "come from the west", a west that has been, until fairly recently, a hated colonial oppressor? How did the control of upper-middle class women's sexuality serve as an anchor for collective anxieties about the inherent instability of gender and sexuality? What is the nature of the spectator effect when post-sexual revolution countries listen to the sexuality narratives of countries like India that have not had a sexual revolution?