From 1983 to 2002, Trouble and Strife: The Radical Feminist Magazine was a distinctive voice in British feminism. It was the longest-surviving completely independent feminist periodical published in this period and it combined the intellectual depth of an academic journal with the accessibility, topicality and visual appeal of commercial feminst magazines such as Everywoman and Spare Rib. Featuring articles by internationally prominent feminists including Julie Bindel, Deborah Cameron, Beatrix Campbell, Patricia Duncker, Liz Kelly and Diana Leonard, it represented a particular current in feminism, radical rather than liberal, materialist but not marxist, anti-essentialist but not postmodernist. It regularly challenged orthodoxies on controversial issues such as ritual abuse or the sexual politics of religious fundamentalism. This is a collection of the best and most enduring articles published in the magazine during its 20-year life. It offers a unique historical record of an important strand of radical feminist debate, enabling old readers to revisit it and new readers to discover it.

Sometimes the smallest voices make the deepest impact. Josephine Hadley, a 1930s Canadian housewife, fills her days looking after her children, her indifferent husband and a stream of Depression-era visitors. Her contribution to her guests is a bowl of stew and an open heart. Her small world, however, is soon shattered by a tragic event which forces her to become the breadwinner. Can she run a business without sacrificing herself? And is it possible to act on a long-buried desire without remorse? Johanne Levesque's first novel, Trouble and Strife, is a poignant and heartbreaking look at a woman's life in a fast-changing time. With intimate details and a deft poetic touch, Levesque has captured the spirit of an age where war and economic hardship altered the workplace, home and women's lives forever.

Tooting, 1950: After losing her husband in the war, Ida Wilcox is not so sure that bringing children into the world is such a good idea after all. However much her loving family in Tooting rally round, she still has her hands full coping with whatever life throws at her three. Ida is used to Alan chancing his luck and dreaming his life away, but had not expected Norman, usually so responsible and reliable, to give up his steady job at the post office for the sake of Alan's latest scheme to make them all rich. And then there is poor Ruby, vulnerable to Brian Brookshaw and her father-in-law's violent outburst and her own rebellious spirit. What kind of a future can Ruby give her little boys if she can't find a good man or hold down a decent job?

Welcome to the world of Cockney rhyming slang, where what is said means something completely different than how it sounds. Originally, it was a coded language created by criminals for deceiving undercover police officers during Victorian times. Common phrases like septic tank, holy water, brown bread, tomfoolery and mince pies don’t mean what you think they mean. Others, like Barnaby Rudge, gypsy’s kiss, smash and grab, butcher’s hook, kick and prance and bubble and squeak paint a picture. There are stories to be written about these phrases and in Trouble & Strife, the coded and colorful phrases of Cockney rhyming slang became the inspiration for eleven killer crimes stories from writers on both sides of the pond. A few choice words include: Babbling Brook is a talkative inmate at the state penitentiary. A hairdresser has to pay his dues for a crime that took place at Barnet Fair. And you never want to meet a Lady from Bristol. You don’t have to understand rhyming slang to enjoy this book. You just have to enjoy a damn good story. To see what the authors have come up with you'll have to turn the page and have a butcher’s. Edited by Simon Wood with stories by Steve Brewer, Susanna Calkins, Colin Campbell, Angel Luis Colón, Robert Dugoni, Paul Finch, Catriona McPherson, Travis Richardson, Johnny Shaw, Jay Stringer, and Sam Wiebe.

From 1983 to 2002, Trouble and Strife: The Radical Feminist Magazine was a distinctive voice in British feminism. It was the longest-surviving completely independent feminist periodical published in this period and it combined the intellectual depth of an academic journal with the accessibility, topicality and visual appeal of commercial feminst magazines such as Everywoman and Spare Rib. Featuring articles by internationally prominent feminists including Julie Bindel, Deborah Cameron, Beatrix Campbell, Patricia Duncker, Liz Kelly and Diana Leonard, it represented a particular current in feminism, radical rather than liberal, materialist but not marxist, anti-essentialist but not postmodernist. It regularly challenged orthodoxies on controversial issues such as ritual abuse or the sexual politics of religious fundamentalism. This is a collection of the best and most enduring articles published in the magazine during its 20-year life. It offers a unique historical record of an important strand of radical feminist debate, enabling old readers to revisit it and new readers to discover it.

In the first book of a visionary fantasy trilogy with its roots in the mythology of Africa and Arabia that “sings of rebellion, love, and the courage it takes to stand up to tyranny” (Samantha Shannon, author of The Priory of the Orange Tree), three women band together against a cruel empire that divides people by blood. “A game-changing new voice in epic fantasy . . . There are no Chosen Ones here, only bad choices and blood.”—Tasha Suri, author of The Jasmine Throne ONE OF THE BEST BOOKS OF THE YEAR: Oprah Daily, Autostraddle Red is the blood of the elite, of magic, of control. Blue is the blood of the poor, of workers, of the resistance. Clear is the blood of the slaves, of the crushed, of the invisible. Sylah dreams of days growing up in the resistance, being told she would spark a revolution that would free the empire from the red-blooded ruling classes’ tyranny. That spark was extinguished the day she watched her family murdered before her eyes. Anoor has been told she’s nothing, no one, a disappointment, by the only person who matters: her mother, the most powerful ruler in the empire. But when Sylah and Anoor meet, a fire burns between them that could consume the kingdom—and their hearts. Hassa moves through the world unseen by upper classes, so she knows what it means to be invisible. But invisibility has its uses: It can hide the most dangerous of secrets, secrets that can reignite a revolution. And when she joins forces with Sylah and Anoor, together these grains of sand will become a storm. As the empire begins a set of trials of combat and skill designed to find its new leaders, the stage is set for blood to flow, power to shift, and cities to burn. Book One of The Ending Fire Trilogy