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Dani and Caitlin, two 12-year-old Ottawa girls, have a talent for meeting ghosts. Fresh from their adventures with the spirit of fabled Canadian painter Tom Thomson, the girls find themselves in Quebec, across the river from the capital city of Canada, touring the Kingsmere estate of longdead prime minister William Lyon Mackenzie King. While there the friends run into someone famous for seeing ghosts himself — the old prime minister, or at least his phantom! King, affectionately known as Rex, presents the sleuthing duo with a series of problems. It seems developers are keen on despoiling the dead prime minister's estate, not to mention another city park dear to Caitlin's heart. Thrown into the mix are a couple of murders, a former prime minister's place in history, and maybe even a federal crime. Dani and Caitlin are on the job, and the politicians on Parliament Hill better watch out!

Hannah agrees to pose as a princess to help out a friend but before she knows it she's engaged to a king!

While exiled King Alix Saint Croix lies in wait to reclaim his throne, a mistress would provide a welcome distraction. Entering a Parisian perfume house to buy a fragrance for a current lover, he leaves with a powerful craving for another woman altogether--stunningly exotic perfumer Leila Verughese.

"If the Shoe Fits encompasses everything I love about rom-coms. I laughed, I swooned, I smiled. Another hit for Julie Murphy!" —Colleen Hoover, #1 New York Times best-selling author of Hopeless If the shoe doesn’t fit, maybe it’s time to design your own. Cindy loves shoes. A well-placed bow or a chic stacked heel is her form of self-expression. As a fashion-obsessed plus-size woman, she can never find designer clothes that work on her body, but a special pair of shoes always fits just right. With a shiny new design degree but no job in sight, Cindy moves back in with her stepmother, Erica Tremaine, the executive producer of the world’s biggest dating reality show. When a contestant on Before Midnight bows out at the last minute, Cindy is thrust into the spotlight. Showcasing her killer shoe collection on network TV seems like a great way to jump-start her career. And, while she’s at it, why not go on a few lavish dates with an eligible suitor? But being the first and only fat contestant on Before Midnight turns her into a viral sensation—and a body-positivity icon—overnight. Even harder to believe? She can actually see herself falling for this Prince Charming. To make it to the end, despite the fans, the haters, and a house full of fellow contestants she’s not sure she can trust, Cindy will have to take a leap of faith and hope her heels— and her heart—don’t break in the process. Best-selling author Julie Murphy’s reimagining of a beloved fairy tale is an enchanting story of self-love and believing in the happy ending each and every one of us deserves.

The Holocaust has presented us with innumerable questions that we wrestle with today. How could such systematic evil be perpetuated in a country renowned for its sophistication in all areas of the sciences and the arts? How could the world turn a blind eye to what was happening and close its doors to potential victims? How could ordinary people participate in this horror? How could others act to save Jews at the risk of their own lives and the lives of their families? How could those facing imminent destruction continue to study agricultural techniques useful to the future state of Israel or teach their children how to paint? It is my hope that these plays will serve to focus on some of these questions, even as we witness new genocidal wars around the world. There is an imperative here as old as the Biblical account of Genesis. It is for us to affirm the goodness of the world as it is - -the potential goodness of human nature- - and the need to create (and procreate) even in the force of destruction and death.

This collection opens with marginalized responses to the highly politicized Cinderella traditions in the Anglophone world. In the United States, Cinderella was incorporated into the gendered narrative of the American Dream and narratives of empire in the colonial world, particularly in the mid-1800s. Marginalized writers have responded to these nationalistic colonial traditions in two distinctive ways: clever Cinderellas who negotiate a broken system or passive Cinderellas who die as anti-heroes in disenchanting fairy tales. This dual tradition of marginalized Cinderellas is also apparent across the Anglophone world. Potential texts include the out-of-print works of Sinèad de Valera, excerpts from the novels of Hannah Crafts, Jessie Fauset, and Julia Kavanagh, along with dramas by Ann Devlin, and collected oral tales.