Through conflicts in the Balkans, Iraq and Afghanistan, this is the vivid memoir of British sniper Craig Harrison. It takes a tough mindset to be a successful sniper, to be able to dig in for days on your own as you wait for your target, to stay calm on a battlefield when you yourself have become the target the enemy most want to take out. Craig Harrison has what it takes and in November 2009 in Afghanistan, under intense pressure, he saved the lives of his comrades with the longest confirmed sniper kill - 2,475 metres, the length of twenty-five football pitches. In The Longest Kill, his unflinching autobiography, Craig catapults us into the heat of the action as he describes his active service in the Balkans, Iraq and Afghanistan, and gives heart-stopping accounts of his sniper ops as he fought for his life on the rooftops of Basra and the barren hills of Helmand province. Craig was blown up by an IED in Afghanistan and left battling severe PTSD. After his identity was revealed in the press he also had to cope with Al Qaeda threats against him and his family. For Craig, the price of heroism has been devastatingly high.

First published in 1999, this book asks what kind of advice was available to somebody wishing to embark upon oil painting in England between 1850 and 1900. It is a fascinating collection of Victorian instruction on how and what to paint, linked to crucial advice about art, its meaning and its relation to contemporary life, given by practising artists, important and often popular in their time, but whose lectures and writings are long overdue for reappraisal: Leslie, Hamerton, O'Neil, Poynter, Watts, Leighton, Armitage, Quilter and Herkomer. Here, beyond the familiar voices of Ruskin, Whistler and Pater, we have a whole range of experience from an age in which issues about painting were hotly debated by large numbers of people: professional artists, amateurs, critics, gallery-goers and Academy students. This anthology brings back to life the humour, seriousness, ambitions, eccentricities and controversies of people whose work shaped the nature of mainstream Victorian art.

First published in 1999, this book asks what kind of advice was available to somebody wishing to embark upon oil painting in England between 1850 and 1900. It is a fascinating collection of Victorian instruction on how and what to paint, linked to crucial advice about art, its meaning and its relation to contemporary life, given by practising artists, important and often popular in their time, but whose lectures and writings are long overdue for reappraisal: Leslie, Hamerton, O'Neil, Poynter, Watts, Leighton, Armitage, Quilter and Herkomer. Here, beyond the familiar voices of Ruskin, Whistler and Pater, we have a whole range of experience from an age in which issues about painting were hotly debated by large numbers of people: professional artists, amateurs, critics, gallery-goers and Academy students. This anthology brings back to life the humour, seriousness, ambitions, eccentricities and controversies of people whose work shaped the nature of mainstream Victorian art.

This book can help a family or person deal with the reality of death. A story of a young girl, who went through two years of cancer treatments and never failed to see the light of God. How her love continues to work in the world and remind those she loves that the end is not the end at all. This young girl touched the heart of her priest and the many people she touched in her short life. Through the simple action of squeezing the wrist of her family she reminds them she is always there for them. A great resource for children who are suffering or their friends and families.