* Reflections and humorous pieces, plus insights into some of mountaineering's more controversial events * Revealing portraits of other Himalayan climbers Peeling back the layers to reveal the gritty truth about the elite climbing world is Greg Child's specialty. With clever wit, sharp observations, and insightful reflections, Child's writing covers the full spectrum of the mountaineering experience. Entertaining even to those who have never been above sea level, Child's stories reveal climbing's other face. His description of the daily habits of mountaineers on expedition (who don't bathe for months) is both disgusting and horrifyingly funny. A post-climb fiasco in the offices of petty Pakistani bureaucrats proves that not all epics take place on high mountain faces. Falling of a rock climb in front of his mother is an exercise in humility. Child takes up climbing controversy with the same keen insight. His investigation of Tomo Cesen's claimed first ascent of Lhotse's south wall is considered the definitive report on this controversial event. A hard look at the media frenzy around the death of Alison Hargreaves on K2 evolves into a brilliant, impassioned defense of a friend. He also speaks out on the money- and media-driven expeditions that now crowd Everest. But Child never preaches. Whether contrasting his clumsy performance with Lynn Hill's elegant moves on a climb in the remote mountains of Kyrgyzstan or reflecting upon artifacts (from crucifixes to pink flamingos) that decorate the world's highest peaks, he writes it as he sees it, with a dose of wit. A true insider, Greg Child draws us deep into the world of climbing but never denies its dark side.

See firsthand how war photography is used to sway public opinion. In the autumn of 2014, the Royal Air Force released blurry video of a missile blowing up a pick-up truck which may have had a weapon attached to its flatbed. This was a lethal form of gesture politics: to send a £9-million bomber from Cyprus to Iraq and back, burning £35,000 an hour in fuel, to launch a smart missile costing £100,000 to destroy a truck or, rather, to create a video that shows it being destroyed. Some lives are ended—it is impossible to tell whose—so that the government can pretend that it taking effective action by creating a high-budget snuff movie. This is killing for show. Since the Vietnam War the way we see conflict—through film, photographs, and pixels—has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted. In this fully illustrated and passionately argued account of war imagery, Julian Stallabrass tells the story of post-war conflict, how it was recorded and remembered through its iconic photography. The relationship between war and photograph is constantly in transition, forming new perspectives, provoking new challenges: what is allowed to be seen? Does an image have the power to change political opinion? How are images used to wage war? Stallabrass shows how photographs have become a vital weapon in the modern war: as propaganda—from close-quarters fighting to the drone’s electronic vision—as well as a witness to the barbarity of events such as the My Lai massacre, the violent suppression of insurgent Fallujah or the atrocities in Abu Ghraib. Through these accounts Stallabrass maps a comprehensive theoretical re-evaluation of the relationship between war, politics and visual culture. Killing for Show offers: 190 photographs encompassing photojournalism, artists’ images, photographs by soldiers and amateurs and drones A comprehensive comparison of the role of photography in the Vietnam and Iraq Wars An explanation of the waning power of iconic images in collective memory An analysis of the failure of military PR and the public display of killing A focus on what can and cannot be seen, photographed and published An exploration of the power and limits of amateur photography Arguments about how violent images act on democracy This full-color book is an essential volume in the history of warfare and photography

In 1971, as American forces hastened their withdrawal from Vietnam, a helicopter was hit by enemy fire over Laos and exploded in a fireball, killing four top combat photographers, Larry Burrows of Life magazine, Henri Huet of Associated Press, Kent Potter of United Press International, and Keisaburo Shimamoto of Newsweek. The Saigon press corps and the American public were stunned, but the remoteness of the location made a recovery attempt impossible. When the war ended four years later in a communist victory, the war zone was sealed off to outsiders, and the helicopter incident faded from most memories. Yet two journalists from the Vietnam press corps -- Richard Pyle, former Saigon Bureau Chief, and Horst Faas, Pulitzer Prize-winning photographer in Vietnam-pledged to return some day to Laos, resolve mysteries about the crash, and pay homage to their lost friends. True to their vow, twenty-seven years after the incident the authors joined a U.S. team excavating the hillside where the helicopter crashed. Few human remains were found, but camera parts and bits of film provided eerie proof of what happened there.The narrative of Lost Over Laos is framed in a period that was among the war's bloodiest, for both the military and the media, yet has received relatively little attention from historians. It is rich with behind-the-scenes anecdotes about the Saigon press corps and illustrated with stunning work by the four combat photographers who died and their colleagues.

An extraordinary father-son biography of the scandalous life of movie star Errol Flynn and of his son's equally glamorous yet doomed career as a war photographer in Vietnam.

*Bestselling author Dinah Jefferies' first three novels now together in one e-book* The Separation Malaya, 1955. Lydia Cartwright returns from visiting a sick friend to an empty house. The servants are gone. The phone is dead. Where is her husband Alec? Her young daughters, Emma and Fleur? Lydia's search takes her on a hazardous journey through war-torn jungle. Forced to turn to Jack Harding, a man she'd vowed to leave in her past, she sacrifices everything to be reunited with her family. The Tea Planter's Wife Nineteen-year-old Gwendolyn Hooper steps off a steamer in Ceylon full of optimism, eager to join her new husband. But the man who greets her at the tea plantation is not the same one she fell in love with in London. Distant and brooding, Laurence spends long days wrapped up in his work, leaving his young bride to explore the plantation alone. It's a place filled with clues to the past - locked doors, a yellowed wedding dress in a dusty trunk, an overgrown grave hidden in the grounds, far too small for an adult... The Silk Merchant's Daughter 1952, French Indochina. Since her mother's death, eighteen-year-old half-French, half-Vietnamese Nicole has been living in the shadow of her beautiful older sister, Sylvie. When Sylvie is handed control of the family silk business, Nicole is given an abandoned silk shop in the Vietnamese quarter of Hanoi, an area teeming with militant rebels. Tran, a notorious Vietnamese insurgent, seems to offer the perfect escape from her troubles, while Mark, a charming American trader, is the man she's always dreamed of. But who can she trust in this world where no one is what they seem? 'Dinah Jefferies is a gifted writer and storyteller' Deborah Rodriguez 'Dinah Jefferies has a remarkable gift for conjuring up another time and place with lush descriptions, full of power and intensity' Kate Furnivall