"Pick it up, but only if you can afford to lose a night's sleep, because you won't be able to put it down." —Steve Martini, author of the Paul Madriani novels Several years have passed since we last saw stunning, savvy attorney Rachel Gold. Now she is a mother, a widow, and a reluctant participant in a lost cause: the Frankenstein Case. She represents a blue-collar neighborhood fighting a developer intent on bulldozing their homes to erect a gated community. Rachel's strategy will be based on the wacky judge on the case, known to the St. Louis Bar as "The Flinch Factor." Then Rachel gains a new client: Susannah, sister of Nick Moran, local heartthrob. Nick has been murdered, found slumped on the front seat of his pickup along an isolated lane known as Gay Way. His female groupies are, to say the least, stunned. His sister smells foul play. A skeptical Rachel agrees to check it out and turns up facts suggesting that Nick's death was not an accident. Are Nick's death and her Frankenstein case somehow related? Can Rachel uncover the truth before more lives are lost?

Don’t Flinch: The Believers Journey Unveiled is a guide intended to be used as a locator device to help identify the traps the enemy has been employing which has caused many of us to miss our opportunities of blessings. There are countless methods he has chosen but the one’s he uses the most are ”doubt” and “unbelief.” As we journey through life we have been instructed to be wise as serpents, therefore Don’t Flinch has insight on how to avoid the flinch we have been subject to. “Doubt has partnered with our imagination and created billion dollar empire. Yes, billions. Doubt has stolen billions of our opportunities and relationships for us. It has smuggled from each us countless blessings of healing, deliverances and more power than we can measure. Doubt is a thief.” Unbelief’s mask is deception. When we are attacked with unbelief it tends to dress in the image of facts and truth and its form is grounded in history. When we are faced with this type of attack, our ability to discern the truth becomes critical and our walk of faith is tested like never before.

DescriptionEveryone is to some degree their own schizophrenic. Brendan feels it is his job in life as a committed schizophrenic to pass on his experiences in coping with this 'disease'. Brendan feels he has a lot to offer his readers because of his success in dealing with life's problems. This book is a mixture of autobiography and fantasy. Basically a 'send up' of UK psychiatry, Roman Catholicism and the mixed up world of human relationships that we all inhabit. The many characters appear under one name in one section but will then appear in another section as someone slightly different. Brendan deals with his characters in this way in order to present them as characters in their own right but also as fragments of his own self. Despite the serious subject matter of this book, there is much laughter. The book is an emotional roller-coaster, leaving the reader not knowing whether to be sad or happy - but always laughing.About the Author Brendan Reason is 54 and lives alone in Ipswich. Brendan has suffered from a form of schizophrenia since 1976 but has never let this prevent him from living life to the full. Since 1987 he has worked as a volunteer at the Ipswich Disabled Advice Bureau - giving advice and help to people who are disabled. He also regularly sings and plays guitar at the Bureau's AGM. Brendan has an Honours degree in Social Administration and a post-graduate certificate in Education. Brendan believes he was much happier as a student than he is in the world of work and because of his mental health problems the longest he has held down a paid job is two and a half years.Brendan has always written poetry and prose and, in the mid nineties, a small but well regarded publisher called 'Envoi Poets' published a book of his poetry called 'Fragments of Eve and Other Poetry'. Another of his creative interests has been amateur dramatics both as a budding actor and script writer. In 1987 The Wolsey Theatre in Ipswich performed several of Brendan's scenes and sketches in a lunchtime performance given over to local writing talent. Brendan says that he ""feels privileged that life has given me something to write about and that means so much to me.""

Bright, sporty and popular, Lorcan Lynch seems to have it all. But when his heroic dad is jailed, Lorcan is sent off to an eccentric aunt in the West of Ireland. Here the city boy faces thorny challenges - a new school and its spiteful bullies, and a girl called Blaise who's looking for someone to help save ill-treated animals on a neighbouring island. Plagues by asthma attacks and self-doubt, has No-Flinch Lynch the courage - or the lungs - to lead a perilous rescue mission?

While the end of the nineteenth century is often associated with the rise of objectivity and its ideal of a restrained observer, scientific experiments continued to create emotional, even theatrical, relationships between scientist and his subject. On Flinching focuses on moments in which scientific observers flinched from sudden noises, winced at the sight of an animal's pain or cringed when he was caught looking, as ways to consider a distinctive motif of passionate and gestured looking in the laboratory and beyond. It was not their laboratory machines who these scientific observers most closely resembled, but the self-consciously emotional theatrical audiences of the period. Tiffany Watt-Smith offers close readings of four experiments performed by the naturalist Charles Darwin, the physiologist David Ferrier, the neurologist Henry Head, and the psychologist Arthur Hurst. Bringing together flinching scientific observers with actors and spectators in the late nineteenth and early twentieth century theatre, it places the history of scientific looking in its wider cultural context, arguing that even at the dawn of objectivity the techniques and problems of the stage continued to haunt scientific life. In turn, it suggests that by exploring the ways recoiling, shrinking and wincing becoming paradigmatic spectatorial gestures in this period, we can understand the ways Victorians thought about looking as itself an emotional and gestured performance.

With over 132 practice tips and more than 100 illustrations, reading this guide is like having a personal shooting coach. This huge technical book teaches techniques of professional trap shooting; singles, handicap and double trap.