Cutting Room

'Unputdownable' Sunday Times 'I was hooked from page one' Guardian When Rilke, a dissolute auctioneer, comes upon a hidden collection of violent and highly disturbing photographs, he feels compelled to discover more about the deceased owner who coveted them. Soon he finds himself sucked into an underworld of crime, depravity and secret desire, fighting for his life.

Cutting Room both describes and pushes against the anxious hum of the technologically saturated present. Sarah Pinder's poems navigate domestic and "natural" spaces as landscapes charged with possible violence and desire while they scan scenes as an outsider or camera eye to unsettle and fray familiar settings. Using hyper-focus and the long gaze, they draw the eye to the corners and seams of these spaces, slowing us down, shifting our focus to worn detail, asking us to seek pattern and possibility in a hyper-paced present tense. These are little ominous films, documenting the minutiae around us that can be our undoing. Let their ribs stretch out – there is no figure which is not also a ground in its arctic plane. Cutting rooms as luck would have it have academic sincerity. Sarah Pinder was born in Sault Ste. Marie, Ontario, and lives in Toronto, Ontario. This is her first collection.

Common Place negotiates intimacy while navigating the complexities of memory, addressing shifting, resilient bodies and landscapes challenged by systems of capital and power. From thin threads of text messages across borders to encounters with strangers in the crush of rush hour transit, Sarah Pinder explores seeing and being seen in our most private and public of moments. With considered, quiet urgency, these poems name our ambiguous, aching present and look towards what comes next.

"Disturbing and wickedly entertaining.”—People Magazine Detectives Ruth Lake and Greg Carver, introduced in the electrifying Splinter in the Blood, must stop a serial killer whose victims are the centerpiece of his macabre works of art. While Britain is obsessed with the newest hit true-crime television show, Fact, or Fable? detectives Ruth Lake and Greg Carver are tormented by a fiendish flesh-and-blood killer on the loose. Lured to a “crime scene” by a mysterious digital invitation, Ruth Lake is horrified by what she finds: a bizarre and gruesome tableau surrounded by a crowd of gawkers. The deadly work is the latest “art installation” designed by a diabolical criminal dubbed the Ferryman. Not only is this criminal cold-blooded; he’s a narcissistic exhibitionist desperate for an audience. He’s also clever at promoting his deadly handiwork. Exploiting England’s current true-crime craze, he uses social media to titillate and terrorize the public. Ruth is joined in the investigation by her partner Greg Carver, who is slowly regaining his strength after a run-in with another sadistic criminal. But Greg can’t seem to shake the bewildering effects of the head wound that nearly ended him. Are the strange auras blurring his vision an annoying side effect of his injury, or could they be something more . . . a tool to help him see a person’s true nature? In this utterly engrossing and thrilling tale of suspense, a pair of seasoned detectives face off against a wickedly smart and inventive psychopath in a tense, bloody game that leads to a shocking end.

Emmy-winning editor Jordan Goldman, A.C.E. takes you inside the cutting room and pulls back the curtain on how and why directors, showrunners, and editors decide whether your performance makes it to the screen. He explains the key things actors should do - and shouldn't do - to avoid getting cut out.

In the future, there are many parallel Earths—but only one of them has time travel. Known as Primetime, its criminals break into the pasts of other worlds, far beyond the reach of conventional police. Blake Din is the top agent of the Cutting Room, the group tasked with stopping these trespassers. After a mission to undo the murder of a young boy, he uncovers extensive damage to another world's timeline—and a conspiracy that reaches all the way back to Primetime.

With an introduction by Jonathan Coe 1930s King's Cross, London. When aspiring film actress Estella Lamare is found dead on the cutting-room floor of a London film studio, Cameron McCabe finds himself at the centre of a police investigation. There are multiple suspects, multiple confessors and, as more people around him die, McCabe begins to perform his own amateur sleuth-work, followed doggedly by the mysterious Inspector Smith. But then, abruptly, McCabe's account ends . . . Who is Cameron McCabe? Is he victim? Murderer? Novelist? Joker? And if not McCabe, who is the author of The Face on the Cutting-Room Floor?