The 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.

"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.

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.

When her husband Amir abruptly leaves home, film editor Lucinda is left angry and puzzled. Where has Amir gone, and why? In the months before he left, Amir seemed troubled and preoccupied and their marriage had become strained and tense. Now Lucinda worries that his departure could be her fault. Soon afterwards, Lucinda is brutally assaulted in a knife attack, which throws her even more off balance. Searching for composure, she finds a distraction in assisting an older friend, Austrian film-maker Thomas, with a documentary he is making about an old mission station which is allegedly haunted. But the experience becomes an unnerving one for Lucinda who finds Thomas's growing obsession with the story behind his film worrying. As tensions build, so does the underlying mood of constant menace, until Lucinda is confronted with a disturbing revelation. The Cutting Room is a thoughtful and provocative novel of loss and loneliness, longing and guilt, and the different ways in which people can be haunted.

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.

Features scenes which never appeared from such diverse movies as Dressed to Kill, Scarface, Close Encounters of the Third Kind, Death Becomes Her, and many others. Also includes the storyboards designed for the most daring erotic sequence of Basic Instinct--a scene so daring it had to be cut. Photos throughout.

The Bible you usually read is not the complete story. Some holy writings were left out for political or theological reasons, others simply because of the physical restrictions of ancient bookmaking technology. At times, the compilers of the Bible skipped information that they assumed everyone knew. Some passages were even omitted by accident. In The Bible's Cutting Room Floor, acclaimed author and translator Dr. Joel M. Hoffman gives us the stories and other texts that didn't make it into the Bible even though they offer penetrating insight into the Bible and its teachings. The Book of Genesis tells us about Adam and Eve's time in the Garden of Eden, but not their saga after they get kicked out or the lessons they have for us about good and evil. The Bible introduces us to Abraham, but it doesn't include the troubling story of his early life, which explains how he came to reject idolatry to become the father of monotheism. And while there are only 150 Psalms in today's Bible, there used to be many more. Dr. Hoffman deftly brings these and other ancient scriptural texts to life, exploring how they offer new answers to some of the most fundamental and universal questions people ask about their lives. An impressive blend of history, linguistics, and religious scholarship, The Bible's Cutting Room Floor reveals what's missing from your Bible, who left it out, and why it is so important.