**A BOOK RIOT Best Mystery, Thriller, and True Crime Book In July** “Matheson’s voice is exciting, urgent… and, now more than ever, vital.”—A.J. Finn, #1 New York Times bestselling author of The Woman in the Window Detective Anjelica Henley confronts a series of ritualistic murders in this heart-pounding thriller about race, power and the corrupt institutions that threaten us When Detective Anjelica Henley is called to investigate the murder of a popular preacher in his own church, she discovers a second victim, tortured and tied to a bed in an upstairs room. He is alive, but barely, and his body shows signs of a dark religious ritual. With a revolving list of suspects and the media spotlight firmly on her, Henley is left with more questions than answers as she attempts to untangle both crimes. But when another body appears, the case takes on a new urgency. Unless she can apprehend the killer, the next victim may just be Henley herself. Both fans of The Jigsaw Man and readers coming to Matheson's work for the first time will get swept away in this heart-pounding thriller. Drawing on her experiences as a criminal attorney, Nadine Matheson deftly explores issues of race, class and justice through an action-packed story that will hold you captive until the last terrifying page.

From the author of The Jigsaw Man comes the next book in Nadine Matheson's DI Henley series 'Nadine Matheson writes sentences like roses, lovely and bristling with thorns . . . Matheson's voice is exciting, urgent... and, now more than ever, vital' A.J. Finn 'There is a freshness to Matheson's writing which promises a long career' Morning Star * * * In this room, no one can hear you scream... The Serial Crimes Unit are called in to investigate when a local pastor is found stabbed to death. As DI Henley assesses the crime scene, she discovers a hidden door that conceals a room set up for torture - and bound to the bed in the middle of the room is the body of a man. When another body is found, also tied down, Henley realises there's someone out there torturing innocent people and leaving them for dead. But why? There's nothing that connects the victims. They didn't know each other. Their paths never crossed. But someone has targeted them, and it's up to Henley and the SCU to stop them before they find another binding room... * * * What readers are saying about The Binding Room: 'Oh my days wow what a book. It was sick and twisty and I loved every single word of it . . . it's been one of the best reads of the year!' Reader review, 'Ms Matheson is a master storyteller and delivers a gritty and gripping story, a page-turner I couldn't stop reading. It's highly recommended' Reader review, 'An absolutely superb contemporary crime thriller . . . Nadine Matheson is a powerful voice in crime fiction' Reader review, 'Totally hooked on this series, I now need the next book, please say there will be one, I cannot recommend this enough - 10 stars' NetGalley Reviewer,

Books orient, intrigue, provoke and direct the reader while editing, interpreting, encapsulating, constructing and revealing architectural representation. Binding Space: The Book as Spatial Practice explores the role of the book form within the realm of architectural representation. It proposes the book itself as another three-dimensional, complementary architectural representation with a generational and propositional role within the design process. Artists’ books in particular – that is, a book made as an original work of art, with an artist, designer or architect as author – have certain qualities and characteristics, quite different from the conventional presentation and documentation of architecture. Paginal sequentiality, the structure and objecthood of the book, and the act of reading create possibilities for the book as a site for architectural imagining and discourse. In this way, the form of the book affects how the architectural work is conceived, constructed and read. In five main sections, Binding Space examines the relationships between the drawing, the building and the book. It proposes thinking through the book as a form of spatial practice, one in which the book is cast as object, outcome, process and tool. Through the book, we read spatial practice anew.