"M_____ is a film extra with a meagre list of credits to their name and a side career writing obituaries for the Los Angeles Times. M_____ is also dying of cancer at only thirty-two. With the stark reality of death looming overhead, and against the even greater threat of being forgotten, M_____ starts down a strange, fantastic and ultimately tragic path recounting a doomed love affair with the world's greatest living "redshirt"--a man who, over a career spanning two decades, has died or appeared dead in nearly eight hundred film and television roles. A compelling narrative interspersed with blog fragments and film scripts, The Death Scene Artist is a three-act surrealist exploration of the obsessive fault-finding of body dysmorphia, the internal conflict of gender dysphoria and the dangerous desires of a man who has lived several hundred half-minute lives without having ever experienced his own."--

The debut novel from the author of The Lost Van Gogh—first in the Kate McKinnon series. “A unique spin on the too-familiar serial killer thriller.” —Ft. Lauderdale Sun-Sentinel A killer is preying on New York’s art community, creating gruesome depictions of famous paintings, using human flesh and blood as his media. Terror stalks this world of genius, greed, inspiration, and jealousy—a world Kate McKinnon knows all too well. A former NYPD cop who traded in her badge for a PhD in art history, Kate can see the method behind the psychopath’s madness—for the grisly slaughter of a former protégé is drawing her into the predator’s path. And as each new murder exceeds the last in savagery, Kate is trapped in the twisted obsessions of the death artist, who plans to use her body, her blood, and her fear to create the ultimate masterpiece. “The Death Artist is stylish, scary, and very, very smart. Jonathan Santlofer’s thriller really thrills.” —Susan Isaacs, New York Times–bestselling author “Chilling.” —USA Today “A roller coaster of violence [and] betrayal.” —Cleveland Plain Dealer “Brisk . . . inventive . . . compelling.” —The Washington Post Book World “The exploration of the psychology of the death artist, along with gossipy insights into the politics of art, make this book a bloody funfest.” —Publishers Weekly

A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.

The Nutshell Studies of Unexplained Death offers readers an extraordinary glimpse into the mind of a master criminal investigator. Frances Glessner Lee, a wealthy grandmother, founded the Department of Legal Medicine at Harvard in 1936 and was later appointed captain in the New Hampshire police. In the 1940s and 1950s she built dollhouse crime scenes based on real cases in order to train detectives to assess visual evidence. Still used in forensic training today, the eighteen Nutshell dioramas, on a scale of 1:12, display an astounding level of detail: pencils write, window shades move, whistles blow, and clues to the crimes are revealed to those who study the scenes carefully. Corinne May Botz's lush color photographs lure viewers into every crevice of Frances Lee's models and breathe life into these deadly miniatures, which present the dark side of domestic life, unveiling tales of prostitution, alcoholism, and adultery. The accompanying line drawings, specially prepared for this volume, highlight the noteworthy forensic evidence in each case. Botz's introductory essay, which draws on archival research and interviews with Lee's family and police colleagues, presents a captivating portrait of Lee.

The national bestselling hit hailed by the New York Times as a "vibrant medieval mystery...[it] outdoes the competition." In medieval Cambridge, England, Adelia, a female forensics expert, is summoned by King Henry II to investigate a series of gruesome murders that has wrongly implicated the Jewish population, yielding even more tragic results. As Adelia's investigation takes her behind the closed doors of the country's churches, the killer prepares to strike again.

Twelve shocking paintings. Eleven famous murders. One missing artist . . . and one woman driven to find her—this Reese's Book Club x Hello Sunshine Selection is a “stunning achievement” (Los Angeles Times). Kim Lord is an avant–garde figure, feminist icon, and agent provocateur in the L.A. art scene. Her groundbreaking new exhibition Still Lives is comprised of self–portraits depicting herself as famous, murdered women―the Black Dahlia, Chandra Levy, Nicole Brown Simpson, among many others―and the works are as compelling as they are disturbing, implicating a culture that is too accustomed to violence against women. As the city’s richest art patrons pour into the Rocque Museum’s opening night, all the staff, including editor Maggie Richter, hope the event will be enough to save the historic institution’s flailing finances. Except Kim Lord never shows up to her own gala. Fear mounts as the hours and days drag on and Lord remains missing. Suspicion falls on the up–and–coming gallerist Greg Shaw Ferguson, who happens to be Maggie’s ex. A rogue’s gallery of eccentric art world figures could also have motive for the act, and as Maggie gets drawn into her own investigation of Lord’s disappearance, she’ll come to suspect all of those closest to her. Set against a culture that often fetishizes violence, Still Lives is a page–turning exodus into the art world’s hall of mirrors, and one woman’s journey into the belly of an industry flooded with money and secrets. “It’s a thrilling mystery that will leave you wondering which characters you can and can’t trust . . . There’s a twist at the end that still keeps us up at night, it's THAT good.” —Reese Witherspoon (A Reese’s Book Club x Hello Sunshine Selection)