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The credits have rolled, but the lights are still off. Something is lurking on the other side of the screen. There are dark secrets, starving monsters, and haunted survivors who refuse to be left on the cutting room floor. But that’s okay, right? After all, everybody loves the movies....
Here are twenty-three terrifying tales, dark reflections of the silver screen from both sides of the camera. James Dean gets a second chance at life—and death. The Wicked Witch is out of Oz, and she's made some very unlucky friends. When God decides reality needs an editor, what—and who—gets cut? These award-winning, bestselling authors will take you to the darkest depths of the theater and beyond.
- Sales Rank: #1651026 in Books
- Published on: 2014-10-14
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 6.00" w x 1.00" l, .0 pounds
- Binding: Paperback
- 384 pages
Review
On The Cutting Room
A Kirkus Excellent Horror Read for October
“This themed anthology revolves around the idea that the separation between what is real and what we see on film is not as clear as we'd like to think it is. What if, for example, the Wicked Witch of the West didn't stay in Oz? What if James Dean got a second chance at life? These are just some of the weird-but-cool ideas explored in this tempting volume of stories from renowned editor Ellen Datlow, who collects 23 scary tales by the likes of Peter Straub, Genevieve Valentine, Robert Shearman, Laird Barron and more.”
—Kirkus
A Publishers Weekly Book of the Week
STARRED REVIEW “Superstar editor Datlow makes no missteps in this reprint collection of dark tales involving movies and moviemaking. The one original piece, Stephen Graham Jones’s “Tenderizer,” is a haunting exploration of tragedy on both a personal and national level. A.C. Wise’s “Final Girl Theory,” about a cult film that’s an “infection, whispered from mouth to mouth in the dark,” is disturbing and gory without fetishizing its horrors. Kim Newman’s brilliant “Illimitable Dominion” tells an alternate history of Edgar Allen Poe, Roger Corman, and American International Pictures that’s particularly suited to film buffs who will probably spot the (initially) subtle changes to the time line. Film critic and author Genevieve Valentine provides both an entertaining story (“She Drives the Men to Crimes of Passion!”) and an enlightening introduction, while even Douglas E. Winter’s “Bright Lights, Big Zombie”—the literary target of which has long faded—still holds up reasonably well. Strong stories by Gary McMahon and Gary A. Braunbeck, as well as poems by Lucy A. Snyder and Daphne Gottlieb, are also worth noting, but really, the entire volume is outstanding.”
—Publishers Weekly
“This collection of 23 stories should appeal to fans of horror and SF primarily, though noir and hard-boiled-mystery readers should feel welcome too.... Definitely worth checking out.”
—Booklist
“Horror stories about the cinema in some capacity. There was no way I wouldn't like this book, regardless of whether I was a horror and film buff or not. Datlow's pretty much the master of the anthology, and it shows here.”
—LitReactor's favorite reads of 2014
“It's pretty much a given that an Ellen Datlow anthology will at least be good, if not great... 'The Cutting Room' is no exception.”
—Bookshots
“Horror cinephiles and bibliophiles will have extra cause to rejoice this Halloween: The Cutting Room, a literary anthology, is an October treat.”
—Diabolique
“When Datlow’s name is on the cover, however, you know the collection will contain the highest quality writing and arranging.... The Cutting Room is a major success.”
—Ensuing Chapters
“I personally feel that short fiction is the ideal format for horror and dark fantasy literature and the theme of film/film-making is absolutely brilliant and Datlow collects a very nice assortment. This collection is highly recommended.”
—Looking for a Good Book
“The Cutting Room is a ton of fun....”
—LitReactor
Praise for Ellen Datlow
“The field’s leading anthologist.”
—Washington Post on The Best Horror of The Year, Volume 6
On Lovecraft's Monsters
“There’s no need to have previously read Lovecraft’s work to enjoy Lovecraft’s Monsters, but the collection will surely leave you with the desire to acquaint or reacquaint you with HPL canon.”
—Rue Morgue
“The result is a delightful array of little pieces that range in mood and subject. Unholy sacrifice, forbidden love, a private dick on the trail of a murderer—there’s something there for everyone.”
—The Jaded Consumer
“Editor Ellen Datlow has put together an anthology that will rock your liquid fantasies. Tachyon Publications has produced an excellent themed anthology. Lovecraft enthusiasts will plunge into the volume and be happily immersed in the content.”
—Diabolique Magazine
“Where else, in one anthology, can a reader jump from roman noir werewolves to steampunk tanks in the Amazon to tales of forbidden love on the Innsmouth shore to Pinkerton agents in the Wild West?... Fortunately, we have Ellen Datlow to lead the way.”
—Hellnotes
“Each story is a dark wonder and the volume itself is absolutely gorgeous, sumptuously illustrated throughout with steampunky-baroque original art by World Fantasy Award-winning artist John Coulthart.”
—The Tomb of Dark Delights
“...an entirely enjoyable read... for Mythos devotees I would highly recommend picking it up”
—Seattle Geekly
“Datlow brings together some of the top SF/F and horror writers working today and has them play in Lovecraft’s bizarre world. And that’s a delight.”
—January Magazine
“Lovecraft’s Monsters will appeal to fans of Lovecraft’s work, particularly his Mythos stories, and to readers of dark fiction everywhere. Datlow is an experienced and keen editor of dark fiction and has assembled a truly impressive list of stories.”
—LitReactor
On Hauntings
"This diverse 25-story anthology is a superb sampling of some of the most significant short horror works published between 1985 and 2005. Editor extraordinaire Datlow (Poe) includes classic stories from horror icons."
—Publishers Weekly, starred review
"With her keen eye for craftsmanship, prolific anthologist Datlow always delivers first-class entertainment, whether her genre-at-hand is sf, fantasy, or, in this case, horror."
—Booklist
"Anytime you sample a collection edited by veteran anthologist Ellen Datlow (Snow White, Blood Red; Teeth; Supernatural Noir), you know that you are in for a treat."
—Shroud Magazine
"Datlow once again proves herself as a master editor.... Highly recommended."
—Arkham Digest
On Darkness: Two Decades of Modern Horror
"Make sure you are in a safe place before you open it up."
—New York Journal of Books
"An anthology to be cherished and an invaluable reference for horror aficionados."
—Publishers Weekly, starred review
"Darkness promises to please both longtime fans and readers who have no clue what 'splatterpunk' was supposed to mean."
—San Francisco Chronicle
"Eclectic...a complete overview of some of the best horror stories published in the last twenty years."
—SF Site
On The Year's Best Fantasy and Horror
"As the line between fantasy and horror blurs, this combined presentation of their exemplars will give readers of both genres much to enjoy, and may even broaden a few horizons."
—Publishers Weekly, starred review
"Bring out the bone china—a critically acclaimed fantasy/horror annual celebrates its 20th anniversary in grand style.... Worth a space on any bookshelf."
—Kirkus
“...an excellent anthology of horror stories.... I highly recommend it!”
—Black Gate
About the Author
Ellen Datlow is one of horror’s most acclaimed editors. She was the fiction editor of OMNI for nearly twenty years, and edited the magazines Event Horizon and Sci Fiction. Her many anthologies include the Year's Best Fantasy and Horror series; Snow White, Blood Red; Lovecraft's Monsters; and Darkness: Two Decades of Modern Horror. Datlow has won multiple Hugo, Bram Stoker, Locus, and Shirley Jackson awards. She has received several lifetime achievement awards, including a World Fantasy Award—her tenth—in 2014. Datlow lives in New York City.
Most helpful customer reviews
12 of 12 people found the following review helpful.
Through a Lens Darkly
By L. Columbus
First of all, as editor Ellen Datlow states in her introduction to this anthology; not all of the stories are "horror stories per se". Each of the tales involve films or the film industry and most, if not falling directly into the horror genre, are certainly very dark. I recently read a wonderful interview with Ms. Datlow where she briefly explained her thought process when putting together an anthology. After reading the interview, I have a better understanding of why almost anything she puts her name on is consistently of such high quality. This collection is no exception. In the introduction she states that she sifted through over 115 submissions, finally whittling it down to the stories presented here. While a couple of the tales didn't instantly reveal their secrets to me, they each left me feeling and thinking long after finishing them. Several of the authors were new to me and some were old favorites, I was especially happy to find a story by Howard Waldrop. He is a criminally uncelebrated writer and master of the short story form. Hopefully his inclusion here will lead to new readers discovering his work.
The anthology starts with Edward Bryant's THE CUTTER, a sort of coming of age tale, with a sinister twist. It was my first time reading anything by this author, but it won't be my last. To put it in filmic terms, if his story was an actual film, it would be directed by Rob Reiner's evil twin.
Steve Nagy's THE HANGED MAN OF OZ is a paranoid fever dream of a tale. You may never be able to watch The Wizard Of Oz again, without thinking of this story. I know I won't. The film of this would be directed by Brian DePalma.
DEADSPACE by Dennis Etchison quickly made me feel as if I was watching a David Lynch movie in my mind. This tale of a doomed Hollywood producer is surreal and unforgettable.
I'm sure most anyone reading this is already familiar with the work of F. Paul Wilson. His story CUTS is nothing less than what you would expect, a horrifying voodoo tale with a deliciously satisfying ending. The film version for me, would have to be directed by Wes Craven.
FINAL GIRL THEORY by A. C. Wise is a disturbing tale that slowly creeps up on you. Your interest in finding out the truth behind the cult film described in the story, will lead to a most unhappy ending, for you and the main protagonist. For director on this one, I'd select Eduardo Sanchez (Blair Witch Project).
Next up is LAPLAND, OR FILM NOIR by Peter Straub. In all honesty, I don't know what to make of this contribution. I'm afraid it is simply that I don't understand the style of writing Mr. Straub uses here. It seems to be somehow breaking down film noir into its various tropes, but that's as far as I can discern. This makes me wish that each author had included a brief introduction to their stories. I would certainly like to learn exactly what he was doing in this piece.
Ian Watson's THE THOUSAND CUTS is a disorienting, apocalyptic tale that moves along quickly and leaves you with a haunting final image. My choice for director of the film version would be George Miller (Mad Max).
As I mentioned at the start, Howard Waldrop is an author whose work I am delighted to see here. His contribution OCCAM'S DUCKS is an off beat tale involving the early days of black cinema. Mr. Waldrop also includes a brief afterword that explains his inspirations for the story.
DEAD IMAGE by David Morrell really captivated me. His story centers around how things might play out, if a real life famous actor who tragically died young, were to somehow come back for a second chance. This is one of the stand out entries for me, I loved it. Director on this one would have to be George Romero.
THE CONSTANTINOPLE ARCHIVES by Robert Shearman is an alternate history story, that imagines a world where filmmaking began in the 1400s, during the siege of Constantinople. It's an interesting read that ends on a beautifully hopeful note.
EACH THING I SHOW YOU IS A PIECE OF MY DEATH by Gemma Files and Stephen J. Barringer, gave me a few nightmares after finishing it just before bed. The narrative threads out in a series of journal entries, e-mails and transcripts. Since aspects of it brought to mind the film The Ring, I could see it being directed by Gore Verbinski.
CINDER IMAGES by Gary McMahon introduces you to a man who has just left the movie theater. The film he witnessed was disturbing, but has it ended simply because he left the theater? I'd pick David Fincher, to give the film version of this tale the right amount of dark claustrophobia.
In THE PIED PIPER OF HAMMERSMITH, I can only deduce that the main character is mentally ill and we are riding along for his final descent into madness. The film he's directing in his head, will lead to disastrous consequences for his "cast". This would be another one that lends itself to David Lynch's style.
Gary Kilworth's FILMING THE MAKING OF THE FILM OF THE MAKING OF FITZCARRALDO (I had to go back several times, to make sure I had that title correct!), follows along as some intrepid amateur filmmakers, attempt to surreptitiously document director Werner Herzog's filming of Fitzcarraldo. When they decide to instigate a scene for their documentary, things go bad. I can see Francis Coppola directing this, he's familiar with steamy jungles.
ONLOOKERS by Gary A. Braunbeck is a story I had encountered somewhere before, because it quickly came back to me as I started reading it. It's a creepy tale involving a few icons of classic early cinema and what happens to a film student who is a bit too perceptive. If Alfred Hitchcock were alive today, I think a story like this might appeal to him. There are plenty of opportunities for great visuals and I'd enjoy seeing them translated from my mind, to the screen.
Next is a short poem by Lucy A. Snyder titled RECREATION and it seems fitting that it follows, since it is somewhat of an homage to Hitchcock.
BRIGHT LIGHTS, BIG ZOMBIE by Douglas E. Winter, provides a unique take on the zombie tale. We spend some time with a heartbroken Gorehound, as he tries to hold it together in a world where a zombie outbreak has actually occurred. To make matters worse, splatter films and magazines dealing with the living dead are now illegal. Let's tap Zack Snyder to direct this one. He could blend the horror and and humorous aspects required.
SHE DRIVES MEN TO CRIMES OF PASSION by Genevieve Valentine, is a beautiful tale by yet another unfamiliar author I'll be seeking more from. The noirish story involves a beautiful up and coming actress with an unexpected secret. An aspiring director learns her secret and wants to exploit it. The ending of this one left me sad, satisfied and swooning.
Joel Lane's EVEN THE PAWN delivers the right cross, after the uppercut delivered by Ms. Valentine's story. What appears to be a simple murder mystery, snakes along toward a hauntingly poetic ending.
TENDERIZER from Stephen Graham Jones, offers a disturbing look at the possible melding of reality and found footage type cinema. I almost found myself dreading each paragraph of this, as if something too horrible for me to take was going to be revealed.
Next up is ARDOR by Laird Barron. I'm a huge fan of Mr. Barron's work and this story is a wonderful example of his writing style, for those who may be new to him. You can see that every sentence is carefully crafted, individually coming together to form a cerebral, cinematic blockbuster.
FINAL GIRL II: THE FRAME by Daphne Gottlieb is a dithyramb style poem dedicated to the female heroine. I'm not very knowledgable when it comes to poetry, so I hope I'm not far off the mark in that comment.
The anthology ends with ILLIMITABLE DOMINION by Kim Newman. This first person narrative is told by the agent of an out of work chimpanzee. His efforts to find a starring vehicle for his client, end up connecting him with Roger Corman. The poor chimp doesn't get the part, but his agent's paperback copy of Edgar Allan Poe's Tales of Mystery and Imagination inspires Mr. Corman and history ensues, but with a slight revisionist twist.
As I stated at the start, you can't go wrong with anything assembled by Ellen Datlow. This collection of stories shouldn't just appeal to fans of film, horror, or weird fiction. The tales here are simply examples of damn good writing.
*NOTE: I received an advance review copy through NetGalley.
4 of 4 people found the following review helpful.
I figured that there couldn't possibly be a better pick for me to request
By Char's Horror Corner
3.5 stars!
I was excited to find this anthology up for review at Net Galley. I'm still very new over there, and I figured that there couldn't possibly be a better pick for me to request. I have loved anthologies like this since I was a kid. I cut my teeth on the likes of Dennis Etchison, Graham Masterton, Harlan Ellison and Dougles E. Winter and I've read a number of anthologies edited by Ellen Datlow. Unfortunately, of the twenty three tales within, there were only 7 that rated 4 stars or above with me.
In this collection, the stories are loosely connected by film. To be clear, not all of these stories are horror or dark fiction, which was fine. It's just that a lot of them just didn't resonate with me. I will briefly mention the tales that I thought worked well:
"Cuts" by F. Paul Wilson-Who doesn't like a fun voodoo story now and then?
"each thing I show you is a piece of my death" by Gemma Files and Stephen J. Barringer- A nice creepy piece about a guy showing up in films.
"She Drives the Men to Crimes of Passion" by Genevieve Valentine-It seems that I have a thing going for stories with birds lately, and this one was super cool.
"The Onlookers" by Gary Braunbeck-Perceive and be perceived.
"Ardor" by Laird Barron-There was a dreamy feel to this Alaskan tale.
"Even the Pawn" by Joel Lane-I thought this story kicked ass. It was a sad one though, about sex slaves.
"The Tenderizer" by Stephen Graham Jones-This story was a tough one to read, but it touched me.
Overall this was a jam-packed collection, but it left me slightly disappointed. Perhaps it's because I expect a lot from any anthology edited by Ellen Datlow? Perhaps I wasn't quite in the right mood for most of these tales? I don't know for sure, I can only say how this collection made me feel. While the collection was no doubt full of well written tales, most of them just didn't work for me.
I received this eARC free from Net Galley in exchange for an honest review. This is it.
1 of 1 people found the following review helpful.
Five Stars for The Cutting Room
By Charie D. La Marr
I love themed anthologies - and this is a theme I have never seen before. And I loved what I found inside. Instead of stories about actors and movie stars, these stories feature the behind the scenes people--directors, producers, and even writers. Several stories stood out in this book that was extremely well edited by the great Ellen Datlow. I loved Robert Sthearman's The Constantinople Archives, snarky and witty while at the same time written in a purely academic style. A.C. Wise's Final Girl Theory was another standout.as was Everything I Show You is a Piece of My Death by Gemma Files and Stephen J. Barringer. But the editor wisely saved the best for last. Illimitable Domain by Kim Newman is a gem. I highly recommend this book to lovers of quality literary short stories and lovers of the cinema. It is well worth it.
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