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.
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. 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.
Praise for Cutting Room:
‘I can’t tell whether these poems are glass or shatterproof glass. They’re delicate, clear, tough, opaque, breakable. Sarah Pinder makes everything new.’
— Roo Borson, author of Short Journey Upriver Toward Oishida
'Her poems are odd, quirky, and utterly charming, and include shades of Richard Brautigan surrealism, Nelson Ball’s brevity and Stuart Ross’ absurdity, albeit with her unapologetic eye.'
— Prairie Fire
'Pinder's work has teeth, and aficionados of modern poetry will easily be seduced by her words.'
— Shameless Magazine