000			01623cam a2200217 a 4500
001			026897
005			20231009193339.0
008			080403s2000 nyu 000 1 eng
010			_a 99047931
020			_a9780156011600
082	0	0	_aFIC FAB
100	1		_aFaber, Michel
245	1	0	_aUnder the skin _c/ Michel Faber
260			_aNew York _b: Harcourt, Inc. _c, c2000.
300			_a311 p. _c; 22 cm.
520	3		_aIsserley picks up hitchhikers with big muscles. She, herself, is tiny-like a kid peering up over the steering wheel. She has a remarkable face and wears the thickest corrective lenses anyone has ever seen. Her posture is suggestive of some spinal problem. Her breasts are perfect; perhaps implants. She is strangely erotic yet somehow grotesque, vulnerable yet threatening. Her hitchhikers are a mixed bunch of men-trailer trash and travelling postgrads, thugs and philosophers. But Isserley is only interested in whether they have families and whether they have muscles. Then, it's only a question of how long she can endure her pain-physical and spiritual-and their conversation. Michel Faber's work has been described as a combination of Roald Dahl and Franz Kafka, as Somerset Maugham shacking up with Ian McEwan. At once humane and horrifying, Under the Skin takes us on a heart-thumping ride through dangerous territory-our own moral instincts and the boundaries of compassion. A grotesque and comical allegory announcing the arrival of an exciting talent, rich and assured.
650		4	_aHitchhiking _x-Fiction
651			_aScotland _v--Fiction
655		4	_aHorror tales
942			_cMO
999			_c266932 _d266932