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Titre : CLEAR : A Transparent Novel
Éditeur : 4th Estate, London
Date d'édition : 2004
Reliure : Hard Cover
Etat du livre : FINE
Etat de la jaquette : FINE
Edition : First Edition.
cloth, dust jacket, 346 pages, fine edition, first printing, d.j is NOT price-clipped, Set during the 44 days in Fall 2003 that the American illusionist David Blaine spent without food suspended over the Thames in a clear plastic box. The narrator is a young man called Adair MacKenny, who works in the London Assembly building and consequently finds his path to and from work impeded by Blaine lovers and haters. Even those who never make the journey down to Tower Bridge appear to be touched in some way. A bizarre novel from a brilliant, young UK novelist. Size: 8 Vo,.(22 cm). N° de réf. du libraire 1124067
*Longlisted for the Man Booker Prize 2004
*A Granta Best of British Novelist 2003
*Winner of the IMPAC PRIZE for her novel
On 5th September 2003, New York Illusionist David Blaine entered a small perspex box adjacent to the River Thames and commenced starving himself. Forty-four days later ? on 19th October ? he left the box, four stone lighter. That much, at least, is clear.
And the rest? The crowds? The chaos? The hype? The rage? The rows? The lust? The filth? The bullshit? The hypocrisy?
Nicola Barker fearlessly crams all that and more into this ribald and outrageous peep show of a novel, her most irreverent, caustic, up-to-the-minute work yet, laying bare the heart of our contemporary world, a world of illusion, delusion, celebrity and hunger.
?Compelling. Barker's narrative draws us in with the disturbing, surreal touch of a latter-day Lewis Carroll.' Sunday Times
'Dazzling? She celebrates the complexity of human experience.'?The Times
'Insanely inventive. Her vision of a marginal Britain populated by drifters and desperados is fired by a comic energy that dances on the edge of self-combustion.' Guardian
'Barker's eccentrics are the stuff of pure farce. And they allow her to reinvent, joyously, the cogs, gears and mechanics of the genre. She knows, as Wodehouse also knew, how to rev up the language, do baroque variations on a phrase, even break into a kind of poetry.? New York Times
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