
Short-listed for the Whitbread Award, this remarkable book defies categorisation. Under the Skin introduces Isserley, a woman obsessed with picking up male hitchhikers – so long as they're well-muscled and alone. But why? As the novel unfolds and the reason becomes clear, the reader is drawn inexorably into a completely unexpected and increasingly terrifying world.
But you're right, sentence structure does play a part. I've listened to Treasure Island (Robert Louis Stevenson) and Excession (Iain M Banks) recently and both I had to drop to 2x because I couldn't follow at 2.25x. The latter because of the long ship names that sounded like sentences took too long for my brain to parse out and comprehended, and the quite technical language. The former because of the slightly old fashioned and uncommon language. On the other hand, with another recent book, Under The Skin (Michel Faber), I was totally comfortable at 2.25x. The narrator was nice and clear with no strong accent, and the language was modern and descriptive but not overly complex.
Here's one novel I just finished rereading that's almost like an anti-Oprah book in that you won't identify with any of the characters, it doesn't build to sweet resolution, it doesn't say great things about the human spirit, yet at the end you feel enobled for having spent time with such a true work of art: Michel Faber's Under the Skin. http://www.amazon.com/Under-Skin-Novel-Michel-Faber/dp/01560...
