"The language Koja employs is fresh and astonishing, harsh yet beautiful." --Washington Post

"Torqued! Twisted, man, as the new Abyss line plunges forward with its plan to advance through the frontiers of psychological horror. Koja fulfills Abyss's hopes with a savage hymn to industrial culture. ... A strong stylist, Koja makes white-hot the pains of metal sculpting and draws a big picture of S&M bars and byways before bringing on her big show as Bibi decides to go all the way and, with razor and scalpel, just about get out of her skin--or help a friend out of his. Beyond the styptic pencil and safety blades." --Kirkus Reviews

"A dark and frightening work by a major talent whose prose reads like a collaboration between Clive Barker and William S. Burroughs. Highly recommended." --Library Journal

"Skin is a deadly performance in silence and scream . . . Each page is white hot and fluid, ductile and distorting, a fierce sense of dark metal energy. No one is safe." --Eugen Bacon, British Fantasy Award winner and Philip K. Dick Award finalist

"Don't let the title fool you--Skin has many layers of flesh to bare. An intoxicating, provocative dance of art and artist. Koja's vision is unmatched." --Hailey Piper, author of A Game in Yellow

"SKIN is one of one. A classic of American horror so unquestionably of its time but also timeless. It reads as if it wasn't written in ink but in melted ferrous that burns a hole in your soul. It is an industrial baroque masterpiece." --S.A. Cosby, author of All the Sinners Bleed

"This vivid tale of tortured human souls reads like a piece of performance art ... Highly unsettling and extremely satisfying. Sit back and experience it." --Becky Spratford, Library Journal

"Often wrought with short declarative and descriptive sentences that feel more like the character's internal monologue. Yes, it is fairly arresting in its brevity and directness, and there's a palpable sense of cold disconnect, as if we're reading off a fact sheet of observations written in shorthand. And that's what is, in this writer's opinion, so brilliant about it - it feels detached because the characters are detached. Emotional responses don't burn with a white hot exuberance, but with a stolid stillness that, almost contradictorily, provides a sense of rhythm." --Ilker Yücel, Regen Magazine