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Selected Praise for Priscila Uppal’s Works
Projection: Encounters with My Runaway Mother
“Projection proves to be remarkably free of self-pity … [A] raw, passionate memoir, a fierce exercise in family exorcism.”
— Montreal Gazette
“Uppal is brave … made of sterner stuff than most; an inspiration to messed-up adult children everywhere.”
— Globe and Mail
“[S]uperbly conveyed without any excessive literary artifice … Projection is a book that’s simultaneously cerebral and visceral, and its ardent refusal of any sort of mind-body split — to sacrifice sophistication for sentiment or vice versa — is the sign of an author who has thrown herself wholly into her book.”
— National Post
“Incorporating movie and pop-culture references as storytelling devices is what makes this book truly shine … Above all, Uppal is an impeccable writer, deftly infusing complex scenes and emotions with power and weight … a worthy read.”
— Quill & Quire
“[A] heartbreaking memoir.”
—Toronto Life
“Intimate, sad, probing and self-aware, often very funny logbook of a harrowing encounter.”
— Literary Review of Canada
To Whom It May Concern
“It is to be hoped that Uppal will continue to rival Atwood in productivity and wit. As Shakespeare might have said: Fortune, smile again on lovers of CanLit; grace us with more irresistible stories from Uppal’s unique perspective.”
— Montreal Gazette
“Uppal is a deep thinker, capable of carefully peeling back layer upon layer of the human psyche … makes us laugh and cry long after the last page of the novel has been read.”
— Ottawa Citizen
“Uppal’s writing bursts with humour, plot turns and insights … Uppal should be congratulated for writing one of the most powerful and riskiest scenes in a Canadian novel … [she] reveals herself as a compassionate and perspicacious novelist whose humanity and intelligence cannot be overlooked.”
— Globe and Mail
The Divine Economy of Salvation
“In its confident voice and its unsparing, concisely powerful narrative — like Margaret Laurence at her best — Divine Economy is an impressive debut.”
— Globe and Mail
“A luminous debut … haunting, gripping, and surprisingly nuanced: begins as a simple mystery and turns into a work of great depth and seriousness.”
— Kirkus starred review
Dedication
For Richard Teleky,
who has been here since the beginning
Epigraph
Who, marked for failure, dulled by grief,
Has traded in his wife and friend
For this warm ledge, this alder leaf:
Comfort that does not comprehend.
— Edna St. Vincent Millay, “The Return”
The Boy Next Door
If I told you my mother ran away with the boy next door, I wouldn’t be lying. Except that he was a man, not a boy. And a priest, not my father. But he did live next door. And my mother did run away with him. Although it was more like walking, very calmly, an organized exodus.
I had thought my mother’s keen interest in church was a direction of her energies toward my soul. My first confession was coming up in the next few months and as with any big Catholic event I believed she wanted to make sure I would perform it properly in front of the neighbourhood. She had been a regular churchgoer before then and wrote for Our Faith, the church bulletin, articles about bake sales and ads for seniors who were looking for companions to take them grocery shopping. She wrote her pieces at night, pulling out the extension of the dining-room table, laying her typewriter on top. She was a valued member of the congregation and we attended every Sunday, sprinkling ourselves with holy water and kneeling on the smooth pine floor. Then, over the course of that spring, she started to take on extra parish duties: helping clean the pews, baking cookies for the prayer group and the choir, passing out flyers, and arranging rummage sales. She didn’t seem to pray more that I knew, but she started spending more time in church than at home. I assumed Father Marcus approved of her as a good neighbour, or concluded that she had felt the good grace of God between the hedges separating our houses from one another.
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