Cover
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 Man Who Loved Cats
“The whole of her feline face was striving towards a universal language, towards a word forgotten by men.” — Colette
The Man Who Loved Cats had three beautiful daughters, each one lovelier than the next in his imagination, who lived in three different cities and sent letters and postcards dated meticulously and economically in tiny white envelopes. He would slice open the letters while lounging in his reading chair situated beside three arm’s-length scratching posts and a bed of fresh catnip. The cats purred loquaciously, butting their foreheads into the catnip and against the chair legs as he read, no matter what news was afoot. He read out loud, and sometimes one of the cats, the tabby orange-tailed short-hair named Tug in particular, would jump into his lap and press his paws like rubber stamps against the papers. On Tuesday the fifteenth of June, he told Tug and the others: My daughters are coming to visit me. It seems I am going to die. Tug batted the length of the paper and the nine cat noses surreptitiously buried in the catnip forged a wedge. A ball of twine beside the hole sat stationary as a stone.
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