Kirjahaku

The first book on the poetic elegy challenges all previous ideas about the purpose of mourning

The most common phrase in print is "cover before striking," a warning to those about to innocently strike a match to be careful not to burn their fingers.Uppal's characters in Cover Before Striking are all people pushing their lives to new levels of intensity, danger, or passion as they test their limits and those of the world. The pyromaniac at the heart of the title story — winner of the Gloria Vanderbilt Short Fiction Prize — desperately uses fire to reconnect with lost lovers and family members. In "Vertigo," an injured Olympic athlete becomes a research guinea pig in a surreal scientific experiment. In "The Boy Next Door," a teenager recounts how her mother took her and fled Canada for Brazil, along with the local Catholic priest.Implacable and just a little unhinged, the stories of Cover Before Striking each move toward that moment of contact when the sparks begin to fly, when destruction and beauty seem to blur together. With this collection, Priscila Uppal offers the literary equivalent of playing with fire.

Imaginations run wild in this strangely beautiful and funny story loosely based on Uppal's critically acclaimed memoir. Renata travels to Brazil to reunite with the mother who abandoned her when she was just five years old, but in Rio, she discovers more than she bargained for in her quest to uncover the truth of who abandoned whom.

Sabotage is a collection of poems exploring private and public acts of destruction, disruption and vandalism in the 21st century. In Sabotage, several vital sites are under attack or at risk: the human body (including the brain and biological systems); structures of community (including family, nation, and institutional supports); and cultural legacies (including language, artistic works, and historical legacies). The sections of Sabotage frame this investigation of violations through recognisable legal and literary frameworks: Accusations, Discussions, Adaptations, Riddles, Arguments and Defences. But with Priscila Uppal as the 'framing' poet, the poems are both exact and penetrating, and at the same time startling, surreal and deeply moving. The poet also acts as saboteur, attempting political action and breaking down barriers through the manipulation of language, in order to disrupt the production of goods which have left us with a tampered and soiled legacy. Poetry provides imaginative space for experimentation dissent, and creative problem-solving. Readers of Sabotage will have the potential to assume the role of saboteur - but the crux is, to what end?

Canada’s Priscila Uppal (1974-2018) gained an international reputation for her boldly provocative poetry in just a dozen years, following the publication of her first collection, How to Draw Blood from a Stone, at the age of 23. Noted for their startling imagery, unforgettable characters and visionary lines, her poems are exact and penetrating, yet surreal and deeply moving. Drawing from the scientific to the literary, the medical to the historical, Uppal was as concerned about the inheritance of the past as she was about the tragedies of the present, making her both a witness of the terrors and inconsistencies of the past and a messenger of an incomprehensible future. Successful Tragedies includes work from six books published in Canada, including Ontological Necessities, which was shortlisted for the Griffin Poetry Prize in 2007, and her latest collection, Traumatology. In these poems she meditates over spilt milk with Freud, has sex with Christopher Columbus, issues warnings to gynaecologists, sets up shelters for virgins from Greek myths and organises a protest on Abraham’s lawn, and much more… Readers experiencing Uppal for the first time will enter a turbulent but vital landscape, discovering a poet dedicated to uncovering the motivations behind our cruelties and our compassions and determined to explore the absurdity of the world.

Written with the verve of the uninhibited artist but with a clarity of thought and expression more akin to the scientist or scholar, these poems investigate the emotional and philosophical struggles of contemporary life. Often sparked by the horrors depicted in today's news, the poems combine surrealist images with spare and lyrical language to grapple with an increasingly absurd world. The most ambitious piece in the collection is a radical, post-9/11 translation of the Anglo-Saxon elegy The Wanderer, and other poems include "Don Quixote, You Sure Can Take One Helluva Beating," "Film Version of My Hatred," "Never Held a Gun," and "The Romantic Impulse Hits the Schoolyard.