Priscila Uppal (1974-2018) was associate professor, English, York University and the author of several books of poetry, fiction, and non-fiction, including Ontological Necessities and The Divine Economy of Salvation.
At the center is a group of girls who call themselves The Sisterhood, from whom fourteen-year-old Angela desperately seeks comfort and approval. Saddened by her mother's declining health and her father's abandonment, Angela looks up to the group's beautiful and alluring leader, Rachel. When she is encouraged by Rachel to play a joke on another student, the rituals of The Sisterhood take a violent turn. Now, from within the safe refuge of her convent and with the unexpected help of a young pregnant girl, Angela at last faces the truth-and the boundaries of faith.
In the tradition of The Secret History and Lying Awake, The Divine Economy of Salvation is a dark, powerful, and suspenseful story that captures the innocence and cruelty of adolescence and the mysteries of adulthood.
Drawing from contemporary novels such as Cormac McCarthy’s The Road, Neil Gaiman’s American Gods, and the work of Margaret Atwood and William Gibson (to name a few), this book examines dystopian literature produced by North American authors between the signing of NAFTA (1994) and the tenth anniversary of 9/11 (2011). As the texts illustrate, awareness of and deep concern about perceived vulnerabilities—ends of water, oil, food, capitalism, empires, stable climates, ways of life, non-human species, and entire human civilizations—have become central to public discourseover the same period.
By asking questions such as “What are the distinctive qualities of post-NAFTA North American dystopian literature?” and “What does this literature reflect about the tensions and contradictions of the inchoate continental community of North America?” Blast, Corrupt, Dismantle, Erase serves to resituate dystopian writing within a particular geo-social setting and introduce a productive means to understand both North American dystopian writing and its relevant engagements with a restricted, mapped reality.