The Mistress of Nothing

KATE PULLINGER was born in British Columbia, Canada, and now lives in London. She is the author of several novels and collections of short stories. She collaborated with Jane Campion on the novel of the film The Piano and has written for film, television, and radio. She teaches creative writing and new media at De Montfort University.

''I couldn't stop reading this wonderful book and was sad when it was over. Kate Pullinger's skill is to make you feel like the confidante of her strong and unconventional heroine as she journeys down the Nile into the greatest adventure of her life. Highly recommended.'' -- Julia Gregson, author of East of the Sun

''The Mistress of Nothing sent me between torrents of emotion much like those conflicting forces the Nile has provoked since ancient times: tranquillity, excitement, even shock. Have fun!'' -- Hanan Al-Shayhk, author of The Locust and the Bird

''Pullinger has set herself a challenge that also pays rich dividends. The remarkable life of Lucie Duff Gordon deserves renewed attention, and Pullinger's novel about this unconventional literary figure's even more unconventional maid yields some moving narrative which, whether factual or not, rings utterly true.'' --Globe and Mail (Canada)

''A compelling study of love in all its guises. The relationships are gritty, complicated by duty and caste: mother and son, husband and (multiple) wives, and the perverted interaction between a lady and her mistress.'' -- Quill and Quire

''The fascination of this deft and unfussily written narrative lies partly in the contrast made between then and now; the merciless progress of tuberculosis, the power of master over servant, the hypocrisies inherent in such a relationship; partly, it stems from the satisfaction in participating in one woman's determination to survive.'' --The Sunday Times (UK)

''Pullinger's narrative flows as smoothly as the Nile; This is an absorbing and gripping tale.'' -- Independent (UK)

''Pullinger is equally unerring at conveying the subtle cruelties of power relationships and the incremental dawnings of love and affection. Coupled with this is an almost painterly ability to depict an Egypt alternately parched and sumptuous -- both literally and metaphorically.'' --The Metro (UK)