Puppy Room

The puppy room in the basement brimmed with youngness, with suckings, cuddlings, lickings, squirmings–puppies whose eyes were sealed against seeing, puppies whose ears were sealed against hearing for the first ten days of life, puppies rolling around in their mother’s box like sausages, heavy in the middle and with four legs foolishly sticking out sideways, rowing aimlessly and quite unable to support the weight of their bodies.

Some Bobtails are born entirely tailless, some have tails which are docked at the age of three days, some have stumps, some twists.

Loo was never happy with a new family until she had brought Punk in to inspect it. Punk lumbered behind his mate, nosed into her box, sniffed and ambled out again, rather bored. It satisfied Loo. The other Bobtail mothers never brought Punk to see their families, but Loo was Punk’s favourite mate.

Bobbies have large families–nine is an ordinary litter. Once Flirt had fourteen pups at one birth. I never allowed a mother to raise more than six pups unaided. If the demand was good I kept more, but I went round the family three times a day with a feeding bottle so that all the pups were satisfied and my mothers not overtaxed.

One spring thirty pups were born in the kennel nursery within one week. It took me three hours a day for three weeks “bottling” pups, but they throve amazingly. Sometimes a pup was stubborn and would not take the bottle; then I tickled him under the chin; this made him yawn and I popped the bottle into his yawn and held it there till he sucked. The mothers watched me with great interest; my yawn method was a joke between us. They were most grateful for my help, those patient, loving dog mothers.

Klee Wyck

Emily Carr wrote these twenty-one sketches after visiting and living with Native people, painting their totem poles and villages, many of them in wild and remote areas. She tells her stories with beauty, pathos and a vivid awareness of the comedy of people and situations.

The Book of Small

Emily Carr wrote these thirty-six sketches that relate anecdotes about her life as a young girl in the frontier town of Victoria. She notes: “There were a great many things that I only half understood, such as saloons and the Royal Family and the Chain Gang.”

The House of All Sorts

Emilly Carr wrote these forty-one stories of those hard-working days as landlord and the parade of tenants — young couples, widows, sad bachelors and rent evaders. In an additional twenty-five stories, she describes the mutual bonds of affection between her and her dogs.

Growing Pains

Completed just before Emily Carr died in 1945, Growing Pains tells the story of her life, beginning with her girlhood in pioneer Victoria and going on to her training as an artist in San Francisco, England and France. She writes about the frustration she felt at the rejection of her art by Canadians, of the years of despair when she stopped painting and of the unexpected vindication and triumph she felt when the Group of Seven accepted her as one of them.

Heart of a Peacock

A collection of 51 short stories by the legendary writer and painter Emily Carr, arranged in themes such as her experiences with Native people, her adventures with various beloved creatures and her love of nature. Together, they underline Carr’s place as a writer with the sharp yet tender eye of an artist, with a deep feeling for the tragedies of life and with a rich sense of the comic.

Pause

While studying art in London, Emily Carr seriously undermined her health and was sent to a sanatorium for a complete rest cure. Bridling at the hospital’s rules, which prohibited excitement of any kind, the always rebellious Carr proceeded to make friends, raise birds, and cause trouble. In words and enchanting sketches, in Pause: A Sketchbook, Carr presents a funny, poignant account of her 18-month convalescence,

Hundreds and Thousands

Hundreds and Thousands consists of her journals from 1927 to 1941. She began keeping a journal in 1927, when, after years of her work being derided and ignored, came unexpected vindication and triumph when the Group of Seven accepted her as one of them and encouraged her to overcome the years of despair when she stopped painting.

Opposite Contraries

Collected from Emily Carr’s private and public writings and edited by Susan Crean, these previously unpublished pieces reveal the outspoken artist at her most forthright. Expurgated sections from Carr’s journals detail her anguished meditations on her spiritual mission, musings about Native culture and the white community’s reaction to it, and thoughts about her family. Her groundbreaking 1913 "Lecture on Totems”, her first recorded writing on Native art and people, is also included, as are some of her most fascinating letters to friends and colleagues.

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