Baptism

My baptism is an unpleasant memory. I was a little over four years of age. My brother was an infant. We were done together, and in our own home. Dr. Reid, a Presbyterian parson, baptized us. He was dining at our house.

We were playing in the sitting room. Brother Dick was in his cradle. Mother came into the room with water in her best china bowl. While she lighted the lamp my big sister caught me, dragged me to the kitchen pump and scrubbed my face to smarting. I was then given to Dr. Reid who presented me kicking furiously to God.

I would have been quite content to sit on Dr. Reid’s knee, but his tipping me flat like a baby infuriated me. I tried to bolt. Dr. Reid hung on to a curl and a button long enough to splash water on my hair ribbon and tell God I was Emily; then the button burst off and I wrenched the curl from his hand and ran to Mother. Dr. Reid and Mother exchanged button for baby. Dick gurgled sweetly when the water splashed him.

Father sat at the table with the fat family Bible open at the page on which the names of his seven other children were written. He added ours, Richard and Emily, which as well as being ours were his own name and Mother’s. The covers of the Bible banged, shutting us all in. The Bible says that I was born on the thirteenth day of December, 1871.

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.

0 comments

Reply