Happy, Happy Children

Published: 4 December, 2007

Written by Marilyn Jones

The electric bulb over our bed was still swaying when I opened my eyes. It was evident someone had just switched it on. By the clock it was early morning. By the hole in the sky which was the open dormer window it was little beyond the murk of daybreak. I tore my eyes from sleep and sat up; Middle(1) was sitting up beside me blinking but calm. What churned the wonderment over and…

Published: 4 December, 2007

Written by Marilyn Jones

Topsy Tiddles was not anybody. She was not wrought in flesh and blood, but existed as a boat exists in fog… there, but hidden. It came with fearful ardent rushing, this idea of Small’s that she must say things, but she did not know how to. I don’t mean just talk. “Everyone with a tongue can do that,” Small told herself. “But I want to make my tongue and my heart work together.” …

Published: 4 December, 2007

Written by Marilyn Jones

At the back of our old home garden were two giant squares of orchard, one of pear, one of cherry trees, each square as big as a city lot. Between was a long, long asparagus bed, and there was spare land flanked by a gravel walk. This spare strip of earth was cut into the children’s gardens. Each child could do exactly what he liked in our own garden. It was unsupervised, the most…

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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.

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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.”

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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.

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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.

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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.

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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,

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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.

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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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This and That

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hosted, designed & maintained by Marilyn Jones for the walks & talks, bus tours and presentations she offers on Emily Carr in-person and online from Victoria, BC.

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