Dogs and Cats

At first, anxious to make people feel at home, happy in my house, I permitted the keeping of a dog or a cat, and I endured babies.

My Old English Bobtail Sheep-dogs lived in kennels beyond the foot of my garden. They had play fields. The tenants never came in contact with the dogs other than seeing them as we passed up the paved way in and out for our run in Beacon Hill Park. One old sheep-dog was always in the house with me, always at my heels. He was never permitted to go into any flat but mine. There was, too, my great silver Persian cat, Adolphus. He also was very exclusive. People admired him enormously but the cat ignored them all.

I enjoyed my own animals so thoroughly that when a tenant asked, “May I keep a dog or a cat?” I replied, “Yes, if you look after it. There are vacant lots all round and there is Beacon Hill Park to run the animal in.”

But no, people were too lazy to be bothered. They simply opened their own door and shoved the creature into the narrow strip of front garden, let him bury his bones and make the lawn impossible. Always it was the landlady who had to do the tidying up. I got tired of it. Anyone should be willing to tend his creature if he has any affection for it.

They managed cats even worse, these so-called “animal lovers.” Stealthily at night a basement window would open, a tenant’s cat be pushed through. The coal pile became impossible. I was obliged to ban all animals other than a canary bird, although I would far rather have banned humans and catered to creatures.

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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