Most Popular Books by Emily Carr

In "The Book of Small," Emily Carr presents a poignant collection of autobiographical sketches that illuminate her formative years in British Columbia. Employing a lyrical prose that vividly captures the essence of her childhood, Carr intricately weaves memory and observation, blending elements of nature with introspection. The work situates itself within the early 20th-century Canadian literary context, exploring themes of place, identity, and the deep connection between humanity and the natural world, all while showcasing Carr''s distinctive voice that is both playful and reflective. Emily Carr, an influential Canadian artist and writer, is renowned for her pioneering depictions of the West Coast landscape and Indigenous cultures. Born in 1871, her artistic sensibilities and affinity for nature profoundly influenced her literary work. "The Book of Small" reflects her personal experiences and observations in a rapidly changing world, revealing the complexities of her identity as a woman and an artist. Through her evocative storytelling, Carr invites readers into her childhood with a charming authenticity that resonates deeply. This exquisite collection is recommended for readers seeking a delicate fusion of art, nature, and memoir. Carr''s insights into her early life offer not only a glimpse into her own development as an artist but also a meditation on the beauty of the world around us. "The Book of Small" is a must-read for anyone looking to explore the intertwining of creativity and the lived experience.

A new edition of Emily Carr’s final writings, This and That is a collection of autobiographical stories that gives fans of her work insight into the artist’s childhood, education, and development as a painter and writer. Written in the last two years of Emily Carr’s life, the stories collected in This and That (which Carr wrote under the working title “Hundreds and Thousands”) were buried in the BC Archives for decades after their author’s death, not published in book form until 2007. This revised edition includes five more stories and an updated introduction, and is illustrated with some of Carr’s own artwork. Centred on the Carr home on Government Street, the collection includes vivid snapshots of family life, told from the frustrating but often comical position of being the youngest of four strong-minded daughters. We meet beloved family pets, a plant-loving father with a fearsome temper, a hated aunt, siblings, neighbours, shopkeepers, and local personalities. In these pages Carr traces her beginnings as a writer, her time at art school in San Francisco, visits to places like Nootka and Skidegate, and the early reaction to the change in both her painting style and subject matter these trips brought about. Carr’s stories conjure the world of folk tales with a generous dash of Nancy Mitford. Taken together these anecdotes comprise a slant-wise autobiography of an artist ahead of her time in Victoria at the turn of the twentieth century.

Emily Carr’s journals from 1927 to 1941 portray the happy, productive period when she was able to resume painting after dismal years of raising dogs and renting out rooms to pay the bills. These revealing entries convey her passionate connection with nature, her struggle to find her voice as a writer, and her vision and philosophy as a painter.

Grade level: 6, 7, 8, 9, 10, 11, 12, e, i, s.

Emily Carr was primarily a painter, but she first gained recognition as an author for her seven books about her journeys to remote Native communities and stories about life as an artist, as a small child in Victoria at the turn of the last century—and as a reluctant landlady. Before winning recognition for her painting and writing, Carr built a small apartment building with four suites (she lived in one of them) that she hoped would earn her a living. But things turned out worse than expected, and in her forties, the gifted artist found herself shoveling coal and cleaning up after people for 23 years. The House of All Sorts is a collection of 41 stories of those hard-working days and the parade of tenants- young couples, widows, sad bachelors and rent evaders— all the tears and travails of being a landlady confronted with the startling foibles of humanity. Carr is at her most acerbic and rueful, but filled with energy and inextinguishable hope. Carr’s writing is vital and direct, aware and poignant, and as well regarded today as when The House of All Sorts was first published in 1944 to critical and popular acclaim. The book has been in print ever since.

Collected from Emily Carr’s private and public writings, 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.

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, Carr presents a funny, poignant account of her 18-month convalescence.

In ''Growing Pains,'' Emily Carr, one of Canada''s pioneering modernists, presents her vivid autobiography with a literary fabric rich in color, emotion, and depth. Carr''s narrative navigates through the raw landscapes of her life, both external and internal, with prose that sings of the natural world and the intricate tapestry of her own inner experiences. The canvas of her memoir is etched with the chiaroscuro of adversities and triumphs, chronicling her development from a young artist to a figure of iconic stature in Canadian culture. The work stands as an emblem of early 20th-century women''s literature, resonating with a voice ahead of its time, laying bare the quintessence of an artist whose legacy intertwines tightly with the nation''s artistic evolution. Emily Carr was not only a writer but an artist whose works are intrinsically associated with the Canadian identity, often synonymous with lush landscapes, spirited forests, and totemic art influenced by Indigenous cultures of the Pacific Northwest. It is through her authorial lens that readers gain insight into the compelling journey that informed her oeietic vision. ''Growing Pains'' emerges not merely as a historical document but as a confluence of her life''s work, imbued with the essence of her artistic soul that transgressed conventional expressions in both her paintings and literary explorations. ''Growing Pains'' is a must-read for aficionados of autobiographical literature and those with an interest in the cultural and artistic tapestry of Canada. It offers not only a window into the life of an extraordinary individual but also serves as a testament to the enduring power of self-expression against the backdrop of societal challenges. Scholars, students, and general readers alike will find in Emily Carr''s autobiography a poignant narrative that exemplifies the resilience of the human spirit and an invaluable addition to the canon of Canadian cultural history.

A collection of short stories about people and animals by the legendary Emily Carr that mingle the sad and the joyous, the cruel and the tender, in her unique style. The Heart of a Peacock is a collection of 51 short stories by the legendary writer and painter Emily Carr. The stories are arranged in themes such as her experiences with Native people, her adventures with various beloved creatures (particularly birds), her love of nature, and a whole section of stories about her mischievous pet monkey Woo. Together, they underline Emily 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. The Heart of a Peacock has been in print ever since its publication in 1953, and, like her other books, has been read and loved by a couple of generations. The book is enhanced by seven of Carr’s own line drawings of scenes from nature. Carr’s first book, published in 1941, was titled Klee Wyck, won the Governor General’s Literary Award for non-fiction. Her writing is vital and direct, aware and poignant, as well regarded today as when first published.

This delightful book combines 25 stories about dogs with 16 playful drawings by famous Canadian writer, artist, and animal lover Emily Carr. She tells of her joys and tribulations raising Old English sheepdogs, from her decision to start a kennel to the sad day when she had to close it. With each story Carr brings the affectionate and loyal nature of her canine companions to life, making this book an ideal choice for any dog lover, child, or adult.

Excerpts from Carr''s own writings combined with reproductions of over 200 works.

In "Fresh Seeing," Emily Carr showcases her profound connection to the landscapes and cultures of the Pacific Northwest, blending her unique vision with a stunning array of artistic expression. The book delves into Carr''s reflections on her artistic journey, characterized by vivid prose and evocative descriptions that resonate with her Impressionistic style. Set against the backdrop of early 20th-century Canada, "Fresh Seeing" serves not only as an exploration of visual art but also as a poignant meditation on the relationship between nature and identity, revealing Carr''s deep appreciation for Indigenous cultures and the natural world. Emily Carr, an iconic figure in Canadian art, found her voice amidst the male-dominated art community of her time. Her travels to British Columbia''s coastal Indigenous communities profoundly influenced her work, as she sought to articulate the beauty of both the land and its peoples. Carr''s struggles against societal norms and her relentless pursuit of artistic authenticity imbue "Fresh Seeing" with a sense of urgency and personal insight, highlighting the trials and triumphs of a woman claiming her place in the arts. This remarkable book is a must-read for anyone interested in the intersections of art, nature, and identity. Carr''s lyrical prose and poignant reflections invite readers to not only appreciate her artistic evolution but to engage with their own perceptions of the world around them. "Fresh Seeing" is a testament to the power of art as a means of understanding and experiencing life in all its complexities.

In "Klee Wyck," Emily Carr offers a rich tapestry of her experiences as an artist and observer of Indigenous cultures on the Pacific Coast of Canada. Written in a lyrical and impressionistic style, the book comprises a collection of autobiographical sketches that vividly depict the landscapes, peoples, and spiritual essence of the First Nations. Carr''s profound appreciation for the natural world and her empathetic connections with Indigenous communities shine through her vivid prose and evocative imagery, creating a unique blend of memoir and cultural commentary that invites readers to contemplate the intersection of art and identity in early 20th-century Canada. Emily Carr, a pioneering figure in Canadian art, was deeply influenced by her interactions with Indigenous peoples and their cultures. Her artistic journey, marked by a defiance of societal norms and a commitment to self-expression, led her to explore and document the coastal environments she cherished. Growing up in British Columbia, Carr''s upbringing among the majestic forests and seascapes profoundly shaped her worldview, imbuing her literary and artistic endeavors with a sense of place and belonging reminiscent of her visual works. "Klee Wyck" is a commendable read for those seeking to understand the complex dynamics of culture and nature, as well as for individuals interested in the intricate dance between writing and visual art. Carr''s eloquent observations and intimate storytelling not only serve to honor Indigenous peoples but also inspire readers to appreciate the beauty and diversity of their heritage.

Transform your IT project and make change stick with this step-by-step guide. In today''s fast-paced world of change, companies expect you to do more, with less. Drawing on over a decade of Change Management experience as a consultant with Fortune 500 companies including IBM and NCR, Emily Carr shares the secrets to making change happen smoothly. If your company is like most, the number one reason that projects have failed over the years don''t have to do with technology. They have to do with people. People didn''t like the new technology. People weren''t trained properly on the change. People hadn''t received adequate communications and didn''t understand the change. Sound familiar? Project teams rarely forget to work on the technology, but they often forget to work with the people, and no matter how amazing your new technology is, it''s useless unless people use it efficiently. This book will help you focus on the people. Packed with templates, checklists, and real-life examples, this user-friendly guide will provide you with the insights and guidance of an expert consultant, for a fraction of the price. You''ll follow a clearly laid out path from Change Management novice to confident and prepared change manager. You''ll be introduced to the Five Pillars of Change: Sponsorship, Stakeholder Management, Communication, Training, and Organization Design. You will work step-by-step through templates in each pillar to build and run a comprehensive Change Management plan tailor-made to your project and organization.

This collection includes 150 letters Emily Carr wrote to her friends Nan Cheney and Humphrey Toms, and 100 other letters relating mainly to Emily Carr. The letters date from 1930 to 1945, the most prolific period in Carr''s career as both painter and writer. In them she writes in colourful detail about her everyday activities, and discusses her painting - "the biggest thing in my life." There are outbursts of exasperation and anger as well as many indications of her caring, her warmth, her wisdom and her wit, and of her impatience with critics and poseurs, and they give insights into her various relationships with, among others, Lawren Harris, Ira Dilworth, Jack Shadbolt, Garnett Sedgewick, Dorothy Livesay, A.Y. Jackson, and Arthur Lismer. Nan Cheney and Humphrey Toms shared Emily Carr''s interest in art. Carr''s relationship with Cheney dated back to 1930 but did not flourish until 1937 when Cheney moved from Ottawa to Vancouver to become the first full-time medical artist at UBC. Humphrey Toms was only twenty years old when he first met Emily Carr, having asked to visit her after seeing some of her paintings, following which a warm friendship developed. The correspondence between Cheney and Toms reveals how Carr was regarded at the time and attests to their mutual interest in the Vancouver art scene. As an active member Cheney relates gossip about the local art community, providing a very personal and often exceedingly critical view of the Vancouver art milieu of the time. Doreen Walker has chosen not to change the original text of the letters and includes Carr''s misspellings and grammatical irregularities, which give a feeling of immediacy to the writing. There are numerous examples of her talent for graphic description, how she felt "rag rug level" when depressed and how she "was sat down with a spank" when ill. Perhaps most significant are the many revelations of her deep commitment to her work and of her industry and perseverance despite her failing health. "Queer how we go on," she wrote to Cheney, "luck there is so much rubber in human composition."

Catalogue of the post-impressionist Canadian artist Emily Carr published by Mendel Art Gallery.

If ostranenie—to make strange—is the mandate of contemporary poetry, EMILY CARR has achieved this both brilliantly and beautifully. Kaleidoscopic in its glimmering slivers, the life she brings us is built of charged familiars slightly and completely changed: the sun turns on its stem; the stallion rolls in a pasture of blue ether. Although she references poetic antecedents from Wallace Stevens and William Carlos Williams to Joan Retallack and Mary Ruefle, it’s not their voices, but their facility for invention, itself here reinvented, that keeps waking us up into a world sometimes alarming, often unsettling, and always careening until we, too, arrive ‘delirious & shredded, sailing sideways through the greenly ravished vowels.’—COLE SWE01 General/tradeEN

Thc Emily Carr Omnibus includes all her major published works. Here are her much-loved early stories, ranging for the gentle recollections of Klee Wyck and The Book of Small, to the acerbic The House of All Sorts, as well as the lesser-known Pause and The Heart of a Peacock. Here also are more personal works: Growing Pains, her autobiography, and her collected journals, Hundreds and Thousands.

A smartly packaged, affordably priced collection of the works of a Canadian icon. Nearly seventy years after her death, Emily Carr''s works continue to capture the grandeur of British Columbia''s landscape and define our vision of the nation. The approximately one hundred works reproduced in this collection showcase the breadth of Carr''s career, from early watercolours in Skidegate and Alert Bay on the northwest coast to charcoal sketches in mid-career to the stunning oils of trees, ravens, and mountains that characterized her later career. Beautifully designed, its small format and price ideal for giftbuyers and visitors to the province, this volume is a compendium of some of Carr''s best and most memorable works.

Though fame came late to Emily Carr, today she is hailed as a major and influential figure in the history of Canadian art and as a writer of unique and extraordinary talent. In this book, Courtney Milne has taken the best of Carr''s writing about the land she loved and has matched it to a stunning selection of his own photographs of the West Coast. In a vigorous and colourful post-impressionist style, Emily Carr painted the vanishing native villages and totem poles of her beloved coastal British Columbia, and later in her career produced beautifully lyrical paintings expressive of the spirit and rhythms of Western forests, beaches, and skies. She also poured her talent into books about her life and art, her love of animals and nature, her frustrations and disappointments, her many sources of joy. An annual visitor to the West Coast, Courtney Milne has been making photographs with the words of Emily Carr in mind for close to 20 years. To put this book together he has collected his favourite quotes from Carr and combed through many thousands of his photographs to find the perfect image to match a chosen piece of prose. The result is a spellbinding duet of text and pictures from two gifted and sympathetic artists.