This book was astonishingly good. Although this book has apparently never been out of print, it doesn't really get talked about either. I think that's partly prejudice against it's autobiographical nature, and also people seeing Carr's writing as just a sideshow to her painting - painting which is, admittedly, way better and profounder and more important. However, no one should miss this wonderful little book.There are two tones which show up an awful lot in Klee Wyck - one is the quiet, reverential tone that can be felt in her descriptions of desolate ghost towns, overgrown totem poles, and rocky ocean beaches. This was my favourite thing about this book. Carr has a real reverence for nature that goes beyond the kind of nature-worship we associate with Wordsworth and Emerson, and reminds me most distinctly of Japanese writing. Writers like Shiga Naoya and Yasunari Kawabata use the same tone for their landscapes. The other major tone that shows up, and the reason I gave this book four instead of five stars, is a sentimental tone. I think someone could draw a handy parallel between Carr's empathy and respect for the First Nations of the coast, and her empathy and respect for all the animals she kept around her - as compassionate as she was, I'm still left with the feeling that she sentimentalizes both. This is big trouble in "Sophie" for example. It's an ode to her friendship with a Squamish woman. The problem is that it is built around the pathos of Sophie's losses, contrasted with her hopes. It ends up showing Sophie as a person wholly controlled by her circumstances. Carr seems to be able to empathize deeply with Sophie - and the story is a real tear-jerker because of it - but she can't seem to understand Sophie. However, I think when it comes to native-settler relations, we can give Carr a bit of a break. After all, she was there making genuine attempts to understand First Nations life and culture, and understand it as equal to her own. Klee Wyck shows her knowledge of the significance of the totem poles, alongside her love for them and desire to preserve them. This is what is so astonishing about the book - while residential schools were working in earnest to stamp out a whole complex of civilizations, Emily Carr was seeking to understand them, and communicate their majesty to settler Canada.Aesthetically then, this books has many gorgeous points, is great for atmosphere, but suffers from sentimental depictions of people. It is incredibly well-structured too -- I'm sure some critic could come along and reveal a profound meaning behind the decisions of order. By far the best story in the collection comes next to last, "Kitwancool," a story of her journey to a remote village in Haida Gwaii to sketch totem poles.
This book was first published in 1941 and was the first book published by noted Canadian West Coast artist, Emily Carr. Towards the end of her life, Emily Carr was finding it more difficult to travel and paint and started to edit the notes and stories she had written all her life so that they could be published. When a version of Klee Wyck was published for schools in the 1950s, some stories and some sections of the text were omitted. These were held to be counter to the prevailing political opinion that Native Indians should be educated in Residential Schools and forced to give up their "uncivilized" culture. Also omitted was Carr's scathing criticism of the Presbyterian missionaries.Recently, the original manuscripts have been unearthed and this edition includes the original text together with a preface explaining the changes.Carr's description of her visits to remote communities in British Columbia is lyrical and shows her courage and commitment to her art...truly an amazing woman for her time.
What do You think about Klee Wyck (2004)?
A wondnderful read! Carr offers us a window into her experiences as a young painter in search of totem poles to paint along the British Columbian coast. It is amazing how she can spin a story out of a few everyday events and write it down so simply. Equally amazing are her descriptions of the totem poles and how she personifies them. She literally paints them with words. I wish I could write like that.I must add that this book was purchased on a gift card I received from a student. Merci beaucoup, Angela! :o)
—Enikő
I give this 5 stars not because of literary merit but b/c it's so real, moment by moment just how things and people were, especially the Indians and how they were and their conditions. Wonderful descriptions of the land, the water, the boats. Especially loved her adventures, she would take off alone (except for her little dog) with anyone who would take her to see the totems. When she had to go below in that little boat and sleep in a "bed" the size of a coffin....yikes...I could hardly stand it. I would have stayed up top and probably drowned from being thrown over. Amazing woman, so glad she took the time to write her story.
—Bonnie
Living in Victoria B.C., Emily's fascination with the native culture of the area, specifically the Haida, is clearly celebrated in her clever and humorous tales as she moves about their lands to study and draw their totem poles. Her listless, respectful and resourceful accounts of life amongst the tribal villages is set eminent. Her love for their totem poles and the stories surround them had her working hard to try and gain the relationships she needed to help her gain access to what she was studying. Carr was an avid painter and writer representing much of the Pacific Northwest. I look forward to studying her artwork and reading more of her writings. Klee Wyck was her indigenous given name recognizing her constant smile.
—Scott
