Klee Wyck

Klee Wyck

Book - 2003
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The legendary Emily Carr was primarily a painter, but she first gained recognition as a writer. Her first book, published in 1941, was titled Klee Wyck ( "Laughing One" ), in honour of the name that the Native people fo the west coast gave her as an intrepid young woman. The book was a hit with both critics and the public, won the prestigious Governor Generals' Award and has been in print ever since.

Emily Carr wrote these twenty-one word 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.

A few years after Carr 's death, signifcant deletions were made to her book for an educational edition. This new, beautifully designed keepsake volume restores Klee Wyck to its original published verison, making the complete work available for th e first tim in more than fifty years. In her intriguing introduction, archivist and writer Kathryn Bridge puts Klee Wyck into the context of Emily Carr 's life and reveals the story behind the expurgations.

Publisher: Vancouver : Douglas & McIntyre, 2003
ISBN: 9781553650270
1553650271
Branch Call Number: 709.0346 CAR 2003
Characteristics: 152 p. : col. ill

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1aa
Feb 25, 2016

For all its editorial additions, this edition lacks a map, so the reader has no idea where the places are that the writer is going to.
The book is a collection of a series of vignettes of life, friends, and places of the author, with only an open-minded kindliness as a theme that holds it together. The writing tone is soft and quiet, rather like Naipaul (of Miguel Street), but without the smile and without the scorn.

Laura_X May 07, 2015

Written by and about my favourite Canadian. Emily Carr writes short stories of her life, her art, and her friendship with the NW Coast first nations people. A compassionate, slightly eccentric, and fiercely independent voice.

l
lisahiggs
Nov 27, 2012

I have to admit I’m pretty disappointed with this one. I was so completely blown away by The House Of All Sorts, and this earlier work is nowhere near as powerful despite a bigger landscape. There are some eerie pictures painted of empty Indian government villages and their abandoned totem poles, but there seems to be no beginning, no end, and no flow. Too bad, as this one won the Governor General’s award.

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