primarily a painter, but she first gained recognition as a writer. Her writing inevitably invites comparison with her painting : Carr's gifts with words are of a different but not a lesser order; she achieves a remarkable purity of effect through her careful translation of images, perceived by a keenly sympathetic eye, into translucent language. The name itself lends the reader to believe that it is a poisonous place. The children staring, indicates they don't have much contact with outside world. A few years after Carr's death, signifcant deletions were made to her book for an educational edition. Klee Wyck, collection of literary sketches by Emily Carr (Toronto 1941). When the Missionary put A, B, C on the board the children began squirming out of their desks and pattering who is Judith Thomson? down to the drinking bucket. Carr's clear, poetic prose summons up totems, abandoned villages, Indian character, broken-English dialogue and natural scenery without lapsing into nostalgic sentimentality, sociology or romance. Ask our professional writer! Children running to the water bucket symbolizes that they hate what is being taught and they need to wash out their mouths of the poison they are being fed by the missionaries. Klee Wyck - the Indian name given Carr, meaning "Laughing One" - is an evocative work that describes in arrestingly vivid detail the central influence on Carr of Northwest Coast Indian life.
There were no blinds or curtains. When she first arrived at Ucluelet she encounters the mission house, which is named "Toxis " (31). Next Essays Related to Appropriation of Aboriginal Culture in Klee Wyck.
The uninviting missionaries and the repressing environment she encountered in Ucluelet, drives Carr's identification with the aboriginal people. Klee Wyck, collection of literary sketches.
A World of Mixed Cultures,
It looked, as we paddled up to it, as if it were stuffed with black " (31). "The house was of wood, unpainted. 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. The dipper registered each drink with a clank when they threw it back " (34). Emily Carr was an artist that was deeply influenced by aboriginal populations in the Pacific Northwest, Canada. The fact that the house is unpainted and stuffed with black indicates individuality is not fostered here. After the Lord's Prayer the Missionaries duetted a hymn while the children stared. In her intriguing introduction, archivist and writer Kathryn Bridge puts Klee Wyck inyoto the context of Emily Carr'slife and reveals the story behind the expurgations). Emily Carr's rebellion against the male dominated Victorian society is initiated by the unwelcoming environment of the missionaries in Ucluelet, leading to her self-identification with the aboriginals and appropriation of their culture. Female artists during this time were struggling to find their own identity in a society where artistic topics and styles are mainly determined by their male counter parts.
Appropriation of Aboriginal Culture in Klee Wyck