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.

Emily Carr is one strange bird. She makes paintings nobody wants, keeps a houseful of animals, and often disappears into the woods in a tiny house on wheels. But even those used to Emily's eccentricities are surprised when she comes home from a trip to buy birdseed with a small, lonely monkey. In Emily's rambunctious household, Woo the monkey is not lonely for long. She snatches at the parrot's feathers, chases the dogs and cats - and completely wins Emily's big heart. But when Woo's mischief turns dangerous, Emily fears she may lose the little friend who brings her so much joy. Will the strength of Emily's love, and Woo's own strength, be enough to save her? In When Emily Carr Met Woo, BC illustrator Dean Griffiths's watercolours capture the mood of the 1920's with historical details of Victoria and its surroundings. Monica Kulling, using prose as simple and expressive as Emily's own brush strokes, retells the true story of one of Canada's most beloved artists - and of her most beloved pet. The book includes historical photos throughout and concludes with a biography of Emily Carr.

Although Emily Carr is now considered a Canadian legend, the most enduring image is that of her pushing a beat-up old pram into downtown Victoria, loaded with dogs, cats, birds—and a monkey. Woo, a Javanese macaque whom Carr adopted in 1923, has become inextricably linked with Carr in the popular imagination. But more than that, in her short lifetime Woo became equally connected to Carr’s life and art. Born to a strictly religious family, Carr was never able to reconcile her wild and passionate nature with the stifling mores of the well-to-do Victorian society in which she was raised. Over the years, she increasingly turned to the company of animals to find the love and trust missing from her human relationships. Across the world in an Indonesian jungle lagoon, Woo (like Carr) was parted from her mother at a young age. The tiny ape with a “greeny-brown” pelt and penetrating golden eyes was then shipped across the world. When Carr spotted Woo in a pet store, she recognized a kindred spirit and took her home. Woo was many things to Carr—a surrogate daughter, a reflection of herself, a piece of the wild inside her downtown Victoria boarding house. Welcoming the mischievous Woo into her life, Carr also welcomed a freedom that allowed a full blooming of artistic expression and gave Canada and the world great art unlike any other before or since. However, despite Carr’s clear love for Woo, her chaotic life did not always allow Carr to properly care for her. Tragically, after Carr was hospitalized due to heart failure, she arranged for Woo to be sent to the Stanley Park Zoo. Bereft of Carr, Woo died alone in her cage only a year later. Hayter-Menzies approaches his subject from a contemporary perspective on bringing wild animals into captivity while remaining empathetic to the unique relationship between artist and monkey.

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.

An intimate and heartwarming collection of memories that puts one of Canada's most beloved and iconic artists into a whole new light. In 1916, Emily Carr wasn't famous. She was poor, and she taught art classes to children. One of her students was seven-year-old Carol Pearson. Pearson spent hours every day with Carr: they painted together at the water's edge, and she helped care for the dogs, birds, monkey and other animals that Carr kept as pets. They grew very close, and at the age of 14, Carol moved in with Carr. Emily nicknamed Carol "Baboo," and Carol called her "Mom." The two were "mother-and-daughter" for twenty-five years, up until Carr passed away. This touching tribute to Carr illustrates a gentleness and sensitivity not seen in other biographies. Originally published in 1954, this very unique biography reveals Carr's personality more fully than any other.

DigiCat Publishing presents to you this special edition of "Klee Wyck" by Emily Carr. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Shortlisted for the 2005-2006 Red Cedar Book Award, Nonfiction Selected as Honour Book by the Children's Literature Roundtable Information Book of the Year The brilliant artist Emily Carr lived at the edge. When she was born, in 1871, Victoria, British Columbia was a small, insular place. She was at the edge of a society that expected well-bred young ladies to marry. For years, she was at the edge of the world of artists she longed to join. Emily Carr’s life was not an easy one. She struggled against a family that did not approve of her art and against poor health. She found her pleasures in her many pets – a Javanese monkey named Woo, parrots, and many beloved dogs. Later, she would meet the artists of the Group of Seven and among them find her soul mates. When illness put a stop to her painting, she found expression and comfort in her writing. Her book Klee Wyck received Canada’s highest literary honor – the Governor General’s Award. Emily Carr: At the Edge of the World is an introduction to this remarkable artist and her paintings.