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Appendix: Different Ways of Looking

January 1, 1936:

I painted one of the thick jungle sketches. Perhaps I am getting "junglier." They won't be popular. Few people know the jungle, or care about it or want to understand it. An organized tumult of growth, that's what those thick undergrowth woods are, and yet there is room for all. Every seed has sprung up, poked itself through the rich soil and felt its way into the openest space within reach, no crowding, taking its share, part of the "scheme." All its generations before it did the same. Mercy, they are vital! There is nothing to compare with the push of life.

Emily Carr, Hundreds and Thousands: The Journals of An Artist. Toronto: Irwin Publishing, 1966, p. 214.

Many labels…have been pinned on Emily in the last few years…One that is often mentioned of late is "environmentalist"…Emily was a naturalist, almost a nature-worshipper, and she instinctively respected and loved the great British Columbia forests and clear-running rivers and streams. Littering, or any kind of destruction, was abhorrent to her and she was pained and shocked by the ruthless devastation caused by logging operations.

Edythe Hembroff-Schleicher, Emily Carr: The Untold Story. Saanichton: Hancock House, 1978, p. 274.

I think that Carr's late expressionist paintings of the forest also have to be seen as profoundly historical…the turbulence of Carr's paintings, produced within the same tradition of an allegorical national landscape, talks about the real turbulence of that history as enacted on the land—the industrialization of the wilderness.

Robert Linsley, "Landscapes in Motion: Lawren Harris, Emily Carr and the Heterogeneous Modern Nation" in Oxford Art Journal, v. 19, 1986, pp. 80–95.

In Grey there is no Indian form, though much of the Indian spirit is there: a dim and enfolded world, an iconic confronting silence, a symbolic eye, a glimpse into the secret inner heart of the timeless placeless forest. In no work do we find a stronger more poetic statement of Carr's mystical participation in the dark and haunted spirit of the forest to which the Indian had awakened her.

Doris Shadbolt, Emily Carr. Vancouver: Douglas & McIntyre, 1990, p. 143.