The forest lover

Drawn to the danger & beauty of a vast wilderness & its people, Emily defies the wishes of her family, spurns suitors & establishes herself as an art teacher, venturing whenever possible along the wild coast of British Columbia.

Author Notes

Susan Vreeland was born in Racine, Wisconsin on January 20, 1946. She received a bachelor's degree in literature from San Diego State University. After graduating, she taught high school English in San Diego from 1969 to 2000. In 1980, she began writing articles about art, culture, and travel for newspapers and magazines. Her first novel What Love Sees was published in 1988. Her other novels include Girl in Hyacinth Blue, The Passion of Artemisia, Luncheon of the Boating Party, Life Studies, The Forest Lover, Lisette's List, and Clara and Mr. Tiffany. Her short fiction has appeared in numerous publications including The Missouri Review, Ploughshares, New England Review, Alaska Quarterly Review, and Connecticut Review. She died after heart surgery on August 23, 2017 at the age of 71.

(Bowker Author Biography)

Reviews (3)

School Library Journal Review

Adult/High School-This novel portrays 20 years in the life of British Columbia painter Emily Carr, who was determined to preserve the Indian heritage, especially the totem poles, of the Pacific Northwest in her art. Living in the late 1800s, when women were supposed to be subservient homemakers and not adventuresome and out on their own in the forests, Carr knew what she wanted and then went after it, even when this meant doing without food. Although she is about 30 when the story opens, teens will relate to her rebellious streak, her firm adherence to her beliefs, and her unusual friends. Those interested in art history will appreciate the discussions of technique and reading about her year in Paris as she learned from prominent artists. The novel is decidedly heavier reading than the author's Girl in Hyacinth Blue (MacMurray & Beck, 1999), and sometimes the Indians' dialogue is in pidgin English. Four black-and-white reproductions and the color dust jacket represent a few of Carr's works.-Claudia Moore, W. T. Woodson High School, Fairfax, VA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publisher's Weekly Review

The Canadian artist Emily Carr (1871- 1945) could be a feminist icon. Spirited and courageous, inspired by an inner vision of "distortion for expression" and by a mission to capture on canvas the starkly fierce totem poles carved by the Indian tribes of British Columbia, Carr endured the disapproval of her family and of society at large until her belated vindication. One of the pleasures of this beguiling novel based on Carr's life is the way Vreeland (Girl in Hyacinth Blue) herself has acquired a painter's eye; her descriptions of Carr's works are faithful evocations of the artist's dazzling colors and craft. No art schools taught the techniques that Carr felt suitable to the immense, rugged landscape of British Columbia. Moreover, when she ventured into isolated tribal villages and befriended the natives, braving physical discomfort and sometimes real danger, she was accused of "unwholesome socializing with primitives." Drawing on Carr's many journals, Vreeland imagines her experiences in remote areas of B.C. as well as in Victoria, Vancouver and (briefly) France. There are few dramatic climaxes; instead, Vreeland emphasizes Carr's relationships with her rigidly conventional siblings and with her mentors and colleagues. She vividly describes the obstacles Carr faced when she ventured into the wilderness and in her periods of near poverty and self-doubt. A fictitious French fur trader introduces a romantic element, which may offend purists. Much of the suspense comes through Carr's affectionate relationship with a real woman, Sophie Frank, a Squamish basket maker who loses nine children to white men's diseases. Adding to Sophie's emotional desolation is the torment introduced by inflexible Christian dogma that alienates tribes from their native traditions and spiritual beliefs. Vreeland provides this historical background with the same authoritative detail that she brings to the Victorian culture that challenged Carr's pioneering efforts. Her robust narrative should do much to establish Carr's significance in the world of modern art. Agent, Barbara Braun. 17-city author tour. (Feb. 9) Forecast: Vreeland's sizable audience should guarantee this book an early place on the charts. (c) Copyright PWxyz, LLC. All rights reserved

Library Journal Review

After Vermeer and Artemesia, Vreeland paints the life of obscure but trailblazing artist Emily Carr (1871-1945). nonfiction (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Part I
1 Salmonberry	p. 3
2 Cedar	p. 9
3 Lady Fern	p. 15
4 Douglas-fir	p. 24
5 Eagle	p. 29
6 Muskrat	p. 37
7 Fox	p. 45
8 Spruce	p. 52
9 Mew Gull	p. 61
10 Killer Whale	p. 68
11 Horsetail	p. 79
12 Bear	p. 84
13 Raven	p. 88
14 Cedar	p. 97
Part II
15 Sparrow	p. 109
16 Sisters	p. 121
17 Gibb	p. 127
18 Frances	p. 132
19 Chestnut	p. 142
Part III
20 Huckleberry	p. 149
21 Loon	p. 160
22 Raven	p. 167
23 Willow	p. 179
24 Mosquito	p. 188
25 Mink	p. 196
26 Moss	p. 205
27 Salal	p. 212
Part IV
28 Eagle	p. 227
29 Grass	p. 233
30 Camas	p. 240
31 Dzunukwa	p. 247
32 Maple	p. 251
33 Arbutus	p. 255
34 Salmon	p. 259
35 Woo	p. 265
36 Cedar	p. 271
37 Frog	p. 278
38 Aspen	p. 284
Part V
39 Raven	p. 295
40 Sanderling	p. 298
41 Dogwood	p. 305
42 Hemlock	p. 310
43 Wolf	p. 314
44 Alder	p. 322
Author's Afterword	p. 329
Illustration Credits	p. 333

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