Land’s End

Author: 
Christopher Grabowski
Teaser: 

The resource towns along the west coast of Canada—those that have survived, and those that haven’t—tell a story of land’s end, as a place and as a possibility.

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The resource towns along the west coast of Canada—those that have survived, and those that haven’t—tell a story of land’s end, as a place and as a possibility.

In 1999, Christopher Grabowski, a documentary writer and photographer, read an article in the Globe and Mail, reporting that the Department of Fisheries and Oceans withheld a major study of economically devastated West Coast fishing communities and then released a sanitized version, omitting the criticism contained in the original report. He packed his notebook and camera and set out for the west coast of Canada, north of Vancouver, a vast, rugged mosaic of islands, peninsulas and waterways at the edge of the continent. There he travelled from place to place usually by water, because no roads can be built there and talked to people in towns and villages whose world had changed profoundly, almost overnight. That trip turned out to be the first of many over the next ten years.

The west coast of Canada, which extends 965 kilometres northwest of Victoria by air (about 27,000 kilometres of coastline), once supported scores of resource towns and other single-industry communities. Fish, forests and minerals were rich, abundant and conveniently located near myriad waterways for easy shipping to destinations near and far. These resources have been extracted in huge quantities for some two hundred years, faster and faster as each decade has brought new technology and new demand for the products.

Along the west coast, as in other Canadian hinterlands, most of this bounty has been obtained in resource-dependent towns: small, remote settlements built around mines, mills, fisheries, railways, smelters, etc., to accommodate the workers who extract and process the resources. Workers and their families moved long distances to settle in these small, isolated towns, which had access to the outside world only by steamship (and, by the 1950s, small aircraft), because the wages were good. But resource towns are precarious by nature: the raw materials can simply run out, and world markets (most products are exported) are unpredictable.

Even when exports are healthy, businesses and governments are vulnerable to the pressures of globalization and outsourcing, and residents have little or no control over the local economy.

The post-war boom in B.C.’s resource-dependent economy could not last forever. In the early 1980s the economy stalled and then plummeted. In only two centuries, a priceless trove of natural resources that had been maintained by indigenous people for thousands of years had been plundered; much of it could never be restored. Over the next decade, many small centres along the Pacific coast were devastated. Some towns managed to sustain themselves with other activities; some limped along in a smaller, slower economy; some were abandoned.

The story of these places that emerged for Grabowski years later, at the turn of the millennium, is about “land’s end” in the geographic sense. It is also about the end of an economy based on the assumption of infinite natural resources, and about the frontier communities that made the resource boom possible. It is a story about missed opportunities, but also the many opportunities that are yet to be explored, particularly the chance for all of us to look at British Columbia’s resource and single-industry towns—those that have survived and those that haven’t—from a fresh perspective.

Ucluelet, Winter Harbour, Sointula, Zeballos, Telegraph Cove—even the names of the places Grabowski visited point to a long, miscellaneous, rich history of settlement and livelihood. The two towns described here, Ocean Falls and Alert Bay, represent two very different perspectives on land’s end—as a place, as an idea, as a possibility.

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The pulp and paper mill at Ocean Falls, 2008. A sawmill began operation in 1909, and this mill opened in 1912. In 1954, Crown Zellerbach Canada took control of the town and the mill. Production slowed during the 1960s, and in 1973 the company closed the mill. The provincial government revived the operation in 1973 but closed it permanently in 1980, and eventually destroyed most of the buildings in the town.

The best way to get to Ocean Falls, a very small community 480 kilometres north of Vancouver and accessible only by air or sea, is to travel to the northern tip of Vancouver Island and then proceed north by ferry, following inlets and channels of unsurpassable beauty. The ferry stops at isolated communities to unload cargo and to let a few passengers disembark. After about a day and a half of sailing, it arrives at Ocean Falls—or what’s left of it—in the middle of the night.

Ocean Falls, known as one of the the rainiest inhabited places in Canada, was occupied by the Heiltsuk people for thousands of years. In 1906 a group of American and British businessmen

chose this place as the site of a sawmill, mainly because of the power that could be generated by the waterfall there. The seasonal Heiltsuk village at the base of the waterfall was moved, and the mill was up and running by 1909. Three years later the Ocean Falls Company built a pulp and paper mill, and the town grew rapidly. A hotel was built, as well as tennis courts, two churches, a dancehall and, in 1928, an indoor swimming pool. At its peak in the 1950s and ’60s, Ocean Falls was home to more than four thousand people.

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The library in the former high school at Ocean Falls, one of several concrete structures that were not destroyed in 1985. The school building held up well against the elements until one winter when the skylights collapsed under several feet of snow. Since then, a dense carpet of ferns and moss has grown over the floor. Small trees have taken root, vines creep up the walls and the echoing sounds of dripping water can be heard. The overall sense is of being in a cave, a space that invites one to explore and reflect, a space that encourages the hunter-gatherer mind.

In 1972, Crown Zellerbach Canada Ltd., which now owned the paper mill and the town, decided not to upgrade the mill at Ocean Falls despite record sales exceeding $200 million. The company had begun to develop a more modern plant at Elk Falls, near Campbell River on Vancouver Island, and the provincial Social Credit government agreed to transfer the timber rights from the Ocean Falls operation to the new mill.

Crown Zellerbach began shutting down the mill and Ocean Falls in 1973. That was an election year, and the new ndp government bought Ocean Falls for $1 million and restarted the mill.

But having lost the timber rights, the operation had to buy more expensive timber on the open market; in 1980 the mill was shut down permanently by the Social Credit government, which had returned to power. Five years later the government began to remove Ocean Falls—that is, to destroy houses, commercial buildings, gardens and everything else by bulldozing them and burning them down. Residents tried to stop the demolition, going so far as to place themselves in front of huge backhoes, but they were forced to give way. “On August 23,” wrote Peter Offerman in a report for the Ocean Falls Improvement District, “dejected residents stayed away from the town site while half a century of history was flattened in just a few hours.”

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A handwritten inscription at the bottom of this photograph reads: "Ocean Falls construction crew, 1910." At this point the Heiltsuk village had been moved, the land had been cleared and the newly constructed mill was operating. Of the twenty-six well-dressed, confident-looking Caucasian men, fifteen hold rifles or shotguns, and several carry sidearms. Photo courtesy of Royal B.C. Museum, Archives (I-50604).

Photos of the destruction of Ocean Falls by fire and bulldozer are from the album of Gwen Owen and are reproduced with her permission. She is one of the current residents of the townsite.

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The ballroom of the Ocean Falls hotel, 2008. The population of the town was once a healthy four thousand who supported a K-12 school system, a hospital and one of the province's largest hotels. The community was known internationall for its champion swimmers, who comprised half the Canadian Olympic swim team in 1964.

Today Ocean Falls is home to about thirty-five people year-round and about a hundred in summer. It is administered by the Ocean Falls Improvement District, a designation that the provincial government made in 1986 in response to residents’ vigorous protests. The town’s largest employer is the Central Coast Power Corporation (ccpc), and there is a volunteer fire department, a post office, a yacht club and a library association, among other services. Both the ccpc and concerned residents have tried to encourage silviculture, tourism and other enterprises; but the future of ferry service is uncertain, and the old mill site is contaminated with asbestos and other materials. In fact, according to the Central Coast Regional District, the site is “an unsightly mess”; there is disagreement as to who is responsible for cleanup.

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Another view of the ballroom of the Ocean Falls hotel, 2008.

A view of the rugged local waterways from Ocean Falls. According to a writer at traveloceanfalls.com, "There has been a million pictures taken of the area and not one of them does it justice. It's impossible to really know how beautiful it is until you've seen it with your own eyes. If you've been here and seen it, it's in your memory forever and you know what I mean. If not, well . . . that's a shame.

Alert Bay

Cormorant Island, a few miles off the northeast corner of Vancouver Island, and Alert Bay, the snug harbour inset into its coastline, were named for British warships in 1846 and 1858. The bay had been a seasonal gathering place for the ’Namgis (Nimpkish), a Kwakwaka’wakw nation, and by 1890 had became a permanent settlement for them with a residential school, salmon cannery and church, and in the early twentieth century a sawmill and hospital. The town of Alert Bay that emerged consisted of a “White End” and a “Village” made up of two Indian Reserves. The island is now home to a diverse population of about fifteen thousand people, divided fairly evenly between the Village of Alert Bay, the ’Namgis First Nation and Whe-la-la-u Area Council.

During the period of first contact, European trading methods were congenial to traditional Aboriginal practices; but as the Europeans developed resource-extraction industries, Aboriginal culture was displaced by the economic culture of company towns and other single-resource towns (based on commercial fishing, logging, mining, etc.), and the Aboriginal workers formed the bulk of the labour force. The gold rush of the 1850s brought thousands of new immigrants into the hinterland, and the diseases of Europe took an enormous toll among Aboriginal people.

Measles, influenza, tuberculosis and smallpox killed thousands of Native people in just a few decades. By 1920 the original population of nineteen thousand Kwak’wala speakers on the west coast had been reduced to one thousand, a decline of 95 percent. Many villages and food sites were abandoned.

As the settler population surpassed the Aboriginal population, and western industrial practices proliferated, the role and status of Aboriginal people as stewards of a hunter-gatherer economy were reduced to those of day labourers. In 1884 the Canadian government outlawed the potlatch ceremonies with which the Kwakwaka’wakw and other First Nations marked important occasions such as marriage, naming, house building and honouring the dead. Potlatches could go on for days of feasting, dancing and bestowing gifts.

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A weathered totem pole stands in front of the former St. Michael's Residential School at Alert Bay. Built in 1929, the school was operated by the Anglican church. The curriculum included academic subjects, carpentry, boat building and farming. First Nations children as young as six were forced into St. Michaels's. One of them, as an adult, reported that he did not know any English and was beaten repeatedly for trying to speak his native language. The building was turned over to the 'Namgis First Nation in 1975.

In December 1921, Chief Dan Cranmer organized a potlatch at Village Island near Alert Bay and invited about three hundred guests. The occasion was Cranmer’s marriage, and the ceremony would also mark the transfer of certain rights. On the first day, Cranmer received gifts from his wife’s family, all of which, along with his own fortune, he gave away in the course of the celebration. Police charged forty-nine people with violating the potlatch law, and twenty-six people were imprisoned in the penitentiary in New Westminster. Ceremonial items were seized; some were sent to North American and European museums.

St. Michael’s Indian Residential School for boys and girls was established at Alert Bay by the Anglican Church in 1882. Residential schools were funded by the federal government and run by churches; their purpose was to assimilate Native children into the dominant society. Children were taken from their families to live for most of the year in the schools, where they learned some skills but also were punished harshly for speaking their own languages and engaging in Native cultural practices. Outbreaks of disease killed large numbers of children. Physical, sexual and psychological abuse were rampant throughout the ninety years or so that the schools operated.

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The first salmon cannery in Alert Bay was constructed in 1870, the first lumber mill in 1887. The Kwakwaka'wakw named this spot Ya'Lis, meaning "spreading-leg beach." Today there are fewer than two hundred people who speak Kwak'wala and would user that name.

The ban on the potlatch was never repealed; instead it evaporated in 1951 when a new Indian Act was drafted by the federal government. Aboriginal Canadians were given the right to vote in 1960. Most of the residential schools in Canada were closed in the late 1960s and early ’70s. St. Michael’s School at Alert Bay was acquired by the ’Namgis First Nation in 1975 and eventually renamed ’Namgis House. For three generations, Aboriginal communites in Canada suffered the accumulating effects of cultural suppression and are today emerging from the resulting nexus of poverty, substance abuse, mental illness and poor education. Languages and traditions are being recovered; populations are regenerating.

In June 2008, Prime Minister Stephen Harper issued an official apology to Aboriginal people who had suffered in residential schools. “This policy has had a lasting and damaging impact on Aboriginal culture, heritage and language,” Harper said. He cited “tragic accounts of the emotional, physical and sexual abuse and neglect of helpless children, and their separation from powerless families and communities.”

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Tsasala dancers. Ancient memories of the coast are preserved at the U'mista Cultural Centre in Alert Bay, and in teh song, stories, artwork and ceremonies of the Kwakwaka'wakw.

After living in Vancouver for some thirty years, Flora Rufus moved back to the village of Alert Bay, where she was born. When the Vancouver Sun writer Stephen Hume asked her what was permanent in this community, she responded: "Me. I plan to die here." When her picture was taken at the edge of the old burial grounds at Alert Bay, she put on her mother's bright red ceremonial dress and stood motionless in contemplation, gazing toward the setting sun.

Beginning in 1979, some of the Kwakwaka’wakw property confiscated at Dan Cranmer’s potlatch in 1921 was returned to the community. Some of the items can be seen at the U’mista Cultural Centre in Alert Bay.

Christopher Grabowski’s photography and stories have appeared in many publications and art galleries in North and South American and in Europe. He is a recipient of the Michener-Deacon Fellowship and a frequent contributor to Geist. “Land’s End” is part of the Geist Memory Project and is made possible by assistance from Arts Partners in Creative Development.


Former Geist web editor Josh Wallaert sat down for coffee with documentary photographer Christopher Grabowski to talk about Land’s End you can read the interview here.

Andrea Sanborn, on her Harley-Davidson motorcycle outside the U'mista Cultural Centre in Alert Bay. Sanborn is curator of the centre, which houses the well-known Potlach Collection of masks and other ceremonial objects belonging to the Kwakwaka'wakw.

Date Published: 
November 9, 2009

Memory and the Valley

Author: 
Sandra Shields and David Campion
Teaser: 

The concrete-and-glass city we know as Vancouver sits in the delta of the Fraser River Valley on village sites that date back to the time of Mesopotamia

Deck: 

 

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The concrete-and-glass city we know as Vancouver sits in the delta of the Fraser River Valley on village sites that date back to the time of Mesopotamia

The Fraser River rises in the Rocky Mountains in eastern British Columbia, then runs 1,400 kilometres in a giant S shape: north, then south, and finally west from the town of Hope to the delta known as the Lower Mainland. The flood plain along this stretch of the river is known as the Fraser Valley.

A few years ago we moved to a farm on the side of this valley, about 100 kilometres east of Vancouver. The farm’s hand-hewn timbers, stone fence and mountain view with no human beings in sight, all made us curious about the past—first about the farm itself, and then about the forest that surrounds it and the people who had walked these mountain paths before us.

“My River of Disappointment” is what the fur trader Simon Fraser called the river in 1808; later it was given his name by his friend, the explorer David Thompson. Fraser didn’t do much naming. He was travelling with Natives and they told him what the places were called. The people of the valley called the river Sto:lo, and their lives were so shaped by it that they called themselves by the same name. The salmon runs were like nothing else in the world. On shore there were elk and deer, roots, berries and greens in the early spring. In a single day, the current could propel a canoe the same distance it would take a week to walk. This land and climate are so generous the people who lived here could spend most of the winter in ritual and celebration.

According to archaeology, the story of settlement in the Fraser Valley begins ten thousand years ago when the glaciers pulled out and the people moved in. In the memory of those whose families have lived here through the ensuing 350 generations, the story that begins with Simon Fraser is one of loss: first there was smallpox, then the land was taken and their children seized. For the millions of us who moved here after Fraser, the story is one of gain: trees the circumference of ten men, rich black soil, ocean views. Throughout the valley, these opposing narratives are written in the rocks and flowing in the river.


Geist intern Todd Coyne vis­ited the Chilliwack Museum to talk to Sandra Shields and David Campion about their photo essay “Memory and the Valley” to read the interview click here.

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SXWO: YIMELH | New Westminister

New Westminster In the 1850s, the old Kwantlen village of Skaiametl was chosen as the location for the capital of British Columbia because its position on a steep hillside overlooking a deep harbour offered military advantages in case of an attack by the United States. New Westminster, which served as the capital for eight years (1858–66), sits on the north bank of the Fraser River, 20 kilometres east of Vancouver in what was once dense forest. This is where the Fraser River splits into the North Arm, the southern border of Vancouver, and the South Arm, the boundary between Richmond and Delta. According to Stó:lo oral traditions, it was at a New Westminster May Day celebration in the 1860s that a promise was made by colonial officials: when lands outside their reserves were sold, British Columbia would receive a third, the Crown would receive a third, and the Stó:lo would receive a quarter of the proceeds. Today there are no reserves in New West; the few that were set aside were taken over by the government in the early 1900s.

Stó:lo villages stood on opposing banks at the last easy place to cross the water. After that, the river split; each arm made its own way to the sea, and the boggy land in between was prime for birds and great for cranberries. The village on the south was called Qayqayt (pronounced “Kee Kite”). The one on the north was named for a great warrior turned to stone whose spirit lived on inside the rock that stood beside the water. Trees sixty metres high pressed in on the stone, and the forest rose steeply.

These trees were the first to fall in the clear-cut that became Vancouver. Stump City, it was called. Gold had been found during the previous spring, thousands of prospectors had flocked to the mouth of the river and already a miner could buy boots, booze and a shovel in the wooden shanties and tents between the massive cedar roots. The colonel charged with clearing the townsite wrote to the governor and reported incessant rain, half-thawed snow in the woods, thickets so close and thorny they made trousers into rags, thorns as big and strong as sharks’ teeth. The colonel mourned the loss of what he called “most glorious trees,” and he had a park set aside in a glen adjoining a ravine.

The Europeans in the new capital were enthralled with Queen Victoria, then in the middle of her seventy-year reign.

They named the glen Queen’s Park, and on her majesty’s birthday in May 1864, the governor threw a party with food and canoe races and five hundred dollars in prize money. Stó:lo families from all along the river spent the night in the forest a few kilometres away, and in the morning seven hundred Salish canoes pulled up to the wharf. Speeches were made, presents given. Each chief got a hat with a golden stripe. Students at St. Mary’s Mission got ties. That was the same year that the local newspaper complained about “decent people” being subjected to the “intolerable nuisance” of having “Indians as next door neighbours.”

Between then and now, smallpox came again, thinning out the young and the weak. The government quarantined a nearby island and sent Natives there from up and down the coast. Two other reserves were set aside: one at Qayqayt, another near Queen’s Park. Canada claimed both parcels of land early in the twentieth century after the last couple living there died. Their orphaned daughter in residential school in Kamloops came back to New West, and lived in Chinatown and married there. She hid her past until one day her grown-up daughter asked the right question. Then the truth came out and her children and grandchildren eventually became again the Qayqayt First Nation, the only band in the country without land.


Geist intern Todd Coyne vis­ited the Chilliwack Museum to talk to Sandra Shields and David Campion about their photo essay “Memory and the Valley” to read the interview click here.

 

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Qw’ó:ntl’an | Fort Langley

When the Hudson’s Bay Company built the fort in 1827, 50 kilometres from the mouth of the river, the border between Canada and the United States was not yet settled. This first colonial settlement in what is now known as the Lower Mainland was established on the south shore of the Fraser River to ensure that the British could claim both sides of the river. A Kwantlen chief located his village nearby to facilitate trade. With the gold rush in the late 1850s, Fort Langley’s importance as a shipping and administrative centre was soon usurped. Today, the fort has been rebuilt and many of the buildings in the surrounding village have been restored, making it a popular tourist destination and filming location for TV and movies. The main Kwantlen village is still here, located on an island across a narrow channel from the fort.

On a sunny November day in 2008, B.C. Premier Gordon Campbell, his cabinet and the television camera crews walked into the Big House at Fort Langley, where B.C. had been proclaimed a colony exactly 150 years earlier. These days Fort Langley is a tourist attraction, rebuilt in remembrance of how European settlement began, staffed by men in top hats and women in long dresses who know the price of a blanket in beaver pelts. Only one original building, a storehouse, remains. Its thick timbers are whitewashed inside and out, and tanned hides hang from the ceiling. This is the oldest building in B.C., they used to say, until it was pointed out that all over the valley archaeologists have unearthed pit houses built thousands of years ago.

The fort sits here, in Kwantlen territory, because this was the farthest upriver that ocean-going ships could sail. In 1828, the Hudson’s Bay Company put twenty-five men ashore in dense forest armed with trade goods: blankets, metal tools, rope. Within a year, they had married Stó:lo women and enmeshed themselves in the network of wealthy families who managed the territory. A Kwantlen chief took ownership of the fort just as Stó:lö families always took ownership of resources like a good berry patch or a rock that was well situated for fishing. He charged a toll when other tribes came to trade. His daughter married Chief Trader James Yale.

It was beaver that brought the hbc men—beaver hats were in great demand in Europe—but it was salmon that kept them here; that and the good growing season. The hbc was a multinational company and the fort became a depot supplying butter to Russians in Alaska, cranberries to gold miners in California, and peas and potatoes to forts in the interior of B.C.—from which furs were carried back. Then they were pressed tightly together so mice wouldn’t get in during the voyage, and were shipped to London. The Stó:lo generally couldn’t be bothered to trap beaver, but they were happy to trade salmon. In late summer the river ran so thick with fish that you could almost cross on their backs. Barrels of salted salmon made their way to Peru and Australia but most went to Honolulu, where an idyllic bay was being transformed from a few grass huts into a busy port in which whalers and fur traders took on provisions and crew.

No matter how much fish the Stó:lo brought, the hbc men asked for more, and the newcomers came to be called Xwelítem (pronounced “Whu-lee-tum”), the ones who are always hungry. The Xwelítem named their fort in honour of Thomas Langley, a Hudson’s Bay director who never set foot in North America. For more than a hundred years, until they returned to their traditional name, the Kwantlen were known as the Langley Indians.


Geist intern Todd Coyne vis­ited the Chilliwack Museum to talk to Sandra Shields and David Campion about their photo essay “Memory and the Valley” to read the interview click here.

 

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Sxwòyeqs | Stave Lake

The Stave River flows from its source in Garibaldi Provincial Park, down through the Coast Mountains and into the Fraser River near Fort Langley. It once provided the Kwantlen people with a route into the mountains to the north. The river valley drops rapidly from steep forests into the rolling hillsides east of Mission. Today, the river is blocked by two dams and the lower river runs free only in its last two kilometres before its confluence with the Fraser.

This valley, which cuts north from the Fraser River into the Coast Mountains, has two names, neither of them the ancient one that nobody knows any more. The Kwantlen call it Skyuks: the place where everyone died. It was smallpox that took them: the disease passed from settlers to Natives in distant parts of the continent, then travelled along trade routes and arrived in the valley thirty years before the first white man; and it killed two out of every three people. Skyuks was hit hard. The valley was abandoned, its name was forgotten and its neighbours knew it only by the tragedy that had claimed its people.

Stave is what the Hudson’s Bay men called the forest across the river from their fort. They went there to take the white pine, then floated the logs back, cut them into strips, and turned trees into staves and staves into barrels. They filled the barrels with salmon bought from the Kwantlen, then salted and sealed and shipped them to the Sandwich Islands. The fort shipped so much salmon that soon the stand of white pine, rare so close to the sea, stood no more. Stave was the name the settlers used for the valley they logged, the river they put sawmills along, the waterfall that plunged down to join the Fraser and the dam built in 1911,

one of the first in B.C. Water turned into electricity—it was a novelty, according to ads in the Fraser Valley Record: a great convenience requiring only the turn of a switch. “Children can do it. Safer than matches, no foul odours, costs less than kerosene, candles or oil.”

Today the old generating station is a tourist attraction, and downstream three newer powerhouses continue to make electricity. Early in the spring, before the snow melts, there is still a time when the reservoir drops and the drowned forest comes up for air. Each year for more than a dozen years now, the Kwantlen have come here when the reservoir is low and walked over mud scored with 4x4 tracks to pick up tools laid down thousands of years ago. Carbon dating puts these sites among the oldest in Canada. The artisans who shaped these stone and bone tools were well fed on deer and elk, a dozen kinds of berries, fish most months. The archaeologist Duncan McLaren says this was once a well-travelled river valley, a route to the north that gave access to hunting grounds and to patches of high mountain berries that ripen under the summer sun.


Geist intern Todd Coyne vis­ited the Chilliwack Museum to talk to Sandra Shields and David Campion about their photo essay “Memory and the Valley” to read the interview click here.

 

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Pekw’xe:yles | St. Mary's Mission

Mission sits on the north bank of the Fraser on a hillside that looks across the valley into the United States. The tidal bore of the river ends here, a hundred kilometres upriver from the sea. The city takes its name from the mission established by an Oblate priest a few years after the gold rush of the late 1850s. He chose the location for its lack of settlement, colonial or Aboriginal, in his determination to counter both the sway of the miner’s alcohol and the influence of Stó:lo traditions. Today the mission and the residential school that operated there for more than a hundred years exist only as foundations visible in the well-kept lawns of the Fraser River Heritage Park.

Five generations of kids passed their childhoods in the mission school atop a bluff in the middle of the valley. Instead of waking to mothers’ voices, they woke in dormitories and listened to orders from Oblate fathers who silenced them when they spoke the language of their parents. The Oblates practised a hard-working, love-the-poor Christianity with a sense of theatre—a flair for drama in ritual— shared by the Coast Salish. For about fifty years, many nations travelled to retreats at St. Mary’s, where the high point of the year was the Easter re-enactment of the last days of Jesus. In 1894, the same year the town formed the Mission City Fruit Growers & Canning Association, a thousand dugout canoes converged below the bluff, filling the river from shore to shore.

Only the stone foundations of the mission remain today. The bluff has been turned into a park with tidy lawns and a complicated past. At the information centre an aerial photograph shows the old school, the barns, the fields, the tennis court and the new school built in the 1960s when the old one was closed—used mostly as dormitories for Native kids from rural reserves who were attending the high school in town. In Mission, the city that grew up around the corner, lacy suburbs stretch into the foothills. The downtown core is rough around the edges, especially on a Friday night in the blocks around the bank machines.

Everyone who walks between the carved cedar poles that mark the entrance to the Friendship Centre on Main Street has been touched by residential school. Imagine the government showing up and taking your five-year-old son away. A mother in despair, a dad in the bar. Pain is something you pass on to your kids. The centre teaches parenting skills and holds weekly wellness workshops.

The bluff originally known as Pekw’xe:yles has a grand view of the river. To the south stands Mt. Baker (named for one of Captain George Vancouver’s officers) and to the east lies the mountain the settlers call Cheam (“strawberries” in Halq’emé ylem)—two peaks that stand like signposts orienting those who live in or visit this stretch of the valley. For a few days every summer, thousands come to the bluff to sit in the sun and listen to folk music. In the heat of the day, they retreat to the shade among the old stone foundations. As the temperature rises, smog piles up and Baker and Cheam disappear into the yellow haze.


Geist intern Todd Coyne vis­ited the Chilliwack Museum to talk to Sandra Shields and David Campion about their photo essay “Memory and the Valley” to read the interview click here.

 

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Leq’á:mél | Nicomen Island

Nicomen Island lies just east of Mission between the communities of Dewdney, named for the early road builder, land speculator and eventually Member of Parliament Edgar Dewdney, and Deroche, named for the Québécois mule skinner who swam his oxen here from across the river in Chilliwack in the 1860s and began pasturing them on the island’s lush grasslands. The first rural post office in B.C. opened on Nicomen Island in the early days of the colony, when the river was a highway and anyone could hitch a ride on a steam-driven paddlewheeler by tying a white flag to a tree. Today, dairy cows graze between fields of corn.

The men who have fished around Nicomen Island all their lives can recall how, as kids, they could reach into the river and pull out handfuls of eulachon (pronounced “hooligan”) as the fish fought the current to get back to their spawning grounds in nearby gravel bars. These skinny flashes of silver were so saturated with oil they could be lit like candles when dried. They began running in the Fraser River in April and peaked in May. Nicomen Island is sandwiched between the Fraser River and the first wild stretch of backwater sloughs east of Vancouver. This area, where the slow waters lie snug against the mountainside, is a favourite haunt of waterfowl and destination for spawning salmon that brings bald eagles by the hundreds. With the slough on one side and the Fraser on the other, Nicomen Island is visited regularly by men from the city with fishing poles and hip waders; “sporties” the Leq’á :mé l fishermen call them. Peace between the two groups is a sometimes uneasy affair. Today, the Fraser River eulachon runs are nothing like they used to be, so low as to be labelled “depressed” by the government workers who regulate fishing. The salmon are depressed too, and the Native fishermen, sitting in their powerboats, keep close watch on their nets to prevent the circling seals from grabbing the fish before they can.

The area around Nicomen Island is where Halq’eméylem was born; the language spread to become the tongue spoken up in the mountains, down in the delta and across the strait in Nanaimo, Chemainus and Cowichan.

Cedar plank houses would have stood on the slough side of the island: the waters here are calmer than those of the river, making the slough ideal for travel, and it was less exposed to the dangers of raiders from coastal tribes, who came in big war canoes in search of slaves and goods such as the winter’s supply of dried fish. The meadow between the slough and the river often flooded in the spring and grew lush and green in the summer. The riches of Semá:th Lake lay a short paddle away on the south shore of the river. It was a tribal hub—a natural place for families from up and down the river to get together.

The spring floods became a problem once settlers arrived, built farms and planted fields. The flood in 1894 put the entire island under water, and the same thing happened again in 1948. Since then more dikes have been built, and the riverbank has been stabilized with rip-rap to keep more land from washing away. The slough is likewise constrained. People who grew up here in the 1960s remember when the waters of the slough ran fresh and everyone swam in them during the summer. Trumpeter swans still winter here, salmon still spawn, but no one swims in the slough any more.


Geist intern Todd Coyne vis­ited the Chilliwack Museum to talk to Sandra Shields and David Campion about their photo essay “Memory and the Valley” to read the interview click here.

 

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Semá:th | Sumas Prairie

During the last ice age, glaciers retreating from the Fraser Valley left behind a shallow lake in the lowland west of what is now the city of Chilliwack. The place and the people who lived around this rich ecosystem were called Semá:th, which refers to the big level opening of the lake and its surrounding grasslands, an opening that extended across what is now the border between Canada and the United States. Nineteenth-century settlers named this area Sumas; the lake itself covered four thousand hectares and drained into the Fraser River; every spring when the Fraser was in flood, the flow reversed and the lake tripled in size. In the 1920s the lake was drained, and the lake bottom was turned into farmland and renamed Sumas Prairie.

In the summer of 1858, when the men in the survey crew that was dividing Canada from the United States got to the lake called Semá :th, they learned just how bad the mosquitoes could be. They camped in the tall grass meadow along the shore. Deer were everywhere, and the men went out for an hour at dusk and bagged forty ducks. Until June it seemed like a second Eden, but then the mosquitoes hatched and the place became a living hell. “We ate them, drank them, breathed them,” wrote one surveyor. At night they got no rest. The only escape lay in the middle of the lake, because mosquitoes prefer land, so the surveyor sought the hospitality of the people he called “wily savages,” those Stó:lo families who, during mosquito season, lived on scaffoldings built over the shallow waters left behind when the glaciers receded. They moored their cedar canoes to the scaffolds and climbed up ladders of twisted bark to platforms where they fished, visited, ate and slept in mosquito-free comfort. “A North American Venice,” as the historian Keith Carlson says.

The survey crew drew their line just south of the lake. Sixty years later, an Abbotsford politician named Honest Abe declared the lake a public nuisance. Another politician named Honest John agreed. “It breeds mosquitoes,” they said. They were both farmers who must have imagined the wealth of the lake bottom. Rivers were diverted and dikes built. Twice they failed, but finally, after the biggest pump in the commonwealth pumped for a year, the lake was drained, leaving behind hundreds of hectares of soil. Plows broke ground in June, and the first hops were harvested in September.

The kids who lived along the vanished shore weren’t the only ones who missed the lake that summer. Salmon couldn’t spawn. For years, huge flocks of ducks landed amid rows of potatoes. According to local lore, farmers plowing the marshy edges of their new fields more than a decade later still hit upon buried sturgeons, giant fish that were still breathing ever so slowly, grey ghosts in the residual murk.


Geist intern Todd Coyne vis­ited the Chilliwack Museum to talk to Sandra Shields and David Campion about their photo essay “Memory and the Valley” to read the interview click here.

 

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Ts’qó:ls | Hope

Hope sits at the top of the Fraser Valley, surrounded by the peaks of the Cascade and Coast Mountains. At this spot, after surging south through a steep-walled canyon, the Fraser River makes a wide bend to the west and enters the broad flood plain that extends 160 kilometres to the sea. In June 1808, the fur trader Simon Fraser canoed through here and stopped at a Stó:lo village, where he and his men were fed plenty of salmon, roots and raspberries. Fifty years later, when gold was discovered on the river above Hope, the village site became a busy transit point for miners and supplies. Today it is a quiet town of seven thousand people, beside the three highways that lead to the interior 
of B.C.

Thousands of gold seekers hurried upriver. Sternwheelers billowed smoke as they struggled against the current. Canoes went by—lots of canoes, some manned by Stó:lo guides. Every day more men arrived bent on digging up every gravel bar they could, with no thought to where the salmon would spawn. They even dug the land out from under Stó:lo homes. Stories were told of Stó:lo women raped, of children shot at for target practice. B.C. Governor James Douglas came to keep the peace, pointed north toward a mountain peak, swept his arm to the west and declared that land reserved for the people of the river.

Today, a gas station stands where miners once bought supplies from the Hudson’s Bay Company at Fort Hope. Nearby a car dealership operates on the spot where a cluster of longhouses once stood. The salmon-spawning grounds that lie upstream made this large village a popular place to camp. Traffic on the river was heaviest in the summer months, when Coast Salish families from as far away as Vancouver Island navigated cedar canoes to the steep-walled canyon, where the water was rich with fish and the hot winds could air-dry even the thickest sockeye within a week.

Traffic through Hope is still heavy during the summer, only it’s not on the river any more but on the highways that converge here. The riverfront property that was promised to the Chawthil is lined with expensive houses behind cedar hedges. When a doctor dug his swimming pool he found remnants of the ancient village in his backyard. The only reserve in town is a campground on a sliver of riverbank down the street from the gas station. Here tourists sleep to the sound of rushing water. If they look closely at the far shore on a summer afternoon, they can still see Stó:lo families netting salmon at the same spots their families have fished for a very long time.


The award-winning writer Sandra Shields and photographer David Campion have collaborated on many projects, fusing text and images in a unique style of storytelling. They are authors of two books, The Company of Others and Where Fire Speaks (winner of the Hubert Evans Non-Fiction Prize), and many shorter works in Canadian Geographic, Reader’s Digest, Maclean’s, Adbusters, the Globe and Mail and other periodicals. An installation of the work featured here can be seen at the Chilliwack Museum (chilliwack.museum.bc.ca) until November 12, 2009. Visit Shields and Campion at fieldnotes.ca. “Memory and the Valley” is part of the Geist Memory Project and is made possible by assistance from Arts Partners in Creative Development.


Geist intern Todd Coyne vis­ited the Chilliwack Museum to talk to Sandra Shields and David Campion about their photo essay “Memory and the Valley” to read the interview click here.

 

Date Published: 
November 1, 2009

Lincoln Clarkes, The Eastside Portraits

October 15, 2009
Patty Osborne
For the past year and a half Lincoln Clarkes has been photographing women in Vancouver’s Downtown Eastside for Heroines, a project that started out to be a series of about a dozen images and has so far grown to over 250 photographs and two gallery showings. Most days Clarkes is out on the street meeting the women, giving them apples, oranges, vitamins, Band-Aids, cigarettes, cash, advice. When he and his female assistant ask to take a woman’s photograph, they introduce themselves and ask her name, age and where she’s from, then offer her five dollars, five minutes, five photos. Later, Clarkes gives each subject a portrait of herself. All of the women they approach are addicted to heroin or cocaine. When Clarkes explains what he is doing, most of them show interest and an eagerness to take part. Since they rarely leave their neighbourhood (they say they are treated like lepers if they venture into the west side of the city), not many attend the gallery showings. Some gallery visitors, writing in a comment book, have condemned Clarkes for exploitation, while others have praised him for opening their eyes. When I saw Clarkes’s photographs for the first time it was through the window of the Helen Pitt Gallery, and I hurried on, thinking this was just another photographer who was using downtrodden people to make a name for himself. Indeed, a good deal of controversy was generated by the show. But when I spoke to Clarkes myself, and then thought about it, I reconsidered my first reaction. The women in Clarkes’s photographs give consent before their images are recorded, thus entering into a collaboration with Clarkes. They present themselves to the camera and by extension, to us, and in that moment they are no longer invisible. Within these transactions Clarkes tries to disrupt the power relationship that is built into the roles of photographer and subject, and he seems to succeed: he has ongoing contact with most of these women (at least the ones who haven’t died yet). But I wish he’d chosen a different title. For me, the word Heroines puts up a barrier of myth that at first obscures the humanness of his subjects— the essential quality that he is attempting to portray. For me, knowing the context in which the photographs were taken is an important part of how I perceive the photographed women. Only when I am satisfied with the photographer’s motives and methods can I concentrate on the images before me, looking into their eyes, studying their faces, their clothes, their neighbourhood. These beautifully composed and visually rich photographs allow me to look closely, even to stare—something I find difficult to do on the street. Clarkes says that these photographs have made people pay attention, and he hopes this will change things so that “more women won’t end up here.” I’m skeptical that viewing the images in the safe confines of a gallery or a magazine will spur us to take action, but now when I see women like this on the street I know there is more there than meets the eye. Clarkes’s photographs give us the opportunity to look straight into the eyes of these women without risking any interaction with them. In the gallery we have permission to study these people; in “real life” we avert our eyes out of fear or embarrassment. Lincoln Clarkes is a professional photographer in Vancouver. Information about the Heroines project and interviews with Clarkes can be found on the Internet at www.ellavon.com or www.highway99.com/lclarkes.

Memory in Belgrade

July 20, 2009
Goran Basaric

Web Exclusive: Check out the special 12-page digital edition of “Memory in Belgrade,” and order printed copies.

My father, Djuro, was born in 1925 in Bosnia. When World War ii started in 1941, Croatian fascists burned down the family home. My father joined the anti-fascist Partisans and spent the next four years hiding from the Germans and fighting them in the forests and mountains. After the war he continued in his military career until his retirement.

My mother, Milica, was born in Kragujevac, an old capital of Serbia and the birthplace of the Yugo automobile. Her father was a skilled toolmaker who worked in a gun factory. In 1941, he and seven thousand other men were taken hostage and shot by German soldiers in reprisal against the Partisans. My mother never got to know her father, and she carried this deep sorrow through the rest of her life. She worked as an administrative clerk in various institutions, and after she married, she devoted her life to our family. My older brother and I have happy memories of our childhood in Belgrade.

In Belgrade these days, everything seems to be new, even when it looks familiar. Streets have been renamed for old kings and commanders; the government has new agencies; new neighbourhoods are bursting with new kids; the city is buzzing with a new language. The old Belgrade used its courtyards to hide from prosperity and modernity during the years of socialism, and to guard small shops where local merchants, locksmiths, barbers and shoemakers were still servicing the old bourgeois. The result was a peculiar symbiosis of the capitalist past and socialist present. When I returned to those courtyards in 2008, hoping to find the old shops, I could see that our past had been conquered by the forces of globalization: internet cafés, over-designed foreign banks, MaxMaras and Benettons.

My wide-angle camera, a Soviet-era Horizont with a moving lens, is more suited to photographing large, open spaces like parks and oceans than the density of big cities. The camera needs light and space, and it takes time for the lens to travel from one side of the frame to the other. Urban centres move constantly and quickly and don’t wait for me to reframe. In Belgrade I had to be patient with my panoramic camera—I passed hours near riverbanks and in parks waiting for people to enter the scene. Often I would position my own shadow somewhere in the frame and wait for something to happen.

In 1968, when I was six years old, my family moved to the newly developed district of New Belgrade. When I wasn’t in school, I spent my time playing with my friends, building cities of wet sand. New Belgrade was a giant sandbox in those days—high cranes and construction crews were everywhere, building over the swampland. My neighbourhood was called Block 37 and consisted of nothing but huge apartment buildings. There were no corner stores or markets. My elementary school was heralded as the most modern school in the Socialist Federal Republic of Yugoslavia. An English princess visited the school, but she wore no crown on her head. When the Highway of Brotherhood and Unity opened, we were sent out to stand along the road for hours, waiting for President Tito to pass by on his way to and from the airport. We waved national flags and sang songs about revolution and brotherhood and unity. I took my first photograph in Block 37 in the fall of 1977.

When I left Belgrade in January 1994, inflation was running at 400,000-billion percent (fifteen digits). The National Bank was printing new banknotes every Monday, and there were no paycheques—only cash, and tons of it. By Friday all that cash was worthless, unless it was exchanged for foreign currency on the black market.

I lived in Belgrade for twenty-five years. I worked and played there, slept there and breathed in its rhythms, studied and later lectured on cinematography at the University of Arts in Belgrade, and I can still slip into the city’s patterns when I return for a visit. Everything feels familiar and predictable, even if it is different on the surface.

I have always felt that there is much about Belgrade that everyone could learn to love, if only I could show the city at its best—or, as we would say in Serbia, to show it in its best light. Last summer I returned to Belgrade to photograph and write about the place of my past and of the present as well; to remember and honour the city, and to chase the magical light of early morning and late afternoon.

Goran Basaric is a photographer, cinematographer and photojournalist who lives and works in Vancouver. “Memory in Belgrade” is part of a work commissioned with the assistance of Arts Partners in Creative Development.

Fighting Season

July 20, 2009
Louie Palu

During the fighting season in Afghanistan, which unfolds each year through spring, summer and fall, the lush landscape of grape fields, trees and irrigation canals in the south provides essential cover for guerrilla warfare. The villages and farmers’ fields serve as temporary battlefields, where the Taliban insurgents clash with the U.S-led coalition, which includes the Canadian Forces, Afghan National Army and British troops. Once the fighting ends and the insurgents and soldiers break contact with each other, life for the villagers returns to relative normalcy: the insurgents murder and intimidate civilians, place land mines and roadside bombs, and hamper the reconstruction efforts of the Canadian troops.

Afghanistan has been in a state of war for so long—the Soviet intervention in the 1980s, then civil war and the Taliban regime, and now this standoff—that the people have grown accustomed to the cycle of violence, but they always know it is fiercest during the fighting season. They have adapted to the conflict and it has become a part of their daily lives.

Many civilians ask who I am and why I don’t carry a gun, and I have visited villages where they don’t know what a photographer or journalist is. My Afghan nickname is Mustafa, which I got in Pakistan in 2004 from Afghan refugees moving to Canada. The name stuck and an Afghan soldier wrote it on my helmet, but most civilians can’t read or write so they don’t understand what it means. Apart from basic religious studies, schooling in rural Afghanistan is a low priority—the villagers are so poor that most of the children and adults must work the fields and tend the flocks of sheep so their families can survive.

On days when it’s quiet on patrol, children run up to me and the troops from their homes and the fields, yelling “Hello! Hello!” They giggle and gesture with their hands for pens and candy. None of the children know their age—few Afghans do—because record keeping in Afghanistan is scant at best. On the way to one village we frequented on patrols, I always picked wildflowers for the girls. The sun wilted and dried them within minutes, but the flowers made them smile. We usually toss handfuls of candy to the kids. Candy is rare, and I love giving it out, especially because American soldiers in Italy tossed candy to my father when he was a child during the Second World War.

One day as we marched back to base after an intense battle, we reached an irrigation canal where some boys were splashing and diving, less than two kilometres from where the fighting had just occurred. Only minutes earlier we had been in the midst of combat: artillery pounding the field and rattling the earth, dust billowing from rubble, and the cracks of gunfire everywhere, and then there were those boys, jumping into the river and having fun. Back at the base, the soldiers and I had to be rehydrated intravenously.

Since the beginning of Canada’s combat mission, there have not been enough soldiers to contain the insurgency. Now Canada will realign its positions and the U.S. military will face what could be the bloodiest fighting season in years. The longer I stay in Afghanistan and the more I see, the fewer answers I have about what is going on there and what the future holds. Back in Toronto I can’t even talk to anyone in a bar, because conversations with people who think they understand Afghanistan just end as heated arguments on the sidewalk.

Louie Palu is a Canadian photojournalist who has travelled to Afghanistan three times since 2006, for three months at a time. He has spent more consecutive time on the front line with Canadian troops than almost any other Canadian journalist. In May, Palu returned to Afghanistan to document the 2009 fighting season.

Pentimento

Author: 
Lu Qi
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Cambodian children flashing smiles in front of mass graves are superimposed on pages of my journal. The effect is so eerie that it takes me a while to realize I am looking at double exposures—I must have put that roll of film through my camera twice.

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In every one of the prints from a roll of film I shot at the Killing Fields and the Tuol Sleng Genocide Museum in Cambodia, two images overlap each other like shadows, or ghosts. In one picture, a friend holds her camera up to photograph me, and she is overlaid by rows and rows of skulls in the monument at the Killing Fields. Another friend gazes out of the frame amid clothes, bones and teeth protruding from the ground around a tree stump. Cambodian children flashing smiles in front of mass graves are superimposed on pages of my journal. The effect is so eerie that it takes me a while to realize I am looking at double exposures—I must have put that roll of film through my camera twice.

If a picture is worth a thousand words, what about two overlapping pictures? Do the words from each image conjoin, or do they distort each other, creating one intangible and meaningless image?

A photograph is a record of the light that passes through the shutter of a camera at a given instant. Our memory does that too, but it also makes and stores a fabricated record of the instant, a collection of translucent images that stack up over time, and we can “see” them all at once. Did the June bug land on my hand before or after dinner? Who walked with me down that winding trail? The many overlapping images preclude the accurate recall of a particular moment, but the effect of the layers is much more true to my memory of the trip to Cambodia. —Lu Qi

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Lu Qi is a Canadian photographer who lives in the San Francisco Bay Area. He is also the co-founder of Cyto360 Bioscience, a company that researches cancer detection.
Date Published: 
March 25, 2009

Images of Butterfly Garden

Author: 
Paul Hogan
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Photographs from the Butterfly Garden in Sri Lanka, a retreat for children traumatized by the civil war.
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These photographs were taken in 1998 by Paul Hogan in a walled enclave known as the Butterfly Garden in the town of Batticaloa in Sri Lanka. The Butterfly Garden was once the orchard of St. Michael’s Jesuit college and is now a retreat for children traumatized by the civil war that has raged in Sri Lanka since 1983.

Children from six to sixteen years of age attend the Butterfly Garden for nine months, one day a week, in groups of fifty drawn from the local Tamil and Muslim populations. Many of them have endured profound family loss and witnessed great horror: they are the children of terror. In the Butterfly Garden these children are slowly restored to themselves and to the world through play and storytelling, music and drama, the arts of painting and puppetry and participation in the life of a garden. Reconstructed rituals of genogram-making (The Mother-Father Journey) allow them to begin telling the story of their families and their villages; group storytelling allows them to find the narrative and dramatic power to represent new worlds of their own making. Many of the Butterfly Garden staff were themselves child victims of the war, and working there is for them a process of healing and recovery. The work of the Butterfly Garden extends to the villages in the countryside through a program of outreach and by means of the Butterfly Garden Bus, which was a gift from the World University Services of Canada.

The war in Sri Lanka is becoming a very old war, and it has made refugees of more than a quarter of a million people. Sri Lanka is an island half the size of Newfoundland, with a population of 18 million.

A central experience in the Butterfly Garden is playing on Mud Mountain (a pile of mud), an activity which often leads to the development of story elements. The story that follows found its beginnings with a group of six children who met at Mud Mountain in 1997.

Blood of the Mango

The brothers Iqbal and Mustan lived on Mount Himalaya, which was a mountain not to be confused with the Great Himalayas of Northern India, for Mount Himalaya was singular and small and located on a jungle island in the southern sea, where Iqbal and Mustan were both circuit court judges who used to ride around on their camel hearing cases, weighing evidence and deciding people’s fates.

One night when Iqbal and Mustan were out on their circuit they stayed in a rest house where they were both bitten by a mosquito. They were annoyed by this and decided to find the offending mosquito and bring him to justice.

Along the way they asked everyone they happened to meet if they had seen the culprit, and indeed almost everyone they asked had also been bitten. There was a mouse, a turtle, a rabbit, a duck, a snake, a deer and a monkey. The mosquito had bitten each of them in turn. They decided to join in the search and help Iqbal and Mustan track down the culprit.

With so many in the posse it was not hard to find the mosquito. They entered the shade of a cool garden in a small seaside village and there he was, sleeping soundly under a coconut palm on an overturned bucket beside the well. They approached him stealthily, arrested him and secured him to the stalk of a tall orange marigold with his wings tied behind his back. The interrogation then began:

“Are you the criminal who bit us?” asked Iqbal.

“I am not a criminal,” answered the mosquito. “I am just doing what comes naturally. I was hungry so I bit.”

The mouse, the rabbit and the monkey cried out for justice. “He admits it—he bit us! He must die.”

Some of the others disagreed. The wise old turtle stepped forward and presented a thoughtful alternative. “It is true that he bit us, but it is also true that seeking blood and biting are in his nature. He cannot help it. Let us have mercy and not take his life. Let us instead banish him from Mount Himalaya to a place so far away he will no longer bother us.”

The duck and the snake immediately agreed. This was a more reasonable and compassionate course to follow. The deer kept silent. He had found some fresh grass to chew and was more interested in that. Iqbal and Mustan conferred. “Where will we send him?” they asked.

The animals discussed it among themselves and came up with a popular destination.

“Let us send him to Canada,” they said. They all seemed pleased with this, but the mosquito himself dissented.

“Oh please don’t send me to Canada. It is so cold and the blood of the people there is very bland, I’m told. Not hot and spicy blood like I’m used to.”

Mustan spoke. “We are not sending you on leave, Mosquito. We are banishing you for being such a menace here.”

Iqbal pondered aloud. “The problem with sending him to Canada is that he will become a menace there. Surely, after time, he will break down and bite a Canadian, even if their blood is not to his taste. Then the Canadian will try to kill him. He will be in the same fix there as he is here. Sending this mosquito to Canada does not solve the problem.”

“Then send him to Colombo,” said the duck. “The place is full of mosquitoes. Who will notice one more?”

“That is true,” said Iqbal, “but justice is not served by sending him there for surely he will bite a Colombo person and we are back where we began.”

“Then send him to Eravur,” said the deer, looking up from his grass. “The people there are very nice. Maybe the mosquito will not bite them.”

But we are very nice too,” said the mouse. “That didn’t stop him from biting us.”

“True,” said Iqbal, “the mosquito bites good and bad alike. He makes no distinction. Wherever we send him, he will bite.”

“So let us not banish him,” said Mustan. “Let him remain here where we can keep an eye on him, but he must agree to leave us alone. He must under no circumstances bite us.”

“Then what will I do when I’m hungry?” asked the mosquito.

“How about this,” said the turtle. “We will find a fruit whose juice you like. You will agree to eat it and leave us alone.” The mosquito thought this was a very naïve solution but he kept silent. The court appeared to be running out of steam and if he did not agree they’d soon be proposing the death penalty again.

The animals favoured the turtle’s suggestion and even the judges seemed convinced of its merit. But the blood of which fruit would most likely satisfy the mosquito’s needs? That was the question. The mosquito was untied and many different kinds of fruit were brought before him. Wood apple, guava, pineapple, durian, rambutan, jackfruit, papaya, banana, breadfruit. The list went on interminably. He would stick his stinger in and choke back a small sip but most of the fruits were very bland or otherwise disagreeable. The Canadian option was beginning to look more and more attractive. The mosquito decided to change his mind and argue for banishment to Canada. It was difficult pretending he liked the unpalatable fruits he was being forced to sample.

Then the snake slithered over with a beautiful ripe mango in his mouth. This looked rather tempting. The aura of the mango seemed different from that of the other fruits and when he tested its skin for permeability he found there was both a give to it and a resistance, not unlike human flesh. Maybe he could get to like this fruit?

The mosquito pressed home his prod and drank deeply from the juice of the mango. His translucent belly filled up with its deep golden nectar. All the animals gathered around. The mosquito drank his fill, then merrily buzzed off bursting with bright mango energy.

Iqbal and Mustan mounted their camel and headed for the nearest rest house. It made them happy to think there would be no more mosquito bites to worry about that night, or ever again, on Mount Himalaya.

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Paul Hogan is an artist who lives part of the year in Toronto, where sixteen years ago in the tiny forest grove behind the Bloorview MacMillan Centre (off Bayview Avenue), he co-founded the Spiral Garden, a remarkable place of recovery and healing for physically challenged and chronically ill children. The Butterfly Garden in Sri Lanka grew out of the Spiral Garden after the Centre for Peace Studies and Health Reach, both at McMaster University, began studying the effects of war on children in the former Yugoslavia, the West Bank and Sri Lanka. In 1994 some of the Sri Lankan participants in that study invited Paul Hogan to come to Sri Lanka to see what might be done there. The result is the Butterfly Garden, which opened in 1996, an oasis of reconciliation and healing for Sri Lankan children affected by war. Paul Hogan works as artist-in-residence at the Butterfly Garden six months of the year.

The story “Blood of the Mango” was created by Zareefdeen Mohamed Ithrish, Haniffa Iqbal, Lariff Riswin, Abdul Cader Riswana, Slevarajah Matihikaran and Halitheen Shathikeen and translated by Paul Hogan. It appears in Blood of the Mango and Other Tales, published by the Butterfly Garden Professional and Psychological Counselling Centre, 1A Upstair Road, Batticaloa, Sri Lanka.

Date Published: 
February 10, 2009

Beatrice Street

Author: 
Anne Grant
Teaser: 

 In the spring of 2008, Anne Grant began photographing a group of adjoining apartment buildings occupying a single lot on Beatrice Street in Cedar Cottage, a residential neighbourhood on the east side of Vancouver.

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Beatrice Street is part of a work commissioned by the Geist Foundation with assistance from Arts Partners in Creative Development.

Memory is a story I tell myself.   —a tenant

In the spring of 2008, Anne Grant began photographing a group of adjoining apartment buildings occupying a single lot on Beatrice Street in Cedar Cottage, a residential neighbourhood on the east side of Vancouver. She had observed the buildings over a period of years, and only rarely seen anyone going in or out. In time she came to see the anonymous, rather unforgiving facade of the Beatrice Street building as the face of a silent repository, a house of memory. She began photographing some of the people who live there, and talking to them about personal history and memory.

In 1911, when the village of Cedar Cottage was incorporated into the city of Vancouver, much of the surrounding area was still farmland; today it’s an older neighbourhood of modest homes and a few small apartment blocks. Trout Lake (John Hendry Park) is a short walk away and Lord Selkirk School is just around the corner. Until the late fifties, there was a small commercial area only a block away with a bank and general store and other services. Property records for the Beatrice Street lot go back to 1914, when one of the buildings housed a sheet-metal business and a grocery store on the main floor.

In order to begin answering the questions of what had been here then and what was here now, Grant made her own investigation into the lineage of the buildings, the variety of owners and proprietors (some legendary, others verifiable); and she began to interview some of the people living in the apartments, as well as people who had lived there in the past. Many of the people who talked to Grant did not want their apartments photographed, but they were willing to share their family albums with her. Everything at Beatrice Street—people and place—was cloaked in privacy.

This place is haunted. See that picture? It often falls off the wall. That mannequin falls down those stairs again. For no reason.”

Memories are hard to verify. Some of the tenants were certain that Beatrice Street had been owned at one time by a waitress at Scott’s Café, but there is no record of her. Another resident remembered following the hockey career of a son of one of the owners, but no one by that name has ever played for the wha. The legless woman with “fake legs,” seen “crawling around doing things” by one tenant, is unknown to anyone else.

We’d hear the pitter-patter of little feet at night, yet the children were sound asleep. The neighbours told us years ago a little girl named Donna had been killed on her way to Lork Selkirk School. They said to tuck Little Donna in at night as I tucked in my own children. The pitter-patter stopped.

Over an extended period of getting acquainted with the people and the buildings of Beatrice Street, Anne Grant accumulated a portfolio of images and stories that form the materials of the next stage of her project: to offer her representation of Beatrice Street to a wider audience.

We kids would meet at the old oak. This guy lived in number 3. He was the size of a mountain. He had this suicide blond girlfriendyou know, a chick who doesn’t want to be brunette. On weekends we’d listen at their window. She’d come by with strange guys. They’d all get liquored and high. She’d say some guy touched her ass. A fight would happen. Cops would come. She once hit him over the head with a bottle. He got seven stitches. We’d compare stories at that old tree.

Portrait-making is a way of getting to know people. During a portrait session, when one of her new subjects spoke of her concern for a relative whose memory was failing, Grant asked her how she might represent such a condition. After some thought, the woman covered herself in a white sheet.

The images displayed here are a reflection of first acquaintance, an extension of the first moment of ­saying hello.

Mandelbrot

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Photo by Anne Grant
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Anne Grant grew up in Edmonton and studied art and photography at the Nova Scotia College of Art and Design. She lives in Vancouver and maintains a darkroom on Main Street.
Date Published: 
March 16, 2009

Leaving the Eddy: Last Days at the King Edward Hotel

Author: 
George Webber
Teaser: 
In 2004 the King Edward Hotel in Calgary closed its doors after ninety-nine years of operation. It was the oldest hotel in the city, and in the final phase of its existence it provided shelter to two dozen men, who were evicted on the 13th of August, a Friday.
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In 2004 the King Edward Hotel in Calgary closed its doors after ninety-nine years of operation. It was the oldest hotel in the city, and in the final phase of its existence it provided shelter to two dozen men, who were evicted on the 13th of August, a Friday. The King Eddy had been through at least two heydays: in its first decade as a classy establishment on the flamboyant Whiskey Row, along 9th Street, when it operated 150 rooms and a restaurant with forty tables; and in the 1980s, when it became known as Canada’s oldest blues bar, a tradition that continued to the end. During its last year, George Webber became interested in the men who had managed to fashion homes of a kind in the decaying structure, which was finally condemned by the City of Calgary as unfit for habitation.

November 16, 2003. Robin Randall, night shift manager at the King Edward Hotel, is fifty-nine years old, originally from England. He once worked as a financial advisor to a prominent Calgary businessman and later worked unloading paper products for Western Grocers. He makes about $900 a month. Medication costs $300 a month, rent $300 a month. He tells me that he has entertained many strippers up in his room. He points to a black-and-white photo of one of them on the wall across from his bed. He suffers from angina and congestive heart problems. He likes to smoke and drink Scotch. He is a baseball fan and trivia expert. His room is crammed with books. He used to drink with Ralph Klein when Klein was a reporter. He has never married. “I like the girls, there’s nothing wrong with that, hey George,” he says. He has $16,000 in unpaid medical bills. He once collapsed in the doorway of his room and luckily a fellow tenant helped him out. He’s concerned about living alone in case he has a problem and no one knows he needs help.

January 11, 2004. Denzil Moore is sixty-two years old and has been living at the King Eddy for five years. He is a semi-retired cook who used to work in camps as far north as Inuvik. He has two sons and eight grandchildren. His ex-wife is married for the fourth time. Terry Phillips is a carpenter from southern Ontario. He has been living in Calgary since the boom of the 1980s, and at the King Eddy for about two years.

February 1, 2004 , Superbowl Sunday. Reg Johnston in room 44 is fifty years old. He injured his foot recently when his motorcycle collided with a car. He makes about $20 a day picking bottles. He calls his bottle route a trapline. “If you can’t make it in Calgary, you can’t make it anywhere,” he says. A neighbour from just down the hall delivers fifteen cans of beer that Reg has paid him to pick up and deliver. Reg is originally from Medicine Hat. He tells me that you have to be tough to live here on your own, because you’re alone and there’s nobody to help you if you get in trouble.

The toilet next to Robert Randall’s room is out of order. He has to go up to the next floor to use one. He shows me a book of baseball statistics and says, “Those are nine hundred biographies in there, George.” He has just bought the biography of former Prime Minister Kim Campbell for 50¢ from the discard bin at the city library. He tells me that the man who wrote the screenplay for The Birds also wrote The Blackboard Jungle, and that the movie version starring Glenn Ford was banned in Alberta from 1953 to 1963 under the Social Credit government of the day.

May 16, 2004. Harry Cookson is perhaps the longest residing tenant at the King Eddy: fifteen years at least. He used to do custodial work at the King Eddy and is now retired. He has his own ­table in the King Eddy bar. The bar is closed on Sundays so Harry walks over to the St. Louis for a couple of jugs of beer.

Peter Konig is a musician who spends the days practising in this room. He has a computer, musical instruments, private bathroom. Everything is clean and tidy. The walls are covered with magazine pictures of wild animals, pinups and rock’n’roll stars. “I don’t play much in public, I’m pretty shy,” he says. His dream is to live on a boat in Vancouver.

Friday August 13, 2004, about 6:30 a.m. Many of the twenty-five residents, including those I had photographed (Terry, Denzil, Robin, Reg and Harry), left sometime in the night. Someone told me that they were probably in temporary shelters for homeless men. One man (I didn’t get his name) wanted to talk. He was wearing a black, stained T-shirt and missing many teeth. He was wandering, dazed, not having slept in two days. He was suffering from hepatitis C and required several thousand dollars’ worth of government—subsidized medication every month to manage the disease. He has been living in the King Eddy for about eight months. Before he lived in a homeless men’s shelter. He had saved up and bought a fridge, a desk and a few other items to set up on his own, and now everything was piled in the middle of the room but he didn’t know what to do.

Peter Konig’s tidy room was now nearly stripped bare. He didn’t want to stay and talk. He could barely stand to be there now that it was no longer his. A cockroach skittered across the hallway. Two of the residents cursed and stomped it to death.

Many of the men wanted to talk. They felt ill-used. The building was in bad shape but at least they had had their own rooms. When they needed help, one of the guys would lend bread and cigarettes. I wandered the hallways looking into the rooms with open doors: old calendars, filthy bedding, tv sets, pennies, and in one bathroom a gushing hot water bathtub tap that wouldn’t be shut off.

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George Webber’s award-winning photography captures the stories of the Canadian Prairies. While Webber focuses his lens on the weathered architecture of small, disappearing prairie towns, he lives in the young, metropolitan city of Calgary. Webber is acutely aware of the dichotomy between old and new, and the persistent cycles that mark human endeavors over time. See more of his work at geist.com/author/webber-george.

Date Published: 
November 7, 2008

Cage Call

Author: 
Louie Palu
Teaser: 

Photos from the Hard Rock Mining Belt in Northwestern Ontario and Northeastern Quebec.

 

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From the book Cage Call: Life and Death in the Hard Rock Mining Belt, photographs by Louie Palu, text by Charlie Angus, published by Photolucida in 2007. The project examines communities in one of the richest mining regions in the world, located in Northwestern Ontario and Northeastern Quebec. It took the two men twelve years to compile Cage Call.

 

 

 

 

 

 

 

 

 

 

 

 

 

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Photo by Louie Palu
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Landa Cormier with her husband Eric, who lost his arm in an electrical accident at the Falconbridge Smelter, at their home in Garson, Ontario.
Larder Mens Wear, Larder Lake, Ontario.
Deckman in front of the Macassa Mine No. 3 Shaft, Kirkland Lake, Ontario. Shaft miner at the 2500 foot level station before drilling, Louvicourt Mine, Val d’Or, Quebec.
An abandoned Russian Orthodox Church seen from a backyard in Kirkland Lake, Ontario. Lola Angus in the playground adjacent to the Right of Way Mine property, Cobalt, Ontario.
John “Jack” Murnaghan, a retired union organizer, holding a photo of the Macassa Mine where he worked for 43 years, Kirkland Lake, Ontario. Abandoned tailings pond and arsenic mine waste in a lake, Cobalt, Ontario.
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Landa Cormier with her husband Eric, who lost his arm in an electrical accident at the Falconbridge Smelter, at their home in Garson, Ontario
Larder Mens Wear, Larder Lake, Ontario
Deckman in front of the Macassa Mine No. 3 Shaft, Kirkland Lake, Ontario
Shaft miner at the 2500 foot level station before drilling, Louvicourt Mine, Val d’Or, Quebec
An abandoned Russian Orthodox Church seen from a backyard in Kirkland Lake, Ontario
Lola Angus in the playground adjacent to the Right of Way Mine property, Cobalt, Ontario
John “Jack” Murnaghan, a retired union organizer, holding a photo of the Macassa Mine where he worked for 43 years, Kirkland Lake, Ontario
Abandoned tailings pond and arsenic mine waste in a lake, Cobalt, Ontario
Bottom Text: 
Louie Palu is an award-winning photographer whose work has appeared in numerous books, catalogues, festivals and international exhibitions. Charlie Angus is the Member of Parliament for Timmins James Bay.
Date Published: 
December 11, 2008
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