Abstract
This essay examines an autobiographical vignette by Canadian painter-writer Emily Carr (1871–1945) through the lens of Frye’s idea of the ‘explorer-painter’. Through wide-ranging research, the article touches on historical concepts of the Canadian West Coast, the role of the visual and of transportation structures in travellers’ experiences of landscape, the tension between the natural and industrial technological realms (particularly in regard to coastal salmon canneries), images of the body (racialised and/or aging and vulnerable), and Carr’s competing (self) representations. The centrepiece is the extraordinary, understudied ‘Salt Water’ story or vignette from Carr’s award-winning first book, Klee Wyck
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