On September 7, 1907, in Vancouver, the Chinese violently attacked by a sprawling mass of primarily white, working-class Canadians whose anger had been fuelled by the belief that that had interfered with and undermined its economic prospects--they were correct, only insofar as Chinese immigrants were willing to work for considerably less than their Canadian counterparts, in enormously hostile circumstances, and were thus being exploited as a source of cheap labor by British Columbia employers. (1) The mob had gathered from a parade that had taken place earlier in the day, which The Asiatic Exclusion League had organized. The League, one of a series of associations established to create a stronghold against the immigration and settlement of Asians in Canada, specifically accused the Chinese of causing an economic slump by working for less than standard wages (Gray, 352). (2) Sentiments articulated at the parade were equally belligerent: one speaker, Reverend H.W. Fraser, for example, argued how it was pure Anglo-Saxon that had made the Empire and it would never be made with a mixture of Asiatic blood (Morton, 206). In part a response to such inflammatory speeches, approximately 15,000 people surged through Chinatown, smashing windows and beating up Chinese residents (Gray, 352). The mob continued through to the Japanese district, but, when it over, Prime Minister Sir Wilfred Laurier issued a statement in which he apologized only to Japan, the country with which the Canadian government had secured a trade agreement two years earlier. There no such agreement with China, and hence no such apology forthcoming. (3) The incident a register of the prevalent racism and antipathy toward the Chinese community, an attitude that had taken root in Canada as early as 1884 when an act passed to regulate the Chinese population of British Columbia: it believed that they could not be governed by [Canadian] laws [because they are so] dissimilar in habits and occupation from our people ... [G]enerally the laws governing the whites are found to be inapplicable to Chinese, and such Chinese are inclined to habits subversive of the comfort and well-being of the community (quoted in Craig, 16). The Chinese were disliked because of their apparent resistance to cultural assimilation, even as they were politically disenfranchised and socially precluded from becoming members of English-Canadian society. (4) In 1906, the year before this episode, English-Canadian artist and writer Emily Carr had moved to Vancouver where she rented a studio in which she painted and lived for the next couple of years, and where she taught at the Vancouver Studio Club and the School of Art. She is now primarily recognized as a successful Canadian artist, having produced an impressive number of sketches and paintings, although she is also esteemed as a prolific Canadian author, having written seven major books--Klee Wyck (1941); The Book of Small (1942); The House of All Sorts (1944); Growing Pains: An Autobiography (1946); Pause: A Sketch Book (1953); The Heart of a Peacock (1953); and Hundreds and Thousands: The Journals of Emily Carr (1966). (5) At one time, she also known to be an inveterate letter writer who sought those who would correspond with her regularly. Yet there is no direct reference to the 1907 incident involving the Chinese in either her letters or her literary endeavors, although she does allude to the presence of the Chinese in Victoria and Vancouver, almost exclusively in Growing Pains (her autobiography), The Book of Small, and Hundreds and Thousands (her journals). Her fiction, her autobiography, and her journals--which she unusually wrote in the immediacy of the present, commencing with her initial meeting with the Group of Seven in 1927, although she edited them in later years--these are generally preoccupied with her struggle to overcome various obstacles in order to create nationally representative art and indicate that she perceived Canadian geography, especially the West Coast, as a spiritual entity that provided an imaginative matrix for the shaping of indigenous artistic expression and language. …