Rating: 
Summary: A READING RICH IN TIMBRE
Review: A stage background in Shakespearean plays may be what gives voice performer Karen White's voice a richness of timbre so appropriate for this story. Further, she reads the life of an iconic artist with sympathetic understanding while not at all detracting from the courage and determination that defined this remarkable woman, Emily Carr (1871-1945). With messianic zeal Carr was determined to paint the incomparable totem poles carved and decorated by the Indians of British Columbia. Years ahead of her time she chose to do this with bold colors in modular, expressionistic depictions. Following her calling much to the distress and recrimination of her family and the society of her day, she became an art teacher who decried traditional ways. In this fictionalized portrait of the extraordinary artist Susan Vreeland (Girl in Hyacinth Blue and The Passion of Artemisia) traces Carr's travels into the deepest wilderness to meet an indigenous people. While many of her journeys were solo undertakings she did have friends and compatriots, among them were Sophie, A Native American basket maker, Harold, a missionary's son, and Fanny an Australian painter. Later Carr went to Paris where in 1911 she became a part of the avant garde artists who were developing modernism and cubism. With her third such novel Vreeland once again brings to unforgettable life another time, another place, and an extraordinary individual. - Gail Cooke
Rating: 
Summary: *A GLORIOUS ADVENTURE FOR READERS*
Review: After being immersed in delicious piles of children's & YA books I changed course long enough to read "The Forest Lover." 1st, because long ago I was intrigued by Emily Carr's art; 2nd, our lifetimes overlapped; 3rd, the author's "Girl in Hyacinth Blue" is near the top of my *Vermeer List*; and 4th, for the joy of reading about a woman with great talents who overcame many obstacles including three inflexible, stuffily 'religious' sisters. In the *Author's Afterword* Vreeland says her story is a look at Carr's 'courageous and extraordinary life'(p.329). My favorite quotation by the artist is when she exclaimed late in life: "DON'T PICKLE ME AWAY AS A DONE" (p.331). Even after two heart attacks and a stroke Emily Carr was pushing herself around on a makeshift wheeled crate in order to keep painting. She died in 1945 at age 74. Her paintings reflected her spirit as well as the spirit of the forests and native people she grew to love. She was intrepid; the paintings astonishing. She was 'gutsy' and her art could be disturbing. They sometimes mirrored her melancholy; hers was a lonely life. I see echoes of Barbara Kingsolver's "Poisonwood Bible" in Vreeland's commentary on the miserable treatment natives were handed out by bureaucrats and 'men of God'. The torments they caused! Susan Vreeland was writing this book for 17 years. She said "In paint and words, Emily Carr casts a tall shadow, one which has accompanied me in western forests" - this from her experience kayacking into the north country to search for remnants of the totem poles Carr had sacrificed so much to capture on canvas. Some reviewers have carped about Vreeland introducing fictional characters and relationships in her story. 1st, let's remember this IS FICTION; 2nd, writers often do this to entice a wider audience. If this book serves to introduce hundreds more readers to Emily Carr and the wrongs she fought against, then I say "Amen" - "so be it"; 3rd, the author, in trying to portray the artist's spirit felt she could take 'certain liberties' because Emily, herself, altered facts and chronology in her own writings. And why shouldn't someone as passionate about her painting as Carr also have passionate relationships? One Amazon reviewer has gone a step beyond objecting to fictional love scenes; he/she ridicules the actions and language used as though anyone can say what is a "proper" way of writing about love! Vreeland describes (Part II) Carr's experiences in France in a most engaging way. It was the time of Monet and Van Gogh although Carr did not meet these men. The author captures vividly the critical eye of Parisians and the manner in which Carr's art evolved. Carr's was a truly amazing achievement, as a Canadian and a woman, to have a painting shown in the prestigious Salon d'Automne. She returned to British Columbia with a new confidence in her technique. Late in life Emily Carr was gratified to receive acclaim: "Hers is the greatest contribution of all time to historic art of the Pacific slopes. Miss Carr is essentially of the Canadian West *not by reason of her subject matter alone but by her approach to it*"(from the Ottawa "Citizen"). I find her paintings to be spirit-filled and/or spiritual (according to your individual interpretation); her colors bold and lush. When you come to the end of this book - a glorious adventure for the reader - remember it as a fictionalized account told with love and admiration for someone who lived 'before her time' and captured the true essence of her surroundings. REVIEWER mcHAIKU remains in awe of the subject and heartily applauds the author.
Rating:
Summary: *A GLORIOUS ADVENTURE FOR READERS*
Review: After being immersed in delicious piles of children's & YA books I changed course long enough to read "The Forest Lover." 1st, because long ago I was intrigued by Emily Carr's art; 2nd, our lifetimes overlapped; 3rd, the author's "Girl in Hyacinth Blue" is near the top of my *Vermeer List*; and 4th, for the joy of reading about a woman with great talents who overcame many obstacles including three inflexible, stuffily 'religious' sisters. In the *Author's Afterword* Vreeland says her story is a look at Carr's 'courageous and extraordinary life'(p.329). My favorite quotation by the artist is when she exclaimed late in life: "DON'T PICKLE ME AWAY AS A DONE" (p.331). Even after two heart attacks and a stroke Emily Carr was pushing herself around on a makeshift wheeled crate in order to keep painting. She died in 1945 at age 74. Her paintings reflected her spirit as well as the spirit of the forests and native people she grew to love. She was intrepid; the paintings astonishing. She was 'gutsy' and her art could be disturbing. They sometimes mirrored her melancholy; hers was a lonely life. I see echoes of Barbara Kingsolver's "Poisonwood Bible" in Vreeland's commentary on the miserable treatment natives were handed out by bureaucrats and 'men of God'. The torments they caused! Susan Vreeland was writing this book for 17 years. She said "In paint and words, Emily Carr casts a tall shadow, one which has accompanied me in western forests" - this from her experience kayacking into the north country to search for remnants of the totem poles Carr had sacrificed so much to capture on canvas. Some reviewers have carped about Vreeland introducing fictional characters and relationships in her story. 1st, let's remember this IS FICTION; 2nd, writers often do this to entice a wider audience. If this book serves to introduce hundreds more readers to Emily Carr and the wrongs she fought against, then I say "Amen" - "so be it"; 3rd, the author, in trying to portray the artist's spirit felt she could take 'certain liberties' because Emily, herself, altered facts and chronology in her own writings. And why shouldn't someone as passionate about her painting as Carr also have passionate relationships? One Amazon reviewer has gone a step beyond objecting to fictional love scenes; he/she ridicules the actions and language used as though anyone can say what is a "proper" way of writing about love! Vreeland describes (Part II) Carr's experiences in France in a most engaging way. It was the time of Monet and Van Gogh although Carr did not meet these men. The author captures vividly the critical eye of Parisians and the manner in which Carr's art evolved. Carr's was a truly amazing achievement, as a Canadian and a woman, to have a painting shown in the prestigious Salon d'Automne. She returned to British Columbia with a new confidence in her technique. Late in life Emily Carr was gratified to receive acclaim: "Hers is the greatest contribution of all time to historic art of the Pacific slopes. Miss Carr is essentially of the Canadian West *not by reason of her subject matter alone but by her approach to it*"(from the Ottawa "Citizen"). I find her paintings to be spirit-filled and/or spiritual (according to your individual interpretation); her colors bold and lush. When you come to the end of this book - a glorious adventure for the reader - remember it as a fictionalized account told with love and admiration for someone who lived 'before her time' and captured the true essence of her surroundings. REVIEWER mcHAIKU remains in awe of the subject and heartily applauds the author.
Rating:
Summary: Different from "Artemisia"; just as powerful
Review: As well-written and revealing as THE PASSION OF ARTEMISIA, the style of THE FOREST LOVER couldn't be more different from its best-selling predecessor. It's bolder, harder, it moves more abruptly, like the style of art and the artist it follows. Until I read this book, I'd never heard of Emily Carr, but I'd been to the forests of British Columbia and I live among the wild greenery of northern Oregon, so I read it for the forest in its title. Along the way, I did a bit of minor research into the fascinating explorer Vreeland depicts so well, and I discovered that her art is, as she struggles to comphrehend in the book, about soul -- yours and your subject's, mixed together on the canvas.
I haven't done enough research to know how many historical liberties Vreeland has taken in her story, but I really don't care. Read this book if you love art, soul, the northern forests, wilderness, people with gumption. Especially if it's all-of-the-above. I'm not a big art enthusiast, so I imagine someone who is will get even more pleasure from the experience.
Rating:
Summary: No trees were harmed to make this book
Review: At least I can't imagine they were . . . THE FOREST LOVER is just one of many books that have come out this past year, dealing with art, artists, and the general terrority that goes with that genre. Susan Vreeland has capatilized on this, and she's the best of the lot for doing so. The subject of Vreeland's book is the Canadian artist Emily Carr who traveled through British Columbia in the first part of the last century to paint villages, totem poles, and other artifacts before they disappeared. what might sound like a boring foray into the wilds turns epic and extrordinary in the hands of Vreeland. If you liked books such as GIRL WITH A PEARL EARRING and the gorgeous and brilliant BARK OF THE DOGWOOD, then you'll probably enjoy this unusual novel as well.
Rating:
Summary: Review: The Forest Lover
Review: By using the Canadian wilderness as a backdrop for The Forest Lover, Vreeland paints a magnificent picture of the Pacific Northwest and its native peoples though the eyes of an artist. This powerful historical novel chronicles the personal and professional life of the world renowned British Colombian painter Emily Carr, whose inspiration for her art came from the intense spirit of many native tribes of the Pacific coast region and the far North. Her mission was to preserve the totem poles and disappearing tribal culture of the Indians of the Northwest.
Vreeland does an amazing job of tracing not only Carr's physical journey through the Canadian wilds but also her tremendous personal and spiritual journey as well. She travels to Paris for a year to learn and expand the depth of her painting skills; this European excursion leaves her with an even more intense yearning for the West and the dying culture that she will try to preserve. Upon her return from Paris, she embarks on her quest, more fervently than ever, to find out all she can about totem poles and the Native Canadian way of life. From the many tribes Carr visits, she learns to see herself through the eyes of the natural world around her, the same way the Indians see. This journey leads her through many struggles and hardships, predominately with the other white settlers and the gradual destruction of the Indian way of life by the white man. The injustices of her fellow settlers towards the Indians infuriate Carr and fuel her inspiration to save what is gradually and heartbreakingly dying away. The passion Carr exhibits for preserving the Native spirit through her painting increases as her journey progresses.
As the reader follows Carr on her incredible pursuit of adventure and self-growth, the spirit of the West and its wonderful people becomes more and more evident. Vreeland expresses the freedom and wonder of the natural wilderness of Canada through the images Carr sees and ultimately translates onto the canvas. Her imagery captures the reader and creates a stunning vision of the virtually untouched land Carr loves so much. Vreeland's forests draw the reader in, just as they called out to Carr and her pursuit of pristine natural beauty and truth.
Ultimately, Vreeland leaves the reader with the sense of Emily Carr's success in finding what she so intensely searched for over many years and countless trips into the wilderness. Carr's brilliant paintings of the British Columbian frontier attracted the attention of many, leaving them with much new insight into the native spirit of those living in such harmony with the land - and the forests - she loved so much.
Emily Carr's journey into the wilds was unlike any other. She was an extraordinarily independent woman endowed with the genuine, uncompromising spirit of the West which enabled her to fulfill what she felt truly destined to accomplish. Vreeland also achieves an astounding feat through her inspired depiction of the truly outstanding life of one of the paramount artists of the nineteenth century.
Not having read anything else about the "real" Emily Carr, I have no authority to comment on the historical accuracy of The Forest Lover. However, I did find it to be a captivating story that held my interest throughout the entire novel. I would recommend this book to anyone desiring to know about art and the tremendous process that goes into making it great. Vreeland is exceptional at showing the artist and expressing the true artist's temperament. The Forest Lover is for those wishing to expand their knowledge about the unbelievable world of art, through the eyes of an extraordinary novelist.
Rating:
Summary: Fantastic!
Review: Canadian artist Emily Carr is the subject of this compelling book. Carr's work is Fauvist--lush, lyrical at times, and disturbing. The best thing about this book is that it is on the same level as Carr's work--expertly executed and original. Would highly recommend this book along with two others I've read recently: Jackson McCrae's "Bark of the Dogwood" and a book called "The Lady and the Unicorn." But before you buy anything, buy "The Forest Lover."
Rating:
Summary: No trees were hurt to make this book
Review: I almost passed up the opportinity to read this book. I'm very glad I didn't. I toured western Canada a few years ago and learned a littl about Emily Carr. Vreeland's book brings Emily Car and her times very much to life. It is a book I didn't want to put down, partly because of Susan Vreeland's writing style and partly because Emily came to life for me as I read.
Highly recommended!
Rating: 
Summary: Deluded the First Time
Review: I can't believe I loved Girl in Hyacinth Blue so much. I have to agree wholeheartedly with Theresa who penned the "Dull" review. This has nothing whatsoever to maintain your interest. To me it's even worse than the Artemisia book which couldn't hold a candle to Lapierre's one about the same artist. Why do I get the distinct feeling that this was intended for a Young Adult audience? So many paragraphs merely one-sentence long, so much "made-up" dialog. I went about 28 pages longer than Theresa but put this into the "Life is Too Short" category. My husband was shocked when I told him I had chucked it. Also like Theresa, I try to finish books but this one had absolutely no redeeming qualities. Vreeland - unfortunately - for me is a one-book author. I'll not try another of hers. From Great to OK to Bad. Terrible progression.
Rating: 
Summary: slow beginning/strong ending
Review: I discovered Emily Carr's paintings during a visit to the Vancouver Art Gallery several years ago. I was drawn to her work and amazed that I hadn't heard or seen it before, since I have worked as an art curator and art historian for many years. Having written about women artists, I was intrigued with her story and pleased to see that the Canadian government had a stamp honoring her. I bought a catalogue of her work and have been delighted to introduce her to others. I was interested when I learned that Susan Vreeland had written a fictionalized account of her life. I have to agree with several other reviewers that it is an uneven book and much of the dialogue is artifical and stilted. I stuck with it and was rewarded after the first 100 pages as the author began to describe Emily's experiences in France as she sought to express her feelings through painting. The book gains strength and I found it quite compelling in describing the struggle of a painter and the artist's deep connection with her subject matter. However the book is diminished because it needs more color reproductions of her work. The book made me seek out my catalog of Emily Carr paintings and I enjoyed looking at the images as I read. The author talks about the number of years she worked on the book and the uneven structure suggests that she didn't fully resolve the issues. Yet for all that, it ended strongly and I was swept into the passion of this lonely and sensitive artist and her deep feeling for the culture and landscape of the northwest.
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