A former artist's model and muse reclaims her image and voice, dismantling the male gaze that once framed her.At 23, Theresa Kishkan met an artist who became obsessed with her. She was young, she was flattered, and the situation quickly overwhelmed her. He drew and painted her for a few months, after which she went away for a year. When she returned, she was determined not to resume the relationship. But the artist made contact with her after the birth of her first child and became a family friend, bringing gifts of paintings. Those images hung in Theresa's home, and one in particular reminded her almost daily of her younger self, in ways both positive and not so much. She avoided looking too closely at his images of her and at his long, passionate and often troubling letters.Decades later, while sorting old correspondence, she was taken back to those early days and began, at last, to write about her relationship with the now-deceased artist. The Art of Looking Back is a meditation on the male gaze, on reclaiming one's younger self, and on agency: how we lose it, how we find it again. This poetic memoir asks questions about older men and younger women and girls, and the persistence of that dynamic in art.

A former artist's model and muse reclaims her image and voice, dismantling the male gaze that once framed her.At 23, Theresa Kishkan met an artist who became obsessed with her. She was young, she was flattered, and the situation quickly overwhelmed her. He drew and painted her for a few months, after which she went away for a year. When she returned, she was determined not to resume the relationship.But the artist made contact with her after the birth of her first child and became a family friend, bringing gifts of paintings. Those images hung in Theresa's home, and one in particular reminded her almost daily of her younger self, in ways both positive and not so much. She avoided looking too closely at his images of her and at his long, passionate and often troubling letters.Decades later, while sorting old correspondence, she was taken back to those early days and began, at last, to write about her relationship with the now-deceased artist. The Art of Looking Back is a meditation on the male gaze, on reclaiming one's younger self, and on agency: how we lose it, how we find it again. This poetic memoir asks questions about older men and younger women and girls, and the persistence of that dynamic in art.

Finalist, Hubert Evans Non-Fiction AwardWarm, imaginative, and thoroughly original, this memoir intertwines the mysteries of trees with the defining moments in the life of novelist and essayist Theresa Kishkan. For Kishkan, trees are memory markers of life, and in this book she explores the presence of trees in nature, in culture and in her personal history. Naming each chapter for a particular tree — the Garry oak, the Ponderosa pine, the silver olive, the Plane tree, the Arbutus, and others — she draws on Pliny the Elder's Natural History, John Evelyn's Sylva, and strands of mythology from other classical and contemporary sources to blend scientific fact with natural history and the artifacts of human culture. Never pedantic and always accessible, Mnemonic reveals — through one woman's relationship with the natural world — how all of us have roots that intertwine with the broader world, tapping deep into the rich well of universal themes. In the words of Pliny the Elder, "Hence it is right to follow the natural order, to speak about trees before other things..."

A wanderer arrives by chance on Inishbream, a rocky dot in the sea just off the west coast of Ireland. A lover of boats and a strong worker, she soon marries the young owner of her stone cottage. For a time, she does her woman's work, fishes with her husband, and walks along the shore, imagining Saint Brendan and the invisible world so real to the islanders. Through the winter, she repays Inishbream storytellers with tales of coastal British Columbia, not so very different, after all, from their own. In the spring, the islanders learn that their isolation will end: the government has promised them modern houses on the mainland. The wanderer cannot wait for the migration; she must leave Inishbream and go home alone. In the islanders' soft dialect and the wanderer's own tongue, Inishbream conjures relationships between the newcomer and her husband, between the island people, the sea, and the land, and between the coastal landscapes of reality and imagination. In the uneasy peace of partial acceptance, the foreigner grows, changes, and starts to envision her own place in the world. Inishbream is also available in a hand-printed and hand-bound limited edition from Barbarian Press. That Inishbream was chosen for this exclusive private edition attests to the clarity of Theresa Kishkan's storytelling and the beauty of her writing.

In her vibrant first novel Sisters of Grass, Theresa Kishkan weaves a tapestry of the senses through the touchstones of a young woman's life. Anna is preparing an exhibit of textiles reflecting life in central British Columbia a century ago. In a forgotten corner of a museum, she discovers a dusty cardboard box containing the century-old personal effects of a Nicola valley woman. Fascinated by the artifacts, she reconstructs the story of their owner, Margaret Stuart. Margaret, the daughter of a Native mother and a Scottish-American father, she tries to fit into both worlds. She's taught photography by a visiting Columbia University anthropology student that she falls in love with. With strong, poetic language, Kishkan makes the past reverberate through the present in a richly patterned work celebrating the complexities and joys of life and the sustaining connections of family.

With The Age of Water Lilies, Theresa Kishkan has written a beautiful novel that travels from the time of colonial wars to the pacifist movement to 1960s Victoria, and shares a unique and delightful relationship between 70-year-old Flora and 7-year-old Tessa. When Flora Oakden leaves her English home in 1912 for the fledgling community of Walhachin in British Columbia’s interior, she doesn’t expect to fall in love with the dry sage-scented benchlands above the Thompson River-and with the charismatic labourer who is working in the orchard. When he and all the men of Walhachin return to Europe and the battlefields of France, Flora remains behind, pregnant and unmarried. Shunned by those remaining in the settlement, she travels west to Victoria and meets freethinker Ann Ogilvie, who provides shelter for her in a house overlooking the Ross Bay Cemetery. Fifty years later, among the headstones of Ross Bay, curious young Tessa is mapping her own personal domain when her life becomes interwoven with that of her neighbour, the now-elderly Flora. Out of their friendship, a larger world opens up for these unlikely companions. Theresa has written a sweeping story that transcends time and springs from a passionate exploration of the natural world, its weather, seasons and plants.