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For a period of time early in the twentieth century, Emily Pauline Johnson (1861-1913) was Canada’s best-known stage performer (Figure 1). Billed as “The Mohawk Poetess,” the “Indian Poet-Reciter,” or under her Mohawk name, Tekahionwake, she gave dramatic literary readings in front of packed halls across the country. A powerful performer, who both delighted and challenged audiences, Johnson was very much in demand. She was also a popular author, writing for a wide range of periodicals, but these ephemeral publications paid very little. While Johnson was unable to attract serious interest from a book publisher at home or abroad, regular performance tours allowed her to earn a living by the pen. Johnson’s literary stature has not always been certain, yet today she is the “most widely anthologized Native poet in North America.” Although it may appear as if Johnson was more successful at attracting publishers than other Aboriginal authors have been until relatively recently, her story is not that simple. Johnson had published two modest volumes of poetry during the course of her career: The White Wampum (John Lane, London, 1895) and Canadian Born (George N. Morang, Toronto, 1903). The critical

Labour of Love: Legends of Vancouver and the Unique Publishing Enterprise that Wrote E. Pauline Johnson into Canadian Literary History