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Everything has its wonders, even darkness and silence, and I learn, whatever state I may be in, therein to be content.

–Helen Keller

Time stays only long enough for those who use it.

–Leonardo da Vinci

And all the loveliest things there be/Come simply, so it seems to me.

–Edna St. Vincent Millay

In solitude the mind gains strength and learns to lean upon itself.

–Laurence Sterne

It is while you are patiently toiling at the little tasks of life that the meaning and shape of the great whole dawn upon you.

–Philip Brooks

There is a pleasure in the pathless woods/ There is a rapture on the lonely shore,/ There is society where none intrudes,/By the deep sea, and music in its roar.

–Lord Byron

Home is not where you live, but where they understand you.

–Christian Morgenstern

The ability to simplify means to eliminate the unecessary so that the necessary may speak.

--Hans Hofmann

With an eye made quiet by the power/ Of harmony, and the deep power of joy,/ We see into the life of things.

–William Wordsworth

A wise man will desire no more than he can get justly, use soberly, distribute cheerfully, and leave contentedly.

–-Benjamin Franklin

The invariable mark of wisdom is to see the miraculous in the common.

–Ralph Waldo Emerson

Live simply that others may simply live.

–Mohandas Gandhi


Contact Us

The Wild Lily Institute

P.O. Box 3366

Mission, B.C.

V2V 4J5 Canada



to the Literature Portal . . .

a place to read, engage, contemplate, and study the poetry, literature, and words of a poet.

This Portal invites you to travel through the eras and look with new eyes into the study of the self-disciplined artist and the influence of the arts on character development. Contemplate for a moment the history of both musical and artistic time periods, and the change by individuals of influence needed to bring about a new art form. Artists whose work was new and different were often rejected at first, to rise to fame later, being celebrated only after their death. Literature has been repetitive in recognizing the effect of a writer and being forthcoming with publishing praise only after their death, and even prolific writers have been known to lead very reclusive lifestyles, negligent to publishing.

To come into the prolific expanse of a reclusive soul, temperate and even in personality and promise, is the insight of the Institute in displaying the work of emerging writer and artist Emily Isaacson. Her founding faith in the promise of youth, and their development through the arts “passion is their forward movement” led her to the board of the Mission Arts Council, the Waterhouse Foundation, and the Fraser Valley Poets Society.
Isaacson's contemporary use of language, stylistic poetry, and philosophical nature has captured the heart of a country. She is and will forever be Canadian, although a dual citizen of two countries. Her emphasis retains both solitude and the public persona, her light voice of candor is a walk through the mountain countryside of a small town in British Columbia, yet she is as furious in scope as the ocean in storm of the island city where she grew up in Victoria, B.C.
Poetry is a flowery field, and emotions run rampant, yet a singular character of solidarity has won our trust by a resonant note of both word paintings and pathos coupled with classic structure and a spiritual mysticism. Isaacson’s world leaves much to be discovered about the renaissance of the soul, the liberation of the prophetic, and the solitary discipline of the writer’s neck of the woods.
This site offers a window of discussion into Isaacson's latest works.  


This commemorative edition by Dove Publishers released December 16 showcases the select poetry of Canadian poet Emily Isaacson, from her simple pieces to the epic. Seamlessly blending old and new poems, it includes 130 new poems, with over thirty new sonnets.

Isaacson has added an iconic influence to an old art with her chapter headings depicting interior design concepts. She is both glamorous and reticent. This work surrounds the guillotine of the recession that has influenced Canadians over the past decade. What motivated her own survival was a central theme to this book. There was much of her life to draw from, ranging from her childhood with eggs scrambled in bacon grease to the current decade where she might find herself working to make ends meet. She describes her ambivalence over this in Section VI: Dancing in the Dark where she is an artist who takes another job.

Isaacson’s readers, even those who don't like poetry, will appreciate her nuances, wording, and structure, including her own invention “the eclipsed poem.” She modifies the found poem, until it becomes an eclipse of the author and the original material. As these two intersect, she crafts an epiphany moment. We are rarely left unmoved.

Isaacson’s poignancy and lyricism impress her readers. She traverses a range from poverty and scarcity to the ornamental. Motivated by her impressions of Pippa Middleton's wedding, Isaacson tells of us leaving the medieval superstition we have of the internet to enter the Baroque era. She writes, “This is the Baroque period/if we have our own opinions/on corsages, buns, and bobby pins/and how it should be done with grace./We are married again,/the reverence sounded,/we are irregular jewels.” (This Is Where You Keep Me, p.24, Hallmark.) Isaacson has given some of her poetry books as gifts to the Royal Family, including The Fleur-de-lis, dedicated to Prince William and Victoriana, dedicated to Princess Charlotte.
Isaacson's use of postmodern devices such as pastiche demonstrate her use of eclecticism in art. It allows her to imitate while noting the work of other writers, such as Edna St. Vincent Millay. She discards the modern poet and returns to classical form; she speaks of figs growing from briers, and has familiar titles to the genius of Millay in the early 1920’s. She also writes rhyming sonnets, as Millay did. In Hallmark, her use of ballad form in “Last Words From A Weaver’s Basket” is a timely returning to Millay’s era and Millay’s soft-spoken “The Ballad of the Harp-Weaver”.

Isaacson has a way of answering the art of others in her art. She immerses herself in the finer notes of modern art, and from it draws postmodernism—re-drawing the lines and re-aligning the stars. She is water to the discerning art-goer; she will stay, pointing her finger like a stone statue in one direction. She taps the creativity necessary for survival with a wisdom depicting her age; her maturity as a person has settled nicely in her work.

--Press article for Hallmark: Canada's 150 Year Anniversary by Emily Isaacson

A Familiar Shore

This lyrical mythic collection with its motifs of healing and nurturing will transport you to places you have never been, in the company of surprising characters and creatures.

—Violet Nesdoly
Author of Destiny’s Hands

During the time of the Iron and Clay Empire, a saint who melts the snow with his feet sets out to preach to the Downtown Eastside of Vancouver in A Familiar Shore. His Goliath is poverty and injustice, yet his sling holds only one stone, a minstrel who is a prolific songstress. A poet and florist named Sea, and her daughter Rain, tell of a brush with nature in years of reparation from cancer. Sea chronicles her journey as she meets Raven, a former prostitute, by the sea in Tofino, and a medicine woman of the Stó:lō band, the People of the River.

Emily Isaacson features the woman identity in her art depicting the survival of an ancient people in the northern hemisphere. Her storytelling of the sacred circle to preserve the traditions and ways of the four medicines and the four directions includes both free verse and prose poetry. Her palette of postmodern hues etches her lyric and verse into a glorious classical composition, accented by ocean thunder, and with solitude as its rest. Eventually, the prophets will come to Mission. They will meet the First Nations People in all their ceremony at the longhouse. Will this be a prophetic moment when heaven touches earth? Twelve nations will play a role in this waiting for the healing.



What was the meaningful open question,
kept like a memento of the copper powers that be,
presiding over autumn ground
such as wide fields, ditches, and mossy barns
where no one could hide. No sound could be heard.
I hear the call of my child’s voice again, resonating
as tears on a statue, marble in cream,
tenuous as a violin’s ransom,
the vision stark at nightfall, dispersing
faults of the self and inner world, image
painting the character of eventide.

Emily Isaacson, A Familiar Shore


House of Rain

"Having just discovered Emily Isaacson's work, I can truthfully say I am now a fan for life! Emily is a wordsmith who captures emotion with her pen as an artist captures colour with her brush. Her poems stirred my heart and caused me to stop and ponder. And isn't that what poetry should do..."

 --Lianna Klassen

     Singer, Songwriter

An artist transforms the burden of their solitude into art, and so Emily Isaacson does in poetry. Her accounts of nature, cultivation, childhood, and transcendence in House of Rain are lyrical and riveting, providing a break from realism. Some dominant themes include the comparison of nature to human nature, while the naturalist and the philosopher converse back and forth using the natural world as inspiration. Their insights and experiences of humanity and his habitat are woven throughout in postmodern verse.  

 Emily Isaacson’s poetry actualizes silence throughout, the ability to quiet the soul in anticipation to receive from a higher source. Where we are in need of someone to take us by the hand into the realm of understanding, this she does with mirror-like tranquility and a serenity purchased from nature at great cost. Her word painting of her home in the natural world vows a deep solitude found only where modern society has left no footprint. 


Snowflake Princess

"Snowflake Princess delves into the questions of life that all teens face: what is the spiritual self? How must I journey to find my destiny and my true self? What will I live for and die for?"

   --Message from the author, Emily Isaacson

In Snowflake Princess, Ivory visits the grave of her mother Ebony, a young naturalist and poet. From the moment she was born, Ivory has always been her mother's Snowflake Princess, and when her mother is kept in the hospital, Ivory begins to realize that life is not what it seems.

Ivory's father, the philosopher, had been asking the deep questions of men and angels, and taking long walks around the lake with the naturalist as they conversed in poetry. When tragedy struck, they began to search both within and without for the Divine, redefining the meaning in suffering through poetry and symbolism.

In this time of life-changing martyrdom, will the naturalist leave her daughter Ivory and all she loves behind? Will there be an Ebony and Ivory gate into the spiritual realms? Or is it all a dream?

Emily Isaacson's tale in prose-poetry is both myth and tribute. This window into the human mind through the eyes of a young woman is a haunting tale of human survival, and the redemptive power of the will.

"Taking the painful tragedies of life and turning them into triumph, Emily Isaacson's colorful words dance off the pages and fill your heart with healing better than any physician."

       --Preston Bailey, Ph.D. Psychologist


The Fleur-de-lis

Emily Isaacson’s poetry is postmodern in its classic and prolific style and honest romanticism of royalty, making a three volume contribution to literature from this noted poet of Canadian birth.  Unlike the apprentice of a stained-glass window in medieval times, she juxtaposes poverty with wealth, proves a spirit world in full colour, and has characters throughout that speak in soliloquy and resonantly prove her many points of interest. Characterization allows her to work fine threads throughout her work, including many thematic transcendent viewpoints within her mystic framework of woman as poet. Not unduly religious, yet not without moral standpoint, she indoctrinates the reader with love of home and hearth, sea and sky, stars and Northern nights, divining the sacred.
     The Fleur-de-lis is composed of five sections. The Laurel Wreath is written in St. Augustine’s formula, of 222 poems in 22 parts. This is comprised of “France,” a stellar beginning of Joan of Arc’s legacy; “House of Gold”, sixty-six poems of the history of Canada and the First Nations peoples; “Ode to Enchantment,” a tribute to English poet Ruth Pitter, and “A Wind of Morning,” trumpeting runes from Africa to Old English.
     In The Lion and The Unicorn, Isaacson visits the mythological Avalon, a land of poetry, where two children appear from another world.  Aurias and Ethan live on Castle Mount on the isle of Avalon and her four children are named Autumn, Winter, Spring and Summer. Isaacson, writing on Castle Mount, composed the narrative poetry starring the life of red-haired Aurias and her brother Opheus, a young knight intent on avenging his mother’s death by barbarians. He eventually comes to bring his purpose forth by escaping from the dungeon of an evil castle where a hag keeps him imprisoned and rescues Summer from the lily pool.
     The study of the muse of which Auria is subject, playing both Waterhouse's Rose and Tennyson's Elaine, remains the focus of attention with an occasional appearance by Waterhouse in the short stories of The Fleur-de-lis Vol II, as he paints his various incarnations of the medieval woman in his characters Destiny, Miranda, The Lady of Shalott, Ophelia, and Rose.
     The Oracle steeps like fine tea, with gothic reminiscence of the early painters, Michelangelo, Rembrandt and da Vinci like a Louvre of fine paintings, then moving the audience with dance episodes of Anna Pavlova and her mother behind the scenes in their small flat. It carries through “The Windermere”, a series of oracles set to explore the dimensions of royalty, a young Prince, his wedding, his role in the Peace Tower and includes the word paintings of her early works in “Oracle of the Stone.”
     The Black Swan, originally composed in 2006 and sent to Prince William by Isaacson early on, authentically visits the history of Spiritual Touch of the monarch and makes a case that the Prince should have his head on the coin as reminiscent of the touch-piece which the monarch gave to the thousands they “touched” to bring healing in medieval times.
     The poet Waverley and the poet Edward, meet at Oxford University in England where they are students, and eventually go to the New World where he is a teacher in a small town in British Columbia . Their voices carry through time as they consider the gift of the monarch, and the significance of the coin inscribed with his figure indicating the wealth of England. Later we find that their gravestones echo with faded reminiscence through the pathways of an old 1800s graveyard in Mission, British Columbia where they now lie, forever silent, yet their soliloquy resounds deeply into our time.
     In Libertine, Isaacson duels with the gods, and the supernatural world, to find her inspiration and take her place as solitary unicorn, a mythic and beautiful creature in her 11 visions. She invites us through the back streets of old antique stores and reminisces of more haunting and meaningful times in “Vignettes”. Her work “Etudes”, in the French language eventually asks of the Prince the freedom of her country.
     In the section within the Libertine titled “The Fleur-de-Lis” a series of soliloquy ensue as the Jack, Queen, King, and Ace vie for the sake of duty, politics, and passion, eventually releasing Canada from its bonds under the Commonwealth for sixty years of freedom.
     Isaacson as postmodern poet is quite traditional in transmuting the reader from the “Old World” to the “New World” throughout her three volumes—as symbolic of leaving the Commonwealth for a revelatory dominion under the new Empire of The Fleur-de-lis, prophetically inscribed as emblem on the Peace Tower door.
     Isaacson is a lyricist with a whimsical bent to travel the unknown, the undiscovered, and with an undiluted quill and ink, she keeps the reader in question as to the eventual poetic destination until “India Passage”. Her prolific penchant resonates of the splendor of nature, journeyings and antiquity, in her staid blue and white Victorian room where she composes the end of her life’s work, until the walls become a watery blue and we float right on through the open window to tropical suns and an oasis of sea, galleys of pomegranate and foreign ports. The Fleur-de-lis Volume III has us drinking lemonade as we wave from the deck in shaded summer linen.
Good-bye modern world, we have set sail for the endless destinations of postmodern poetry!