The Okanagan Landscapes of Joice M. Hall

Essay By Patricia Ainslie

At the core of Joice M. Hall’s art is realism, and a belief in the power of representation in its various forms within a nature-based imagery. From her early figurative work inspired by Byzantine art, to the male nude figures that culminated in her 1985-1987 Floating, to the images of religious festivals in Mexico and the landscapes of Alberta, British Columbia, and Mexico, Hall has remained true to her personal vision: a portrayal of the visible world, and a rigorous realism.

False Economy

Kim Goldberg

It began, I now think, with the purpling leaves as the light fell. As my bare arms grew goosebumpy. As ravens and squirrels and tree frogs tucked into their evening roosts. As I scuffed my way through fir needle duff on my journey home. Or the illusion of home, since the true destination always remains a cipher until we arrive.

Perfect Chaos

Photographs by Kevin Dunn

I've been asked on numerous occasions to broach the subject of bees—to which I often reply, “The more I work with them, the less I know.”

The way I see it, to work with bees is to mirror one’s intent in life. The way in which one approaches bees is akin to the way one approaches existence. So, metaphorically speaking, bees represent anything and everything that ever did or ever will occur—simplicity/complexity, individual/society, docility/ferocity, chaos/perfection and so on.

Poetry and Essay

Stuart Kauffman

In the mid-twentieth century, C.P. Snow wrote his famous essay, “Two Cultures”, decrying the split between high literary culture and a less esteemed scientific culture. Scientific culture has gained in stature considerably, and may reign as the dominant cultural ethos of secular First World society. Meanwhile, in part under the scientific curfew on values due to Hume’s naturalistic fallacy—one cannot derive an “ought” from an “is”—we have come to view science as if it were either the sole, or overwhelming pathway, to truth about the world, but value free.

Poetry, Art, Interview

Joe Rosenblatt

Elizabeth Bachinsky: First off, let me say it’s a real pleasure to be able to speak to you directly about your work for LAKE. Thanks, Joe. If I understand your interests correctly, you welcome collaboration with other artists and often speak directly to their work. But, I wonder, is there ever a time when you feel the need to work entirely alone?

Joe Rosenblatt: Writing poetry is a solitary experience. For the most part, the poet, or for that matter, any creative writer, finds himself or herself alone in the process of writing original works that add to the sum of Canadian literature. Playwrights, I think, have it easier in that they have to workshop a play in progress. Such an experiential situation does not occur with poets.



Throughout the city are numerous patches of unintended wilderness. The stretch of abandoned railbed, evidently still in private hands, behind the loft conversion site on Castlefield. The steep slope along the western edge of a nearby park, traversed diagonally by a narrow footpath which, though overgrown in summer, makes a pleasant shortcut to the subway.

Horses of the Ghost

Christine Wiesenthal

The Ghost Forest lies ahead of us under a low sky of unbleached boiled wool, long wisps of cloud wreathing the shoulders of the foothills. They shift among the hills, slow magicians, covering and uncovering patterns on the dark slopes, lodgepole stands all stippled white. Light snow still falling.



Poetry in Issue #4 by:
Stuart Kauffman, James De Dood, Nancy Mackenzie, Veronica Gaylie, and Jesse Patrick Ferguson.


Lake publishes fiction, poetry, critical essays, interviews, reviews and visual arts related to the environment.
The magazine is issued twice a year.

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