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\nCopyright ◎1994by Beth Hill  \nNo part of this book may be reproduced or transmitted in any form by anymeans,electronic or mechanical,including photocopying and recording,or byany information storage and retrieval system,without written permission fromthe publisher,except for brief passages quoted by a reviewer in a newspaper ormagazine.  \nHorsdal &Schubart Publishers Ltd.Victoria,BC.,Canada  \nCover painting by Art Simons,Fulford Harbour,BC.  \nUnless otherwise credited,photographs and drawings appear courtesy of Bethand Ray Hill  \nThis book is set in Classical Garamond.  \nPrinted and bound in Canada by Kromar Printing Ltd.,Winnipeg.  \nCanadian Cataloguing in Publication Data  \nHill,Beth,1924-  \nSeven knot summers  \nIncludes bibliographical references and indexISBN 0-920663-27-3  \n1.Hill,Beth,1924-—Journeys—British Columbia—Pacific Coast.2.Hill,Ray,1927-—Journeys—British Columbia—Pacific Coast.3.Pacific Coast(BC)—Description and travel.4.Pacific Coast(BC)—History.I.Title.FC3817.4.H541994917.1104'4 C94-910205-9F1087.H541994  \nContents  \nMap  \nIntroduction:The End at the Beginning  \nChapter One:  \n1  \nNORTHWARD OUT OF TSEHUM HARBOUR,SIDNEYChapter Two:16  \nNORTHWARD,CoWICHAN BAY TO DE COURCY ISLANDChapter Three:  \n30  \nGABRIOLA ISLAND AND NANAIMO  \nChapter Four:  \n44  \nNORTHWARD,NANAIMO TO QUADRA ISLANDChapter Five:63  \nNORTHWARD,QUADRA ISLAND TO SONORA ISLANDChapter Six:  \n79  \nNORTHWARD,THURLOW ISLANDS TO MINSTREL ISLANDChapter Seven:96  \nAROUND QUEEN CHARLOTTE STRAIT  \nChapter Eight:  \n137  \nSOUTHWARD,STUART ISLAND TO DESOLATION SOUND  \nChapter Nine:  \n167  \nSoUTHWARD,LUND TO PRINCESS LoUISA INLET  \n186  \nChapter Ten:  \nSoUTHWARD,PENDER HARBOUR TO GIBSONS  \nChapter Eleven:  \n194  \nSOUTHWARD,VALDES ISLAND TO SALT SPRING ISLAND  \nChapter Twelve:  \n208  \nSoUTHWARD,MAYNE ISLAND TO SIDNEY  \nFootnotesBibliographyIndex  \n231  \n238  \n245  \n## INTRODUCTIONThe End at the Beginning\n\nThere was never a moment when the end of the summer began,but one morning a few brown leaves lay on a path,like curled andcrumpled hands.Unbidden,home thoughts intruded.The earthhad swung round the sun and signalled the canning of tomatoes,thebottling of salmon,the chopping of firewood.  \nRay and I had drifted through a summer at sea while I wroteabout the places and people.There were some destinations,ofcourse:notes scribbled on the charts,events and locations describedin other people's books and articles.Sometimes old friends,orstrangers,pointed us to sites and stories.In these assembled sea-pieces (see-pieces?)certain themes were persistent,like the summer'snorthwest wind,as I examined this inside coast(from Sidney toGod’s Pocket)through the lens of my life.  \nThere is another dimension.It was unsubstantial at first,neverclear to me,glimpsed briefly before it dissolved,ghost-like.It didnot belong,perforce,to any one time or place or person,and yet itmight manifest itself anywhere and anytime,a sparkle in thedewdrop cupped in a tiny leaf,a loon on the misty lagoon at RefugeCove,the weathered grey of an old shed.I recognized the quality.Istruggled to capture it in nets of words,but it escaped easily,likewater through a seine net.I was usually left with the fish,which Ivalued,but I was not fishing for them.Joseph Conrad said thatwords were the great foes of reality.  \nThen,in The Continuum Concept,Jean Liedloff gave me somewords to describe it.She wrote about a childhood moment in aforest when,as she hurried along a path,she saw in an open glade asingle fir tree,sunlit.It was covered with bright,almost luminousgreen moss.The place had“such dense power that it stopped me inmy tracks.”Softly,as into an enchanted place,she entered and sat  \ndown with her cheek against the freshness of the moss.All anxietyfell away.Everything was as it ought to be...the tree,the earthbeneath,herself.Seasons would circle around,the snow would fall,the spring would come,some p","cbCaidlGGEhgPV1s","https://ap.wps.com/l/cbCaidlGGEhgPV1s","pdf",14515636,258,"English","# Introduction: The End at the Beginning\n## Chapter One\n## Chapter Two\n## Chapter Three\n## Chapter Four\n## Chapter Five\n## Chapter Six\n## Chapter Seven\n## Chapter Eight\n## Chapter Nine\n## Chapter Ten\n## Chapter Eleven\n## Chapter Twelve","[{\"question\":\"What is the book’s central theme in the introduction?\",\"answer\":\"The introduction frames the author’s search for a “missing center” and an “oceanic feeling” of being bonded to the world, expressed through places, sea passages, and remembered encounters.\"},{\"question\":\"How does the author connect travel writing to personal life?\",\"answer\":\"The author describes drifting through a summer at sea while writing about sites and people, where persistent themes emerge when viewing the coast through the lens of her life and relationships.\"},{\"question\":\"Why are knots important in the book?\",\"answer\":\"Knots, tied on a log-line at measured intervals, also become a metaphor: a knot can be a meeting point of lines or nerves, linking navigation, complexity, and the difficulty of unraveling experience.\"}]","Seven-Knot Summers | PDF",1790645007,397]