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As I Remember It: Teachings (Ɂəms tɑɁɑw) from the Life of a Sliammon Elder This label refers to a teaching that emerges throughout this book: “you learn from someone by example.” (The literal translation of tiʔiwš is “fast learner.”) The goal of this book is to share ɬaʔamɩn teachings and history widely with ɬaʔamɩn community members, students, and teachers at all levels, and with any other interested readers. This is Elsie’s goal in sharing ʔəms tɑʔɑw, and all of the authors hope the book serves an educational purpose. The authors ask readers to take care to use this information respectfully and in context. The Sliammon-language term for this label means “it is mine.” This book contains the teachings and history of the ɬaʔamɩn people as remembered and narrated by Elder Elsie Paul. The effort and care she takes in this work is important. She offers a counter-narrative to incorrect and inappropriate interpretations previously drawn by settlers. Please respect Elsie Paul’s right and responsibility to relate the history and teachings in her own words. She does so from her own perspective and does not attempt to speak for all ɬaʔamɩn people. Please attribute the stories shared in this book to Elsie Paul.

Some sections of this book are authored by other individuals and should be attributed to the appropriate person(s) as indicated. Material in this book may be culturally sensitive for a number of reasons. This label identifies such content by stating: “it is ours.”

ɬaʔamɩn teachings, laws, and practices that flow from them are subject to the ʔəms naʔ label because they are communally held and collectively stewarded by ɬaʔamɩn people for future generations. Much of this knowledge is captured in our legends, for example. The authors recognize that ɬaʔamɩn, Klahoose, and Homalco families have their own tellings of the legends.

Other parts of the book are labelled “ʔəms naʔ” because the ongoing nature of settler colonialism means that the histories discussed here are not part of a distant past. For close to a century, colonial laws and policies prevented community members from sharing teachings freely in their community without fear of punishment or retribution, imposing silences that remain even today. Thus this label also applies to chapters that discuss the genocidal practices that sought to interrupt the transmission of teachings and to sever ɬaʔamɩn sovereign rights to their territory.

Please treat information and photographs marked with this label with special care, especially if you plan to share them with others.

Police Patrol (2)

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Contents of this tag:
Contents of this tag:
Contents of this tag:
23. Christmas Blankets
24. Elders and Cedar Roots
25. Elsie at Deep Bay
27. Cutting Fish
29. Wedding Day
30. Elders and Friends
31. Elsie and Glen (2)
32. Assessing the Catch
33. Elsie and Glen (1)
34. Elsie and Stella
35. Christmas (1)
36. Mother’s Day, 1980
37. Elders' Gathering
38. At the Elders Lodge Elsie Paul with ɬaʔamɩn Elders when she was running the Elders’ program. Front row, from left: Elsie Paul, Henry Bob, Katherine Blaney, Mary Harry, Rose Louie (behind Mary), Joe Paul Sr. (behind Rose), Willie Bob, Calvin Harry. Back row, from left: Louise Bob, Marie Hackett (behind), Nora Wilson, Annie Dominick, Dave Dominick, Agnes McGee, Rose Peddie, Peta Francis (Okee Dokee), Johnny George, Charlie Charlie, Peggy Harry.
39. Having a Laugh
40. Working Out
42. Retirement
43. Bride and Groom
44. Joining Council
45. Baby Glen
46. mɑksɛmɑ’s Cabin in toχʷnɑč (Okeover)
47. Graduation (1)
48. Preparing an Offering
49. First Home
50. Prince William
51. Party at Elsie Paul’s House
52. Visiting with Annie and Norman Gallagher
53. Elsie at Steveston in the Late 1940s
54. Friends (1)
55. The Ladies
56. The Children at Home
57. Elsie at Home
58. Sliammon Village Waterfront
59. Language Work Linguist Honoré Watanabe stands behind ɬaʔamɩn Elders at the Elders Lodge. Elsie was caretaker and lived at the Elders Lodge for many years. From left: Marion Harry, Mary George, and Elsie Paul. Honoré worked extensively with these three women over more than two decades, living with Elsie during his time in Sliammon. Marion was Elsie’s “little sister” at residential school and worked with Honoré to transcribe and translate the selections in Sliammon language included in this publication.
60. Collaborators
61. A Day in Town
62. Elsie and Teresa at the Cannery
63. Boat to Westview When this photo was taken, it was quicker to get to town by boat than by foot, since people didn’t have cars yet. Peggy Harry is at the back of the group (with barrettes in her hair); Molly Timothy is on the right (with headband); Elsie Paul is in the centre (with flowers in her hair); Stella Timothy is centre right, beside Elsie; further right, holding a baby, is Agnes McGee, and in front of her is Sosen Galligos. Smokey John is on the left (wearing a hat), and lɑsɑ is in front of him.
64. Elsie and Cathy (1)
65. Elsie, Agnes, and Children
66. Elsie and Cathy (2)
67. Party Time
68. On the Town
69. Newlyweds
70. Wearing Slacks
72. Repatriation
73. Going to Church (1)
74. Settlers’ Camp (1)
75. Dedicated Work Partners
78. Siblings Elsie Paul with her siblings at her brother Barney’s house in the early ’80s. Standing, from left: Teddy Francis (Elsie’s brother), Leo Francis (Elsie’s brother), Lillian Francis (Elsie’s niece, Barney Francis’s daughter), Elsie Paul, Doreen Hopkins (Elsie’s sister), Charlene Francis (Elsie’s niece), Jason Francis (Elsie’s nephew), Greg Francis (inch, Elsie’s nephew). Seated, from left: Aunt Agnes McGee, Rita Francis (Elsie’s sister), Nancy Phillips (Elsie’s sister), Vangie Francis (Elsie’s niece), Elizabeth Blaney (Elsie’s sister), Lily Timothy (Elsie’s mother).
79. A Visit with Auntie Katherine
81. Christmas with the Girls
82. Baby Marlane
83. Traditional Prayer Songs
88. Honorary Doctorate
89. Helping Ma
90. Going to Church (2)
91. Childhood Friends
92. Paul Family
94. Elsie Paul with King of the Sea
96. Important Medicine
98. Author Group (7)
99. The Shield
100. Friends (2)
101. Beautiful Baskets
102. Pals
103. Author Group (8)
105. Author Group (5)
106. Rowing with mɑksɛmɑ
107. Author Group (4)
108. Author Group (6)
109. Life History of This Project
111. Territory
112. Becoming Strong
113. Give It to Them
114. Sharing the Book (5)
115. Sharing the Book (2)
116. tʼᶿɛwqʼ (pronunciation)
117. Living with the Land
118. Cleansing
119. Sharing the Book (3)
122. Community Activities
123. Contact Happened
124. Designated Area
125. Sharing the Book (4)
126. Old-Timers and Hard Work
127. You Thank It
129. Gifted People
130. Watch Your Children
131. When It’s Your Time
132. We Were Already Here
133. Part of Our Survival
134. Root Digging
135. He Got His Spirit Back
136. Grieving
137. Recovery
138. tɑʔɑw
139. The Young Girl and Eleven Puppies (English)
140. Author Group (3)
141. Lonely and Homesick
142. Her Name Was Jane
143. New Year’s Dance
144. The Young Girl and Eleven Puppies (Sliammon)
145. Author Group (2)
146. The Chinese Restaurant
148. My Dog Patsy
149. Times of Transition
150. Homebrew
151. Problems Handed down from History
152. Thank the Creator
153. Police Patrol (2)
154. Collecting Branches
155. Police Patrol (1)
156. Author Group (1)
161. New Baby
162. Paul Family Photo
163. The Police Were Standing by the Bed
164. Showcasing This Book
165. Naming Ceremony
166. Preparing Fish and Community Drive-Through
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8. Children “Playing Indian” Powell River community members commemorated British Columbia’s centennial by dressing up in costumes that reflected their imagination of how “Indians” and “pioneers” looked in the nineteenth century. This was a common practice in settler communities in Canada and the United States. Settlers “played Indian” for reasons that ranged from political protest to entertainment. The act of “playing Indian” expressed a settler sense of entitlement to the places that they or their ancestors had colonized. The costumes did not demonstrate meaningful relationship or engagement with Indigenous peoples or practices. Today, we understand these occasions to be forms of cultural appropriation.
9. Bows and Arrows Powell River community members commemorated British Columbia’s centennial by dressing up in costumes that reflected their imagination of how “Indians” and “pioneers” looked in the nineteenth century. This was a common practice in settler communities in Canada and the United States. Settlers “played Indian” for reasons that ranged from political protest to entertainment. The act of “playing Indian” expressed a settler sense of entitlement to the places that they or their ancestors had colonized. The costumes did not demonstrate meaningful relationship or engagement with Indigenous peoples or practices. Today, we understand these occasions to be forms of cultural appropriation.
10. Patricia Theatre, Interior
11. Rodmay Hotel
12. Patricia Theatre
13. Golfing “Indian” Powell River community members commemorated British Columbia’s centennial by dressing up in costumes that reflected their imagination of how “Indians” and “pioneers” looked in the nineteenth century. This was a common practice in settler communities in Canada and the United States. Settlers “played Indian” for reasons that ranged from political protest to entertainment. The act of “playing Indian” expressed a settler sense of entitlement to the places that they or their ancestors had colonized. The costumes did not demonstrate meaningful relationship or engagement with Indigenous peoples or practices. Today, we understand these occasions to be forms of cultural appropriation.
14. Society Lady “Indians” Powell River community members commemorated British Columbia’s centennial by dressing up in costumes that reflected their imagination of how “Indians” and “pioneers” looked in the nineteenth century. This was a common practice in settler communities in Canada and the United States. Settlers “played Indian” for reasons that ranged from political protest to entertainment. The act of “playing Indian” expressed a settler sense of entitlement to the places that they or their ancestors had colonized. The costumes did not demonstrate meaningful relationship or engagement with Indigenous peoples or practices. Today, we understand these occasions to be forms of cultural appropriation.
17. Cafeteria
18. Beautiful Baskets
19. Territory
23. Contact Happened
24. Designated Area
25. We Were Already Here
26. Lonely and Homesick
30. Police Patrol (2)
31. Police Patrol (1)
34. The Police Were Standing by the Bed
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Contents of this tag:
Contents of this tag:
3. Buddies (1)
4. At the Elders Lodge Elsie Paul with ɬaʔamɩn Elders when she was running the Elders’ program. Front row, from left: Elsie Paul, Henry Bob, Katherine Blaney, Mary Harry, Rose Louie (behind Mary), Joe Paul Sr. (behind Rose), Willie Bob, Calvin Harry. Back row, from left: Louise Bob, Marie Hackett (behind), Nora Wilson, Annie Dominick, Dave Dominick, Agnes McGee, Rose Peddie, Peta Francis (Okee Dokee), Johnny George, Charlie Charlie, Peggy Harry.
5. Rose and Alec Louie
6. Party Time
7. Our People Governed Themselves
8. Police Patrol (2)
9. Police Patrol (1)
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The Police
“You can’t be up late at night without causing the police to be suspicious.”
The police could come patrolling through the reserve several times a night. And if your lights are on, they come right to the door: “Why are your lights on?” In those days it wasn’t even electricity. It was, like, a gas lamp or a coal-oil lantern. Come knock on the door, check what you’re up to, why you’re up that time of the night. So you can’t be up late at night without causing the police to be suspicious. There was no street lights. There was nothing. So quite often people, when they started and if they wanted to party or socialize, cover the windows with heavy blanket and – so that the police don’t come and check. A bunch of fugitives. [laughs] They’d come right in and look around. If there was any booze, they had the right to take any liquor that’s around the house if there’s any.
Yeah. Woke up and the police were standing by the bed. We were both in bed, like, my husband and I were sleeping. And I don’t know how he came in, if the door had been left unlocked, but there were two police officers with a flashlight shining in our face and wake up to that. It’s quite startling. [laughs] I don’t know what they were doing, if they were looking for someone else. I can’t remember what their excuse was. Yeah. It’s weird. So thank goodness it’s not like that anymore. They had more right then, you know, never givin’ people an opportunity to defend themselves. If you’re found guilty, you’re guilty – in their eyes, right?
That little jailhouse in the townsite used to be always full of our people on the weekends. When they were – it was okay now for them to go to a pub, so you drink all you want there, the men did, and when you left there if you were staggering, you ended up in the jail. And it got to the point where it would be quite full and they even put women in there with the men.

We were over visiting Rose and Alec, and they were logging buddies. They were always talking logging talk and that. So I’m sittin’ in the main living room with Rose, and we’re visiting, and Alec and my husband were sitting off in a room – there was a bedroom there, and they were – they’re sitting there talking and visiting. Next thing you know, a police officer comes through the door. And there was just a curtain on the door. There was no door, just a curtain to cover the doorway. So hearing the police come in, I guess they put their bottle on the windowsill – window ledge – in that little room. And the lights are on, of course it’s dark. Yeah, “What’s going on in here?” That’s how he used to be.
The police would just walk in: “What are you guys up to?” And it’s like you’re scolded or, you know, rough – it’s not anything like “Oh, how are you today?” kind of thing. You know? “I was just passing through, checking to see if you’re okay.” No, it was “What are you up to?” and “Where’s your husband?” Right away Alec came out of the bedroom and, “Oh, officers.” And by then he’s kind of jagged already. In the meantime they had put that bottle on the ledge, and there’s a curtain. So officer went there, I guess looked around, didn’t see any bottle there or anything. So left and went out through the kitchen and around the house, and there was, like, a walkway going down by the house. I guess when you looked like that at that window, you seen this bottle on the ledge. Comes back in, goes stomping into that bedroom, grabs that bottle, and walks out with it. So of course Alec and my husband were really upset by … they took away their bottle of whiskey. Followed the police officers outside, and they’re jabbering away like a couple of magpies.

They’re, “You can’t do that to us,” and “That’s our right. We paid a lot of money for that bottle!” and blah, blah, blah. Officer just ignored them and went in his vehicle. So they kind of went around the vehicle – Alec’s on one side, and Dad’s on the other side, and they’re nattering at the officer from both windows in the police car. “You can’t do this to us. We’ve got our rights,” Alec was saying. “I was in the Army. I served in the war.” And what did he say he was? He was – oh! “I was in the 47th brigade,” he said. [laughs] I don’t know if he knew what that meant. And the officer was standing there, and I’m over on one side. I’m telling my husband, “Come with me, let’s go home.” In the meantime the officer had spilled that whiskey right on the road by the vehicle – upended the bottle, spilled all that whiskey out. And he said, “Now you go home.” He was telling that to us, like, me and my husband were standing there.
I wasn’t drinking at all myself, but I was telling him, “Let’s go. Let’s go home before you get arrested. Let’s go!” Oh, they were nattering at the police officer. Finally the police officer just left. Left him there and – yeah, they were very disgruntled about their whiskey being poured out of the bottle and onto the road. So it was just always like a “catch me if you can” – hide and seek and always hiding from the law over nothing.
And one time we were at his other friend’s place, which was at Charlie and Bessie’s, Charlie Peters. And it was a beautiful day like this, and they’re sitting outside on the grass close to the house. And this police car came whipping up the driveway off the main highway, ’cause they lived up on the highway. Officer pulls in. And just went up to him, and Charlie got up and he ran and he went down the bank. It was a steep bank there. He went tumbling down the bank. He was running away from the police. And of course my husband, being stubborn, wanted to argue. He was sitting there and he, “We’re not doing anything wrong. We’re just here visiting.” And officer went, looked over the bank, and Charlie’s way down there. There’s a lot of bush down there. It didn’t bother him. He just left him: “Okay, you. You’re coming with me.” And he didn’t want to go. He’s digging his heels in. So I’m helping the officer – help put him in the car. I said, “Come on,” I said, “you go with the officer.” ’Cause I was worried they would beat him or really rough him up. So I’m helping the officer! “Get in a police car – go, go!” [laughs] Oh my gosh. Just for nothing. You’re sitting there, minding your own business. But I guess you’re breaking the law. [chuckles]