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There is more to the cameo appearance of civic photographer Arthur S. Goss (1880-1940) in Ondaatje's In the Skin of a Lion than another instance of historical verisimilitude. The city of Toronto's first official photographer, Goss's oeuvre provided Ondaatje with a set of civic images enabling him to reconstruct his version of the past, as shown in Duffy 1994. Goss's career as a civic official also entwined him in the careers of two of Toronto's most potent modernizers, Charles J. Hastings and Roland C. Harris (the latter a character in In the Skin of a Lion). They in turn produce the discourse of power that remains one of the novel's themes. Thus Ondaatje's Goss returns to life as the writer's fellow visionary.

The more we know of its peculiar history, the more one realizes that wilderness is not quite what it seems.... It is not a pristine sanctuary. ... Instead, it is a product of that civilization, and could hardly he contaminated by the stuff of which it is made (Cronon 69).'Indeed, as a refuge from our increasingly strident, iirhan way of life, Algonquin's 7,725 y u a r e km of forests, lakes, and rivers have assumed an almost incalculahle importance as a living link with a vanishing past. How many city children have, o r will, come to Algonquin and hear for the first and only time in their lives the mournful howl of a wolf? How many will see first hand-in Algonquin and nowhere else-a reasonable facsimilie [sic] of the wilderness that once covered all of Ontario? (Algonquin Park Official Wehsite) hich description best suits Ontario's Algonquin Provincial Park:

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