• The August chapter of the Knitter’s Almanac describes some "fiddle-faddle" that Elizabeth came up with while camping, Christmas ornaments "based on the principle that knitting will hump itself up when it is consistently decreased at the same spot."

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    This will, in fact, be a knitted Christmas tree!  All of this chapter’s projects — a tree, a star, and an angel — are indeed small and portable enough to take on an outing, whether camping or merely picnicking.  Very economical, too — bits and bobs of wool left over from another project, just about anything, really, because who says that your Christmas tree has to be green?!

    "The more you do a thing, the more ways you find of doing it — if you keep an open mind, that is.  Quite often the new ways are improvements."  Elizabeth found that the usual slip-knot at the beginning of a cast-on was just niggly enough for her to look for a different way of doing it: "Simply lay the wool over the righthand needle where it will form the first stitch.  Grasp the wool-ends with the left hand, spread thumb and forefinger between them, and proceed as usual.  The knot is done away with and the join much neater."  A while ago, not long after I started using the long-tail cast-on instead of the cable cast-on I’d used for years, I modified this to something that was a bit easier for me to work with: make a U-shape at the point where the tail end is long enough, hold this in your left hand, stick the needle down through the loop, and twist the end of the needle upwards.  This will cross the yarn around the needle, holding it firmly enough to start the cast-on stitches.

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    And a nice little bit of August, for these last few days of summer before school starts next week: "Last night, the moon — three-quarters full — reflected herself in the water behind the triple twisted cedar as in a Japanese print.  This morning, the print has changed; all the further shores have disappeared, the sun is seen only as a pale radiance, and sky and water have merged and mingled.  Tall rushes next to the fireplace mirror themselves unwaveringly in the glassy lake, making one perfect circle, some pointed eggs, and some funny triangles.  Slowly, to the scent of coffee, the radiance turns to a silver sun doubled by its own reflection, and the opposite shore appears through the haze.  Clearly, another perfect day is coming up."

  • The Booking Through Thursday questions for today are about the settings of books we read.

    1. Have you ever wanted to travel to a place described in a book? If the author is good — and there are so many who are — every time.
    2. Have you ever ACTUALLY travelled to a place because of the way it was described in a book? Where do I get the tickets for Middle Earth? or Victorian England?
    3. And if so, did it live up to the expectations, feelings, emotions you expected from the book? Did you feel like Anne was going to come romping around the corner of Green Gables? Was it as if Jo was upstairs at Orchard House, scribbling on a story? Or was it just a museum, or just a city street? Like Abbey Road without the Beatles? The only actual "pilgrimage" I’ve made so far was to Hyde Park Gate in Kensington, to see the house where Virginia Woolf and her sister Vanessa Bell grew up, and to Charleston Farmhouse in Sussex, where Vanessa lived for most of her life — these were on my first trip to London.  Number 22 was rather different than I’d pictured it, since I’d never seen the rest of the street, and I’d imagined it with the noise of four young children, hackney cabs outside, and so on, but despite the unmistakeable aura of the late 20th century, I was not disappointed.  Charleston was pretty much everything I expected, although rather lonely without its residents and the smell of linseed and turpentine and tea.  And these are both, of course, settings more in the biographical sense, not fictional like Green Gables.  A place I would like to visit someday because of a particular author’s novels is Moffat, in Dumfriesshire; D.E. Stevenson lived there for many years.

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    Photo from Visit Moffat, who although there is no mention of Stevenson, do include a lovely series of walks around the countryside, something very dear to her heart.

  • Knitting Hands

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    Laura walked into the living room this morning and saw Grandma and me knitting, and said, "I’m going to knit, too!" and so we had an unexpected moment of three generations.  Luckily, the camera was nearby, and so for Shelagh, here are three pairs of knitting hands, Grandma’s (with Julia cuddling), mine, and Laura’s.  We’re all three "throwers," not surprisingly, but Laura is actually left-handed.

  • Cashseta

    Filatura di Amigo Cashmere/Seta, in color 68, a sort of camelly beige —

    Chinch

    Berroco Chinchilla, in color 5517 "cola" —

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    and Cherry Tree Hill Supersock in "Java", a lovely merino that appears a coffee-like brown from a distance, but upon inspection proves to be a mixture of browns, taupes, near-reds, and even a bit of navy blue..

  • Americanmemory_8c27629r_daughtersknittin

    "Fort Kent, Maine. (vicinity). Albert Gagnon’s daughters knitting.  August 1942  Farm Security Administration – Office of War Information Photograph Collection (Library of Congress)"

    Another photograph from the American Memory Collection at the Library of Congress, and a nice bit of summer nostalgia.

  • Booking Through Thursday wants to know if and how we plan ahead….

    1. Do you plan ahead for your reading? Work off of a to-be-read pile? A reading list? Or do you wing it, choose whatever you’re in the mood for?  A little of both, really.  I have a mental list of things that have piqued my interest, although since it is only in my head, I frequently forget what is on it, sometimes completely. 
    2. If you do plan ahead, how far ahead? Do you have two or three books waiting in queue? Or are you backed up by dozens of volumes waiting their turn?  Well, I mean to plan ahead, but the road to, er, well, good intentions and all.  If I buy it, it goes into the queue, of course, and eventually gets read; sometimes I do have to browse around the shelves at home for something I’ve forgotten about, though.
    3. If you do not plan ahead . . . well, never? What about if you’re reading a series? Or someone gives you a book for a present?  I did actually plan ahead for Audrey Niffenegger’s The Time Traveler’s Wife, which I just finished — I’d checked the library catalog regularly, and was just on the verge of paying my 75 cents for a reserve, when I found it on the shelf.  (I enjoyed the book, time-travel being something that intrigues me.  One of the first time-travel things I ever read was a short story by Jack Finney, I can’t remember the title now, but it involved old postage stamps being used to send letters to the past — not the usual time travel, but fascinating nonetheless.  I thought that Wife was intriguingly written, and had some interesting differences from other time travel stories, such as here that Henry cannot take anything with him, not even his clothes — he even mentions glasses and fillings in his teeth at one point — while in say, Diana Gabaldon’s "Outlander" series the time traveler does not have this problem — of course with her time travel is an external force, and with Henry it is internal.  And it was different especially in that usually traveling in time is something that people want to do, whereas here it is something Henry has no control over, and makes the story as much about people dealing with a chronic condition, like cancer or a stroke, as it is about the physics and mechanics of time travel.)
  • Tupp

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    For Show and Tell, Blackbird would like to see a chicken this week.  This one, with those exotic and sometimes-unfathomable names that IKEA has, is "Flaxig Tupp".  Tupp means cock or rooster, although I don’t know about flaxig — so Tupp he is.  I bought this when Laura was very little, along with his friend the goose, because of the wonderful character and expression in them — now honed by a couple of years of being chewed on by small children.

  • “Gather Ye Rosebuds”

    Crossstitch

    Well, how about this for a flashback?  It is another thing I found in the closet — my first cross-stitch!  I remember falling in love with the picture in a catalog and sending away for it, though I’d never done cross-stitch before — I’d puttered around with embroidery, and earned my Girl Scout badge for sewing, but it was rather brave of me.  I loved the rather Arts & Crafts-y look of it — I see the relationship quite clearly now, although at the time I had no idea, of course.

    (I remember that some years later a companion piece came out, a man in similar pseudo-Renaissance dress, with “While Ye May” on his scroll.  He looked a bit dorky, though, so I’ve let this girl gather her rosebuds on her own.)

  • The heatwave cooled a bit this past weekend, and it has been a positively balmy 82 F/28 C or so — cool enough to tackle the Fibber McGee closet in the front bedroom, our catchall-television room.  Among a great many other things, I found this, and thought I’d share a last Project Spectrum purple —

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    This rug was made by my grandmother — she dated it "1947" along one edge.  She was an excellent seamstress — one of my greatest regrets is that I did not ask her to teach me the arts of dressmaking — and although I don’t think she ever knitted, she did a lot of other crafts, including of course rug-hooking.

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    I love swirly acanthus-leaf-type decorations just about any time, but this delights me no end.  I love the colors, the swirls, the beautifully-modulated flowers in the center, the subtle color variations from the stripes (?) in the fabric that makes the lighter purple, and of course most of all the fact that my grandmother made it.  (Somewhere in the thousand or so Kodachrome slides I’ve got is a picture of this rug or one very much like it, at a long-ago holiday celebration, in front of the piano that I have now.)

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    I’m not quite sure what to do with the rug — I hate to wrap it up again and put it away, but it is quite fragile around the edges.  Perhaps I could sew a new backing on it….

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  • Sargent_ladyagnew

    John Singer Sargent, "Lady Agnew of Lochnaw" (1892-93), National Gallery of Scotland, Edinburgh.  Another fascinating Sargent portrait (there is a fairly long discussion of this painting here).

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    Georgia O’Keeffe, "Black and Purple Petunias". 

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    Mary Cassatt, "The Child’s Bath" (1893) Art Institute of Chicago.  I’ve always loved this painting, the fabulous combination of colors and patterns, starting with the lovely lavender/green/white stripes on the mother’s dress (especially against the curved lavender rim of the washbasin).

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    Édouard Manet, "Berthe Morisot With a Bunch of Violets" (1872), private collection.  I’m not a huge fan of Manet generally, thinking him more than a bit hit-and-miss, but I like this portrait, Morisot’s big, dark eyes and straightforward expression.

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    Carl Larsson, "Under the Chestnut Tree" (1912?).  This is nice on a summer afternoon, a lazy tea in the shade!