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Blackbird wants to see a t-shirt for Show and Tell this week.
Now, James Dean is not really "my type" (whatever that is), but he sure had something.
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Vanessa Bell, "Self-Portrait" (ca. 1959), Charleston Trust, England. A spare and unstinting self-portrait by a fascinating woman.
John William Waterhouse, "Miranda (The Tempest)" (1916), private collection, London. I have a soft spot for scenes from Shakespeare, of course, and so this fits in here very well. "A brave vessel, / Who had, no doubt, some noble creature in her, / Dashed all to pieces. Oh, the cry did knock / Against my very heart!" (The Tempest, I.ii.6-9)
Tom Roberts, "Quiet Stream, Heidelberg" (ca. 1885), private collection. Roberts’ landscapes are my favorite of his works, filled as they are with that wonderful Australian light and a deep love of the countryside.
Carl Larsson, "Suzanne in the Woods". This piece is unlike Larsson’s usual rather idyllic watercolors, but I love the greenness of the grass and trees.
Anna Ancher, "Tulips in a Green Vase" (1919).
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Beth says, "I’ve finished the yoke it’s blocked and on gauge – hurray! Half way up the 1st sleeve and like you, wondering if I’m liking how big the cuff is. No pictures yet – I hope to post something this week. I’ve just had one of those weeks where everything hits at once."
Fern says, "Not much to report from me although there’s a gauge swatch in my near future. I took a class a few weeks ago about knitting to fit properly and part two is in two weeks. At this one we come in with gauge swatches for projects we plan to make and we’ll get a little help in tweaking the pattern as necessary to fit us specifically. So I’ll be knitting a gauge swatch for the swing jacket. Who knows, I may be casting on before month-end."
Shelagh writes wearily, "This is remarkable, but true, my yarn is still backordered."
Here is another view of the Interweave Knits Swing Jacket —
this photo is from Two Swans Yarn.
This week, I reworked the right side, which I decided not long ago that I’d somehow miscaluculated, ending up with an armhole that was much longer than the second one. While I was knitting, I finished listening to an audiobook I’d impulsively picked up at the library,
an excellent reading of the novel by "Poirot" himself, David Suchet. His own voice is quite unlike that which he adopts as Poirot (I once saw an interview in which he declined to come out of character, as it took him so long to get back into it), a rather calm, rich baritone instead of Poirot’s soft, almost whispery tenor, and the voices he uses for the other characters, including the women, are equally varied and effortless — except, I must say, that for Col. Race, Poirot’s sidekick for this particular novel, who has I thought an extremely annoying upper-class-twit voice ("Bwing hew to the smoking woom immediately!") that only distracted from the easy brilliance of the others. I’d read this book before, many years ago, but am much more familiar with the delightful 1978 movie with Peter Ustinov as Poirot — was rather disconcerted for a while at how much had been changed for the movie, but not terribly surprised, as I’m sure it’s difficult to pack that much story into two hours — the audio version runs to eight and a half! Many of the characters in the book were dropped entirely, such as Mrs. Allerton and her son Tim, and others, like Rosalie Otterbourne and Miss Bowers, were merged with lesser characters to streamline the story. I think that Suchet’s Poirot is brilliant, though, and so I am equally happy with this audio version (except, as I’ve said, Col. Race, which to Suchet’s credit didn’t even sound like him!).
But the swing jacket, that’s what I was talking about. I worked the first sleeve yesterday — yes, you read that right. I cast on for it Saturday night while David and I watched "National Treasure" — I had to pull it out, though, as I was so busy watching Sean Bean — excuse me, I mean paying attention to the complex storyline, that I accidentally picked up the long tail I’d left for sewing up the sleeve later, and began knitting with that, so I had to start again. Being stockinette, it goes very quickly, even with the cap shaping.
I pinned everything together this morning for a fitting. The weather has been very grey these past few weeks, and so I wandered around the house rather gloomily, trailing long streamers of yarn like a madwoman. The gloom, I hasten to add, is due to the weather, not the swing jacket, which is coming along nicely.
This is the sleeve width as written for the 44 in./112 cm size. The sizing I think is not terribly generous — this is five inches of ease on me. The garment tends to hang open about 5 inches or so, just as in the IK photos, which means that most of the ease, as might be expected in a swing jacket, is towards the back.
The shape of the sleeve is somewhat deceptive. It looks fairly straight when laid flat, as below, but on an arm the weight of the knitted piece make the bell shape much more obvious, as you can see in the photo above.
If the weather stays this dull, I might even get to wear the jacket before autumn!
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Here are the Hedera socks, from the Spring ’06 Knitty, in all of their lacy spring glory.

I used Rowan 4-Ply Soft in Leafy, a silvery-sage which is possibly the most beautiful green in the world. The name is curious — it is soft and not-soft, fairly squishy in the ball and yet dense and solid while knitting, very like cotton. (If I hadn’t known, I would have in fact thought it was cotton.) There was quite a substantial amount left over, a doughnut’s worth from each skein.
I like the way that the twisted rib continues down from the top ribbing, and then down along the side of the instep. I liked it so much that I kept twisting that single line down the side of the instep, even though it wasn’t specified in the pattern. (I can see why Cookie didn’t do it, as it pretty much disappears against the stockinette of the foot, although strangely it is more obvious on the left side of the foot than on the right.) The original toe felt narrow for my squared-off foot, so I pulled it out and modified the one from Ann Budd’s book — I stopped the foot about 2 1/2 inches short, instead of the 1 1/2 specified in the pattern, and made the decreases every other round, instead of every round, until nearer to the end. Due to the lace pattern at the top of the foot, I lined up the top edge of the decrease with the edge of the lace section, and so the decrease line is not centered at the sides of the toe, but I’m looking at this as a design element, since it does in fact continue that line that comes down the leg and the instep.
The socks are indeed on the narrow side, even in the larger size. They felt alarmingly tight when I tried them on for size at the start of the heel flap, but the lace relaxed considerably after a few fittings, and even more after blocking. The narrowness could possibly be modified by not taking the gusset quite so far along, but as this is only my second pair of socks, I don’t want to commit myself on that just yet!
I’ve also started using the Improved SSK. I’ve always thought that my SSKs, while an improvement on the PSSO method, to be a little too puffy, and this Improved one seems to work very nicely.
There were some corrections in the pattern, and so if you printed an early version be sure to get the revised one before knitting. The errors were minor enough to be easily fixable as I went along, but the corrected version will help to avoid a bit of head-scratching.
As a new sock-knitter, I find the numbered-needles method to be very awkward, especially as it uses only four needles (three to hold the stitches and one to work with), instead of five. I used five down to the heel, then after picking up the gusset stitches I used markers instead of separate needles.
And this is a farewell to Project Spectrum’s April yellows, with our pale cowslip sunroom walls, and hello to May’s green!
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Here are my keys, in the first place that I look when I can’t find them where they’re supposed to be. My car key and one for the Club, and a house key are all that I carry now, after the heady days in which I had keys to the local public library. I also have a Ralphs card, solitary since the Albertson’s one fell off, and a Swiss Army knife. The knife has lost its distinctive red handle plates, as in addition to its usual myriad uses, it makes a great teether for babies. Both of my girls used it to cut many of their front teeth — in fact, now that I think of it, that’s what happened to my Albertson’s card as well, as I remember turning around now and then to see one of them sucking on the card and jangling the keys, with an expression of pure innocence.
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Beth has been having computer problems, so she hasn’t blogged for a while, but has been using the time to swatch — "I’ve finally gotten pretty close to gauge – I should probably be doing that needle switch off thing that you are doing to get it perfect, but I’m far too lazy and forgetful. I liked Suse’s idea to start with the yoke since it’s the smallest piece, so that’s where I’m at right now. Hope to have some pictures soon!"
Suse writes, "Nary a thing to show off. Son #3 requested a handknitted jumper as it’s coming up for winter here. Why do the children’s needs automatically come before the mother’s? I don’t know, all I know is that I have temporarily abandoned Pearl Buck (sadly) and have done the back and two sleeves of a 7 year old’s jumper. In a very similar colour to my Pearl Buck, so at least we’ll match when I finish both."
Again with the social life chez Bluestocking! It’s making my head spin. We had a cousin’s wedding on Saturday — Laura was the bridesmaid. This photo, from when she was trying on dresses, is especially poignant for me, as the dress made me aware of how fast she is growing up, and the way she is sitting shows how much she is still six.
So, well, I didn’t get much knitting done this weekend!
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Carl Larsson, "Anna Arnbom" (1909). This is so unlike a traditional "portrait," and yet it works wonderfully.
Vermeer, "The Kitchen Maid" (ca. 1658), Rijksmuseum. I could look at Vermeers for hours….

Vanessa Bell, "Poppies and Hollyhocks" (ca. 1940). Bell was drawn to still lifes — I suppose it was due to both the deep stillness of her character and the turmoil of her life. Each of these aspects seem to come out in this particular painting, the quiet vividness of the flowers and the textile behind them, both still and full of motion.
Williamson, Daniel Alexander, "Coniston Old Man from Warton Crag" (ca. 1863), Walker Art Gallery, Liverpool. Williamson was apparently on the fringes of the Pre-Raphaelite circle — I had not heard of him or seen this painting before, but I like the warmth of the yellow flowers and the red in the middle distance against the blue of the "Old Man".
John Singer Sargent, "Coventry Patmore" (1894), National Portrait Gallery, London. I don’t seem to have a particularly high opinion of Coventry Patmore, probably due to Virginia Woolf’s (and other feminist writers’) remonstrations against Patmore’s very Victorian poem, "The Angel in the House" with its repressive picture of the ideal wife —
"Man must be pleased; but him to please
Is woman’s pleasure; down the gulf
Of his condoled necessities
She casts her best, she flings herself…."and this doesn’t help — but I love this portrait. It’s a wonderful depiction of a face, the aging eyes and jowls, the moustache that manages to appear both splendid and wispy at the same time, the light that glints off of his hair, his forehead, and that one steely eye, with the supremely confident hand on hip. I cannot doubt that this is an incredibly true-to-life portrait, that Sargent has captured Patmore brilliantly.
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Booking Through Thursday is playing a round robin today — and in fact probably for the rest of the week! — go here to read others’ comments and maybe add one of your own.




