This presents a matter of interpretation: in English, "grass" connotes something unremarkable and ephemeral, while "weed" connotes something hardy and unwelcome. The poem changes pretty dramatically depending on whether the poet pauses to reconsider humble grass or a noxious weed! I lean toward the "grass" reading, though. I like to think that the existence of a name makes the passer-by stop to observe something he'd never considered noteworthy before.
Since the first time I saw a Storm at Sea quilt (at a quilt show, with intertwined hearts emerging from the pattern through clever use of color), I wanted to make one. I love how it's all straight lines, but because of angle changes gives the illusion of curving lines. It does look like waves, but made from squares and rectangles. The kaleidoscope block has a similar appeal.
Some quilts -- like my Memories of Africa Quilt or my Dandelion quilt -- start with a plan. I sit down and draw an idea, pick my fabrics, and work my way toward a fore-visioned end. I love working like that, because I can bring an idea into reality! But those quilts tend to be thinky quilts, and sometimes I don't have the reserves to think my way through my hobby. Lately, I've been getting home from work at 6:30pm, and it's dark, and I have just enough space in my brain for a little Foundation Paper Piecing... before I feel my focus slip, like a car falling out of gear. I get maybe a half-hour of concentration, and then I find myself picking the wrong fabric for the pattern and having to rip seams, or just staring at the same piece for a while doing nothing. I desire to be creative, but sewing to a plan leads to frustration.
That's why I like to have a second project at the same time, a non-thinky project. The Acid Trip, Scrappy Double Wedding Ring, and today's featured project are all examples of what I think of as "blank verse" projects.
My mom and I did two tours and one friend-visit while we were in Africa. The first tour, The Great Rift Valley, was a safari, and we camped outside many nights. Here's my mom and I at home in Pennsylvania, ready to set out:
New Year is a good time to--like the Roman god Janus--look both backward and forward.
("Crater" sounds like something you might know you're in, but Ngorongoro Crater, being 161.557 square miles, is so big that except for the moment when you're on the lip about to drive down, you don't really feel like you're in a crater.)
As for pictures, if I'm not using my own work, I seek photos under free public licenses. In today's post, however, I use one photo without permission (because I have no idea how to get permission). But then I mangle it beyond recognition in the pursuit of design, so I'm not sure where copyright law falls on that one! Nevertheless, I still do my best to credit the originator and link back.
Now that I quilt, I see quilt patterns everywhere. Like in the pebble-mosaic walkways of the Lan Su Chinese Garden in Portland, Oregon! Incidentally, that garden is beautiful, but in the interest of isolating patterns for blogging, I took some very boring pictures of it when I visited on November 15th, this year.
Labeling quilts is an interesting topic for me. Historically, labeling quilts was not the norm. Some modern interpreters assume that the women of the past didn't think their work deserved credit, as this quote from Womenfolk.com exemplifies:
Most women of the past simply didn't think that the everyday or even "for best" quilt they made was important enough to sign. Some even felt it would be too prideful to sign their quilt.
I hesitate, however, to argue motives from a lack of evidence. We have positive evidence of makers marking their quilts in several instances, such as when making signature quilts as gifts or community projects, or when labeling a quilt for laundry purposes. Even the source cited above, which claims women failed to label quilts because they thought their work unimportant, then goes on to describe an uptick in labeling when indelible inks came on the market. Did women suddenly find their quilts important then?
Unsigned quilts were exhibited at county fairs, shipped across the ocean as gifts, saved for generations, and described in letters. Clearly they were not unimportant, even if they went unsigned. So maybe there are other explanations for not signing. Maybe the makers lived in smaller communities than we do today, and within those communities the people who mattered knew who made what. Perhaps the makers didn't care about a hundred years down the line because they never expected their quilts to last that long!
Quilting, dressmaking, and history plied with the needle...
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