Colorful Yarn Quotes

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He wished that he could break out his knitting, but for some reason, people didn’t take you seriously as a warrior when you were knitting. He’d never figured out why. Making socks required four or five double-ended bone needles, and while they weren’t very large, you could probably jam one into someone’s eye if you really wanted to. Not that he would. He’d have to pull the needle out of the sock to do it, and then he’d be left with the grimly fiddly work of rethreading the stitches. Also, washing blood out of wool was possible, but a pain. Still, if he had to suddenly pull out his sword and fend off an attack, there was a chance he’d drop the yarn, and since he’d been feeling masochistic and was using two colors for this current set of socks, there was absolutely no chance the yarn wouldn’t get tangled and then he’d be trying to murder people while chasing the yarn around. And god forbid the tide rose and he went berserk. You never got the knitting untangled after that; you usually just had to throw it away completely.
T. Kingfisher (Paladin's Grace (The Saint of Steel, #1))
This was the power of the story weaver, Nell realized. An ability to conjure color so that all else seemed to fade.
Kate Morton (The Forgotten Garden)
It’s perfect. Blurred lines; it’s when fact and fiction become indiscernible. Fantasy and reality fade into a color of grey yarn and you become tangled up in it and can’t escape into the world of black and white you desperately need as proof of the reality of life itself.
Scott Hildreth (Blurred Lines (Bodies, Ink & Steel, #1))
Earlier today Brigid visited her favorite shop, Knit One Purl Too. She was running out of the fabulous purple Shibui yarn she’d bought last time. The minute she walked in the door and saw all the colorful skeins of yarn bundled along the walls, almost up to the ceiling, she felt her spirits lift. So much color, so much texture—such unlimited possibilities!
Shari Lapena (A Stranger in the House: A Novel)
In the dark of the night, we're nothing but shadows. My feelings and thoughts are as tangled as unraveled yarn, loose ends and knots and bursts of violent color.
Delilah S. Dawson (Hit (Hit, #1))
Color is a feeling for me. I work by feeling! —Tina, Freia Handpaint Yarns,
Debbie Macomber (Blossom Street Brides)
If a man wants to get to know me, he needs to work for it. Then, once they earn my trust, I’ll whip out the pastel dresses, crochet tops in every color yarn, and my custom-painted sneakers with satin ribbons for laces.
Lauren Asher (Love Arranged (Lakefront Billionaires, #3))
It was Friday, so the farmers' market was in full autumnal swing, a sea of potted chrysanthemums and bushel after bushel of apples, pears, Fauvist gourds, and pumpkins with erotically fanciful stems. On one table stood galvanized buckets of the year's final roses; on another, skeins of yarn in muted, soulful purples and reds. Walter loved this part of the season- and not just because it was the time of year his restaurant flourished, when people felt the first yearnings to sit by a fire, to eat stew and bread pudding and meatloaf, drink cider and toddies and cocoa. He loved the season's transient intensity, its gaudy colors and tempestuous skies.
Julia Glass (The Whole World Over)
The process of weaving a tapestry connects with something primal in our experience as dexterous creatures. There is something sensuous and attractive about tapestry weaving. Its slow rhythm has a very peaceful, repetitive quality to it. And the step-by-step problem-solving nature of the process brings a sense of accomplishment and allows a gentle reconnection with self. The depth of color in a simple piece of yarn, the endless variations of expression when colors are woven next to each other, and the accomplishment of a finished expression that represents something important to you--these are the reasons many of us engage with this historied art form.
Rebecca Mezoff (The Art of Tapestry Weaving: A Complete Guide to Mastering the Techniques for Making Images with Yarn)
Fan would have expected that one or two of the Girls would have long rebelled at spending a life in a room, would have begged, say, the dentist, to help them steal away, but the funny thing about this existence is that once firmly settled we occupy it with less guard than we know. We watch ourselves routinely brushing our teeth, or coloring the wall, or blowing off the burn from a steaming yarn of soup noodles, and for every moment there is a companion moment that elides onto it, a secret span that deepens the original’s stamp. We feel ever obliged by everyday charges and tasks. They conscript us more and more. We find world enough in a frame. Until at last we take our places at the wheel, or wall, or line, having somewhere forgotten that we can look up.
Chang-rae Lee (On Such a Full Sea)