Crochet Good Quotes

I'm just conveying the brutality of the market to you, Katherin,' I say. That's one of my favourite lines. Good old market, always there to be blamed. "The people don't want history in their crochet books. They want cute pictures and easy instructions.

She is deeply concerned with the ways of the mice — Their behaviour’s not good and their manners not nice; So when she has got them lined up on the matting, She teaches them music, crocheting and tatting.

Either as a detective I was a good sofa-pillow crocheter, or else I was playing in the identical luck of the piccolo player when the eccentric millionaire filled up the instruments of each member of the German band with $5 gold pieces.

There is something very strange and unaccountable about a tow-line. You roll it up with as much patience and care as you would take to fold up a new pair of trousers, and five minutes afterwards, when you pick it up, it is one ghastly, soul-revolting tangle. I do not wish to be insulting, but I firmly believe that if you took an average tow-line, and stretched it out straight across the middle of a field, and then turned your back on it for thirty seconds, that, when you looked round again, you would find that it had got itself altogether in a heap in the middle of the field, and had twisted itself up, and tied itself into knots, and lost its two ends, and become all loops; and it would take you a good half-hour, sitting down there on the grass and swearing all the while, to disentangle it again. That is my opinion of tow-lines in general. Of course, there may be honourable exceptions; I do not say that there are not. There may be tow-lines that are a credit to their profession—conscientious, respectable tow-lines—tow-lines that do not imagine they are crochet-work, and try to knit themselves up into antimacassars the instant they are left to themselves. I say there may be such tow-lines; I sincerely hope there are. But I have not met with them.

They have the same relationship that all progressive middle-class women have with their cleaning ladies, although Maman really thinks she is the exception: a good old rose-colored paternalistic relationship (we offer her coffee, give her decent pay, never scold, pass on old clothes and broken furniture, and show an interest in her children, and in return she brings us roses and brown and beige crocheted bedspreads).

In spite of all the value which may belong to the true, the positive, and the unselfish, it might be possible that a higher and more fundamental value for life generally should be assigned to pretence, to the will to delusion, to selfishness, and cupidity. It might even be possible that WHAT constitutes the value of those good and respected things, consists precisely in their being insidiously related, knotted, and crocheted to these evil and apparently opposed things—perhaps even in being essentially identical with them.

We had good long talks about my writing in the days that followed. "Write of things you know, Julie; familiar, simple things that you have experienced; things that have touched you deeply." "But nothing's ever happened to me. I've just lived here with Aunt Cordelia and you most of my life, I've gone to school, visited Father--oh, sure, I'm in love with Danny, but that's something we've grown into--very wonderful for us, but not very exciting for the rest of the world. How can a person who has lived as quiet a life as I have find anything to write about?" "Then you do have a problem. If you haven't lived long enough to have felt anything deeply, than you are in the same position I--as many would-be writers are. You've nothing to say. So take up crocheting.

There was a doily on the chest of drawers. I eyed it warily. I have nothing against doilies, but they’re a slippery slope. You start with doilies, then pretty soon it’s crocheted table runners and then it’s a short step to antimacassars.

The Gift Time wants to show you a different country. It's the one that your life conceals, the one waiting outside when curtains are drawn, the one Grandmother hinted at in her crochet design, the one almost found over at the edge of the music, after the sermon. It's the way life is, and you have it, a few years given. You get killed now and then, violated in various ways. (And sometimes it's turn about.) You get tired of that. Long-suffering, you wait and pray, and maybe good things come-maybe the hurt slackens and you hardly feel it any more. You have a breath without pain. It is called happiness. It's a balance, the taking and passing along, the composting of where you've been and how people and weather treated you. It's a country where you already are, bringing where you have been. Time offers this gift in its millions of ways, turning the world, moving the air, calling, every morning, "Here, take it, it's yours.

My conversations with people who are just beginning to understand and include transsexual and transgender people in their plans or programs lean heavily on this. For them, the very fact of a transsexual who is a real student at their school or client of their agency can be new and surprising. But for queers and transfolk, who have institutionalized an additional set of queerly normative genders, it can sometimes be difficult to hear that we, too, must expand. If butch daddies want to crochet, if twinkly ladyboys are sometimes tops in bed, if burly bears can do BDSM play as little girls, if femme fatales build bookcases in their spare time, these things, too, are not just good but great. They bring us, I believe, wonderful news: news that gendered options can continue to explode, that the chefs in the kitchen of gender are creating new and imaginative specials every day. That we, all of us, are the chefs. Hi. Have a whisk.

There was a doily on the chest of drawers. I eyed it warily. I have nothing against doilies, but they’re a slippery slope. You start with doilies, then pretty soon it’s crocheted table runners and then it’s a short step to antimacassars. As if doilies are some kind of larval form, and the table runners are an instar in their development.

In spite of all the value which may belong to the true, the positive, and the unselfish, it might be possible that a higher and more fundamental value for life generally should be assigned to pretense, to the will to delusion, to selfishness, and cupidity. It might even be possible that what constitutes the value of those good and respected things, consists precisely in their being insidiously related, knotted, and crocheted to these evil and apparently opposed things—perhaps even in being essentially identical with them.

That Easter Monday evening, Mrs Miggs, in her ninety-sixth year, rolled up her crochet, and took in her chair, at the end of the afternoon, and closed her door and went to bed, early, as she always did, in the room that used to be the parlour, for she had not been able to climb the stairs since breaking her hip five years before, and in the night, in her sleep, died. And so there was a funeral service at the church to follow the farrier’s wedding, and people in Barley felt saddened, for Mrs Miggs was so well-known and liked, such a familiar figure, she had seemed immortal, and another link with the old days, the old village life, was severed. Sad too, we said, that she did not reach her hundredth year, to which she was looking forward. There would have been a party for her and the children would have made posies and taken them, and sung to her outside her window in the early morning. But a good funeral service, at the peaceful end of a long life, is not altogether an occasion for mourning. This one felt fitting, and things were in their proper order.

I’m practicing my crocheting at the dinner table, sweat soaking my shapeless shift. Though I’ve grown unspeakably huge, Dr. Krause has assured me there’s only one baby in there. I am so large that it is difficult to cook, but I still prepare all the meals for Stan and Dorothy. “You’re very good at that.” It’s Dorothy. I don’t know how long she’s been watching me knit. She steps behind me and pulls sticky hair from my neck. I shiver at the human touch. She begins twisting the short bits into tufts. “Catherine says you’re pretending.” My needles click. “Pretending what?

Nick's number waited impatiently on the screen, tapping its foot. I could press the red button to cancel the call. Without pressing anything, I set the phone down on my bedside table, crossed my arms,and glared at it. Good:Nick wouldn't think I was chasing him. Bad:Nick would die alone in his house from complications related to his stupendous wipeout.The guilt of knowing I could have saved his life if not for my outsized ego would be too much for me to bear.I would retreat from public life.I would join a nearby convent and knit potholders from strands of my own hair.No,I would crochet Christmas ornaments in the shape of delicate snowflakes.Red snowflakes! They would be sold in the souvenir shops around town.I would support a whole orphanage from the proceeds of snowflakes I crocheted from my hair.All the townspeople of Snowfall would tell tourists the story of Crazy Sister Hayden and the tragedy of her lost love. Or I could call Nick.Jesus! I snatched up the phone and pressed the green button. His phone switched straight to voice mail.Great,I hadn't found out whether he was dying,and if he recovered later,he would see my number on his phone and roll his eyes. Damage control: Beeeeep! "Hey,Nick,it's Hayden.Just,ah, wanted to know how a crash like that feels." Wait,I was trying to get him to call me back,right?He would not return my call after a message like that. "Actually just wondering whether you're ready to make out again and then have another argument." He might not return that call,either. "Actually,I remembered your mother isn't home,and I wanted to make sure you're okay.Please give me a call back." Pressed red button.Set phone on nightstand.Folded arms.Glared at phone. Picked it up. "Freaking stupid young love!" I hollered,slamming it into the pillows on my bed. Doofus jumped up, startled. Ah-ha.

She throws away the inedible toast and looks at me, her blue eyes sad. “I'm a bad cook.” My first inclination is to say, “You're just realizing this now?”, but I don't. Instead I shrug. “You're good at a lot of other things.” “I can't crochet either.” I purse my lips to keep from agreeing. “Well...you—” “And I can't sing. I don't even remember the shade of my natural hair color and I've had this outfit since the eighties.” I glance at her red top and tan pants. Yeah. Those should really go—along with a lot of other things in the house. “You're sort of making it hard for me to make you feel better when you keep tossing all the things you aren't good at, at me.” I brighten. “You can dance! You're a great dancer.” “I'm having a mid-life crisis.” “You're forty-six,” I scoff. “You're too young for that. I mean, maybe in four years...

Another danger is that—as is already happening to some extent—authors and editors run scared and go to absurd lengths to avoid giving offence. (An American editor rejected Polar, a picture book about a toy polar bear which is published in England by Andre Deutsch, on the ground that the text, written by Elaine Moss, states explicitly that the bear is white). A demand to avoid stereotypes can easily become in effect a demand for a different stereotype: for instance that girls should always be shown as strong, brave and resourceful, and that mothers should always have jobs and never, never wear an apron. And books written to an approved formula, or with deliberate didactic aim, do not often have the breath of life. Some members of women’s groups in North America have published their own anti-sexist books, featuring such characters as fire-fighting girls or boys who learn to crochet. Good luck to them; but those I have seen are far below professional standard. ("Are Children's Books Racist and Sexist?" from Only Connect, 2nd ed., 1980)

„The air was saturated with the finest flour of a silence so nourishing, so succulent, that I could move through it only with a sort of greed, especially on those first mornings of Easter week, still cold, when I tasted it more keenly because I had only just arrived in Combray: before I went in to say good morning to my aunt, they made me wait for a moment, in the first room where the sun, still wintry, had come to warm itself before the fire, already lit between the two bricks and coating the whole room with an odour of soot, having the same effect as one of those great country ‘front-of-the-ovens’, or one of those château mantelpieces, beneath which one sits hoping that outdoors there will be an onset of rain, snow, even some catastrophic deluge so as to add, to the comfort of reclusion, the poetry of hibernation; I would take a few steps from the prayer stool to the armchairs of stamped velvet always covered with a crocheted antimacassar; and as the fire baked like a dough the appetizing smells with which the air of the room was all curdled and which had already been kneaded and made to ‘rise’ by the damp and sunny coolness of the morning, it flaked them, gilded them, puckered them, puffed them, making them into an invisible, palpable country pastry, an immense ‘turnover’ in which, having barely tasted the crisper, more delicate, more highly regarded but also drier aromas of the cupboard, the chest of drawers, the floral wallpaper, I would always come back with an unavowed covetousness to snare myself in the central, sticky, stale, indigestible and fruity smell of the flowered coverlet.

valley? That should be interesting for you.” “I haven’t decided what I’m doing yet.” “I’d be happy to help,” Mr. Bally said. “I’m an expert on the subject you’re studying.” He picked up one of the microfilm boxes. “Judges in these contests like primary sources.” I knew that. Judges in these contests always liked primary sources. I was already using one. “Tell me about Andover,” I’d said to Cissy Langer, sitting in her back room with a wall full of piggy dolls staring at me. “Oh, my goodness, Mimi, what a question,” she’d said. I took the glass of iced tea, and I took the plate of chocolate chip cookies, and I set my tape recorder between them. I’d borrowed it from the school librarian. “I’ve already got some primary sources,” I said to Winston Bally in the conference room. We all pick and choose the things we talk about, I guess. I’d listened to my mother and Cissy talk about growing up together for maybe hundreds of hours, about sharing a seat and red licorice ropes on the bus, about getting licked for wearing their Sunday dresses into the woods one day, about the years when they both moved back in with their parents while their husbands went to war. And somehow I’d never really noticed that all the stories started when they were ten, that there were no stories about the four-year-old Miriam, the six-year-old Cissy, about the day when they were both seven when Ruth came home from the hospital, a bundle of yellow crochet yarn and dirty diaper. It made sense, I guess, since it turned out Cissy had grown up in a place whose name I’d never even heard because it had been wiped off the map before I’d ever even been born. “My whole family lived in Andover,” Cissy said. “My mother and

You start with doilies, then pretty soon it’s crocheted table runners and then it’s a short step to antimacassars. As if doilies are some kind of larval form, and the table runners are an instar in their development. But then are the antimacassars the adult form, or just a later instar? Perhaps the adult form of the doily bears no resemblance to its juvenile stages.

Sadly, since he was a good six inches shorter than Luke, as a body shield, he was about as much use as a crocheted condom.

throats are more tapered, some less. Hooks with a lot of taper are generally useful for crocheters who drop loops as they crochet, while hooks with less taper are good for crocheters who

2. "HOW COULD anything originate out of its opposite? For example, truth out of error? or the Will to Truth out of the will to deception? or the generous deed out of selfishness? or the pure sun-bright vision of the wise man out of covetousness? Such genesis is impossible; whoever dreams of it is a fool, nay, worse than a fool; things of the highest value must have a different origin, an origin of THEIR own—in this transitory, seductive, illusory, paltry world, in this turmoil of delusion and cupidity, they cannot have their source. But rather in the lap of Being, in the intransitory, in the concealed God, in the 'Thing-in-itself— THERE must be their source, and nowhere else!"—This mode of reasoning discloses the typical prejudice by which metaphysicians of all times can be recognized, this mode of valuation is at the back of all their logical procedure; through this "belief" of theirs, they exert themselves for their "knowledge," for something that is in the end solemnly christened "the Truth." The fundamental belief of metaphysicians is THE BELIEF IN ANTITHESES OF VALUES. It never occurred even to the wariest of them to doubt here on the very threshold (where doubt, however, was most necessary); though they had made a solemn vow, "DE OMNIBUS DUBITANDUM." For it may be doubted, firstly, whether antitheses exist at all; and secondly, whether the popular valuations and antitheses of value upon which metaphysicians have set their seal, are not perhaps merely superficial estimates, merely provisional perspectives, besides being probably made from some corner, perhaps from below—"frog perspectives," as it were, to borrow an expression current among painters. In spite of all the value which may belong to the true, the positive, and the unselfish, it might be possible that a higher and more fundamental value for life generally should be assigned to pretence, to the will to delusion, to selfishness, and cupidity. It might even be possible that WHAT constitutes the value of those good and respected things, consists precisely in their being insidiously related, knotted, and crocheted to these evil and apparently opposed things—perhaps even in being essentially identical with them. Perhaps! But who wishes to concern himself with such dangerous "Perhapses"! For that investigation one must await the advent of a new order of philosophers, such as will have other tastes and inclinations, the reverse of those hitherto prevalent—philosophers of the dangerous "Perhaps" in every sense of the term. And to speak in all seriousness, I see such new philosophers beginning to appear.

Bra already forgotten, he was working on her pants, and he kissed every inch he bared, from her waist to her knees, then to her ankles, then her toes, one by one. he laid a path of kisses down on leg, then up the other, then he placed a long, lingering kiss at her center, through her panties, She was already wet for him. Not that he hurried. All the impatience he'd shown earlier seemed to have evaporated. Doris could have crocheted a pair of panties in the amount of time it took Hunter to remove Gabi's. She squirmed under him. "I thought they teach speed in the military." "When warranted. There are times that call for careful deliberation." "You're going to deliberate me to death," she warned, just as he finally parted her hot flesh, a move that immediately silenced her. But he didn't touch her further. He blew on her clit. She nearly jackkifed off the couch. He pushed her knees up until her heels touched her butt, then he pushed her knees out until she was spread wide open just inches from his face. And then he just looked. Good grief. What was there to look at? "Touch me!" she snapped when she couldn't stand the suspense any longer. "Touch me, you torturous bastard. That's an order." He laughed deeply and heartily. "And what are you going to do if I don't?" "I'll arrest you." "I think that's what they call an abuse of power." His eyes glinted darkly. "But the idea of handcuffs does have considerable merit.

A withered woman sits in a chair hardly moving, her face red and swollen, her eyesight almost gone, her hearing gone, her breathing scratchy like the rustle of dead leaves on stones. Years pass. There are few visitors. Gradually, the woman gains strength, eats more, loses the heavy lines in her face. She hears voices, music. Vague shadows gather themselves into light and lines and images of tables, chairs, people’s faces. The woman makes excursions from her small house, goes to the market, occasionally visits a friend, drinks tea at cafés in good weather. She takes needles and yarn from the bottom drawer of her dresser and crochets. She smiles when she likes her work. One day her husband, with whitened face, is carried into her house. In hours, his cheeks become pink, he stands stooped over, straightens out, speaks to her. Her house becomes their house. They eat meals together, tell jokes, laugh. They travel through the country, visit friends. Her white hair darkens with brown streaks, her voice resonates with new tones. She goes to a retirement party at the gymnasium, begins teaching history. She loves her students, argues with them after class. She reads during her lunch hour and at night. She meets friends and discusses history and current events. She helps her husband with the accounts at his chemist’s store, walks with him at the foot of the mountains, makes love to him. Her skin becomes soft, her hair long and brown, her breasts firm. She sees her husband for the first time in the library of the university, returns his glances. She attends classes. She graduates from the gymnasium, with her parents and sister crying tears of happiness. She lives at home with her parents, spends hours with her mother walking through the woods by their house, helps with the dishes. She tells stories to her younger sister, is read to at night before bed, grows smaller. She crawls. She nurses.

Oh, she says gravely, when a bell chimes or a phone rings, we simply take the opportunity to switch off and abandon all our plans and emotions - all our thoughts about other people and ourselves. Abandon all our human perceptions? I ask indignantly. In that case, what’s left for us? No, she says with a shake of the head, I only mean our conception of the world. I like the way she pronounces the word ‘conception’ in her Dutch accent, as if it were hot and she might burn her lips on it. I wish I could speak a foreign language as fluently as you do, I tell her. Please say ‘conception’ again. Explain it to me. What’s the difference between my perceptions and my conceptions? Resolutely, she makes for a cafe beneath some plane trees whose leaves are casting decorative shadows on the white tablecloths. She sits down and regards me sceptically, as if gauging whether I’m bright enough to merit an answer. Most of the time, she says, we form an opinion about things without really perceiving them. She points to an elderly woman waddling across the square laden down with plastic bags. For instance, she goes on, I look at that woman and I think, How bow-legged she is, and that skirt! A ghastly colour and far too short for her. No one should wear short skirts at that age. Are my own legs still good enough for short skirts? I used to have a blue skirt myself. Where is it, I wonder? I wish I was wearing that blue skirt myself. Where is it, I wonder? I wish I was wearing that blue skirt right now. But if I looked like that woman there... She props her head on her hands and regard me with a twinkle in her eye. I laugh. I haven’t really ‘perceived’ the woman, she says, I’ve merely pondered on skirts and legs and the ageing process. I’m a prisoner of my own ideas - my conceptions, in other words. See what I mean? I say yes, but I’d say yes to a whole host of things when she looks at me that way. A waitress of Franka’s age takes our order. She’s wearing a white crocheted sweater over her enormous breasts and a white apron tightly knotted around her prominent little tummy. Her platform-soled sandals, which are reminiscent of hoofs, give her a clumsy, foal-like appearance. Now it’s your turn, says Antje. French teenager, I say. Probably bullied into passing up an apprenticeship and working in her parents’ cafe. Dreams of being a beautician. No, Antje protests, that won’t do. You must say what’s really going through your head. I hesitate. Come on, do. I sigh. Please, she says. OK, but I take no responsibility for my thoughts. Deal! Sexy little mam’selle, I say. Great boobs, probably an easy lay, wouldn’t refuse a few francs for a new sweater. She’d be bound to feel good and holler Maintenant, viens! That song of Jane Birkin’s, haven’t heard it for years. I wonder what Jane Birkin’s doing these days. She used to be the woman of my dreams. Still, I’m sure that girl doesn’t like German men, and besides, I could easily be her father, I’ve got a daughter her age. I wonder what my daughter’s doing at this moment... I dry up. Phew, I say. Sorry, that was my head, not me. Antje nods contentedly. She leans back so her plaits dangle over the back of the chair. Nothing torments us worse than our heads, she says, closing her eyes. You’ve got to hand it to the Buddhists, they’ve got the knack of switching off. It’s simply wonderful.

My aunt's life was now practically confined to two adjoining rooms, in one of which she would rest in the afternoon while they, aired the other. They were rooms of that country order which (just as in certain climes whole tracts of air or ocean are illuminated or scented by myriads of protozoa which we cannot see) fascinate our sense of smell with the countless odours springing from their own special virtues, wisdom, habits, a whole secret system of life, invisible, superabundant and profoundly moral, which their atmosphere holds in solution; smells natural enough indeed, and coloured by circumstances as are those of the neighbouring countryside, but already humanised, domesticated, confined, an exquisite, skilful, limpid jelly, blending all the fruits of the season which have left the orchard for the store-room, smells changing with the year, but plenishing, domestic smells, which compensate for the sharpness of hoar frost with the sweet savour of warm bread, smells lazy and punctual as a village clock, roving smells, pious smells; rejoicing in a peace which brings only an increase of anxiety, and in a prosiness which serves as a deep source of poetry to the stranger who passes through their midst without having lived amongst them. The air of those rooms was saturated with the fine bouquet of a silence so nourishing, so succulent that I could not enter them without a sort of greedy enjoyment, particularly on those first mornings, chilly still, of the Easter holidays, when I could taste it more fully, because I had just arrived then at Combray: before I went in to wish my aunt good day I would be kept waiting a little time in the outer room, where the sun, a wintry sun still, had crept in to warm itself before the fire, lighted already between its two brick sides and plastering all the room and everything in it with a smell of soot, making the room like one of those great open hearths which one finds in the country, or one of the canopied mantelpieces in old castles under which one sits hoping that in the world outside it is raining or snowing, hoping almost for a catastrophic deluge to add the romance of shelter and security to the comfort of a snug retreat; I would turn to and fro between the prayer-desk and the stamped velvet armchairs, each one always draped in its crocheted antimacassar, while the fire, baking like a pie the appetising smells with which the air of the room, was thickly clotted, which the dewy and sunny freshness of the morning had already 'raised' and started to 'set,' puffed them and glazed them and fluted them and swelled them into an invisible though not impalpable country cake, an immense puff-pastry, in which, barely waiting to savour the crustier, more delicate, more respectable, but also drier smells of the cupboard, the chest-of-drawers, and the patterned wall-paper I always returned with an unconfessed gluttony to bury myself in the nondescript, resinous, dull, indigestible, and fruity smell of the flowered quilt.