Make Yarn Quotes

100 years ago, buying something you could make was considered wasteful; now making something you could buy is considered wasteful. I am not convinced this is a step in the right direction.

Laila watches Mariam glue strands of yarn onto her doll's head. In a few years, this little girl will be a woman who will make small demands on life, who will never burden others, who will never let on that she too had sorrows, disappointments, dreams that have been ridiculed. A woman who will be like a rock in a riverbed, enduring without complaint, her grace not sullied but shaped by the turbulence that washes over her. Already Laila sees something behind this young girl's eyes, something deep in her core, that neither Rasheed nor the Taliban will be able to break. something as hard and unyielding as a block of limestone. Something that, in the end, will be her undoing and Laila's salvation. The little girl looks up. Puts the doll down. Smiles.

Because I’m a cat. A big one, the Panther of Rough Storms, in fact. But still a cat. If there’s a saucer of milk to spill, I’d rather spill it than let it lie. If my mistress grows absent-minded and leaves a ball of yarn about, I’ll bat it between my paws, and unravel it. Because it’s fun. Because it’s what cats do best.

Why do we tell stories? They are a universal human experience. Every culture I’ve ever visited, every people I’ve met, every human on every planet in every situation I’ve seen…they all tell stories. Men trapped alone for years tell them to themselves. Ancients leave them painted on the walls. Women whisper them to their babies. Stories explain us. You want to define what makes a human different from an animal? I can do it in one word or a hundred thousand. Sad stories. Exultant stories. Didactic morality tales. Frivolous yarns that, paradoxically, carry too much meaning. We need stories.

Besides holding our hearts together through long periods of separation, it had the effect of making us tolerant of each other's yarns--and even convictions.

Love makes cowards of us all.

You humans love mirrors. You have to constantly make sure you still have the same face. Nothing scares you more than if someone changes it.

Contentment has learned how to find out what she needs to know. Last year she went on a major housecleaning spree. First she stood on her head until all the extra facts fell out. Then she discarded about half her house. Now she knows where every thing comes from—who dyed the yarn dark green and who wove the rug and who built the loom, who made the willow chair, who planted the apricot trees. She made the turquoise mugs herself with clay she found in the hills beyond her house. When Contentment is sad, she takes a mud bath or goes to the mountains until her lungs are clear. When she walks through an unfamiliar neighborhood, she always makes friends with the local cats.

Maybe there’s a heaven, like they say, a place where everything we’ve ever done is noted and recorded, weighed on big karma scales. Maybe not. Maybe this whole thing is just a giant experiment run by aliens who find out human hijinks amusing. Or maybe we’re an abandoned project started by a deity who checked out a long time ago, but we’re still hard-wired to believe, to try to make meaning out of the seemingly random. Maybe we’re all part of the same unconscious stew, dreaming the same dreams, hoping the same hopes, needing the same connection, trying to find it, missing, trying again—each of us playing our parts in the other’s plotlines, just one big ball of human yarn tangled up together. Maybe this is it.

Classroom Activities 1. Using felt and yarn, make a hand puppet of Clarence Thomas. Ta-da! You're Antonin Scalia!

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.

I mean to say, whether a yarn is tall or small I like to hear it well told. I like to meet a man that can take in hand to tell a story and not make a balls of it while he's at it. I like to know where I am, do you know. Everything has a beginning and an end.

I happen to know that history is nothing but a spin and metaphor, which is what all yarns are made up of, when you strip them down to the underlay. And what makes a hit or a myth, of course, is how that story is told, and by whom.

We're the only species that invents all of this stuff to make our lives easier-like a car so that we don't need to walk-then invents something else to take the place of it, like running on a treadmill.

The Bluebeard’s terrible parting gift had been to make desire rhyme with death and fear.

People open shops in order to sell things, they hope to become busy so that they will have to enlarge the shop, then to sell more things, and grow rich, and eventually not have to come into the shop at all. Isn't that true? But are there other people who open a shop with the hope of being sheltered there, among such things as they most value - the yarn or the teacups or the books - and with the idea only of making a comfortable assertion? They will become a part of the block, a part of the street, part of everybody's map of the town, and eventually of everybody's memories. They will sit and drink coffee in the middle of the morning, they will get out the familiar bits of tinsel at Christmas, they will wash the windows in spring before spreading out the new stock. Shops, to these people, are what a cabin in the woods might be to somebody else - a refuge and a justification.

He makes up the most remarkable yarns - and then his mother shuts him up in the closet for telling stories. And he sits down and makes up another one, and has it ready to relate to her when she lets him out. He had one for me when he came down tonight. 'Uncle Jim,' says he, solemn as a tombstone, 'I had a 'venture in the Glen today.' 'Yes, what was it?' says I, expecting something quite startling, but no-wise prepared for what I really got. 'I met a wolf in th street,' says he, 'a 'normous wolf with a big red mouf and awful long teeth, Uncle Jim.' 'I didn't know there was any wolves at the Glen,' says I. 'Oh, he comed there from far, far away,' says Joe, 'and I fought he was going to eat me up, Uncle Jim.' 'Were you scared?' says I. 'No, 'cause I had a gun,' says Joe, 'and I shot the wolf dead, Uncle Jim - solid dead - and then he went up to heaven and bit God,' says he.

I make up characters. I create whole worlds in my head. I add words to the lexicon of daily conversation—maybe you talk about your vajayjay and tell your friend that someone at work got Poped because of my shows. I birth babies, I end lives. I dance it out. I wear the white hat. I operate. I gladiate. I exonerate. I spin yarns and tell tall tales and sit around the campfire. I wrap myself in fiction. Fiction is my job. Fiction is it. Fiction is everything. Fiction is my jam.

I work in my mind. What I do is done in my mind. And what my hands do with it in writing it down is not the same as what the hands of the weaver do with the yarn, or the potter’s hands with the clay, or the cabinetmaker’s with the wood. If what I do, what I make, is beautiful, it isn’t a physical beauty. It’s imaginary, it takes place in the mind—my mind, and my reader’s. You could say that I hear voices and believe the voices are real (which would mean I was schizophrenic, but the proverb test proves I’m not—I do, I do understand it, Doctor!). And that then by writing what I hear, I induce or compel readers to believe the voices are real too . . . That doesn’t describe it well, though. It doesn’t feel that way. I don’t really know what it is I’ve done all my life, this wordworking. But I know that to me words are things, almost immaterial but actual and real things, and that I like them. I like their most material aspect: the sound of them, heard in the mind or spoken by the voice.

One night he sits up. In cots around him are a few dozen sick or wounded. A warm September wind pours across the countryside and sets the walls of the tent rippling. Werner’s head swivels lightly on his neck. The wind is strong and gusting stronger, and the corners of the tent strain against their guy ropes, and where the flaps at the two ends come up, he can see trees buck and sway. Everything rustles. Werner zips his old notebook and the little house into his duffel and the man beside him murmurs questions to himself and the rest of the ruined company sleeps. Even Werner’s thirst has faded. He feels only the raw, impassive surge of the moonlight as it strikes the tent above him and scatters. Out there, through the open flaps of the tent, clouds hurtle above treetops. Toward Germany, toward home. Silver and blue, blue and silver. Sheets of paper tumble down the rows of cots, and in Werner’s chest comes a quickening. He sees Frau Elena kneel beside the coal stove and bank up the fire. Children in their beds. Baby Jutta sleeps in her cradle. His father lights a lamp, steps into an elevator, and disappears. The voice of Volkheimer: What you could be. Werner’s body seems to have gone weightless under his blanket, and beyond the flapping tent doors, the trees dance and the clouds keep up their huge billowing march, and he swings first one leg and then the other off the edge of the bed. “Ernst,” says the man beside him. “Ernst.” But there is no Ernst; the men in the cots do not reply; the American soldier at the door of the tent sleeps. Werner walks past him into the grass. The wind moves through his undershirt. He is a kite, a balloon. Once, he and Jutta built a little sailboat from scraps of wood and carried it to the river. Jutta painted the vessel in ecstatic purples and greens, and she set it on the water with great formality. But the boat sagged as soon as the current got hold of it. It floated downstream, out of reach, and the flat black water swallowed it. Jutta blinked at Werner with wet eyes, pulling at the battered loops of yarn in her sweater. “It’s all right,” he told her. “Things hardly ever work on the first try. We’ll make another, a better one.” Did they? He hopes they did. He seems to remember a little boat—a more seaworthy one—gliding down a river. It sailed around a bend and left them behind. Didn’t it? The moonlight shines and billows; the broken clouds scud above the trees. Leaves fly everywhere. But the moonlight stays unmoved by the wind, passing through clouds, through air, in what seems to Werner like impossibly slow, imperturbable rays. They hang across the buckling grass. Why doesn’t the wind move the light? Across the field, an American watches a boy leave the sick tent and move against the background of the trees. He sits up. He raises his hand. “Stop,” he calls. “Halt,” he calls. But Werner has crossed the edge of the field, where he steps on a trigger land mine set there by his own army three months before, and disappears in a fountain of earth.

We're all made to the same pattern. Knitted up like a thrifty housewife's sock from scraps - random unravelled bits of yarn that used to make someone else, chance combinations from the hand-me-down wardrobes of dead strangers. But surely the execution must have an effect? After all, some knit better than others. I could never master it myself.

What makes you happiest?” Mamaw Milkweed asked. “I know.” Daffy raised her hand as if we were in school. “You and yarn and flower bulbs and turtles and dancing cats and Arc.

I'm making a statement about conformity." For or against?" That's for the viewer to decide. I'm an artist, not a preacher." Agnes Phiffer & Osbert Monk in The Grub-and-Stakers Spin a Yarn

Even the most fundamental of the fundamentalists plug their ears when Jesus starts talking about birds of the air and lilies of the field. They know damn well he's just yarning, just making pretty speeches.

Take the example of our spinner. We have seen that, to daily reproduce his labouring power, he must daily reproduce a value of three shillings, which he will do by working six hours daily. But this does not disable him from working ten or twelve or more hours a day. But by paying the daily or weekly value of the spinner's labouring power the capitalist has acquired the right of using that labouring power during the whole day or week. He will, therefore, make him work say, daily, twelve hours. Over and above the six hours required to replace his wages, or the value of his labouring power, he will, therefore, have to work six other hours, which I shall call hours of surplus labour, which surplus labour will realize itself in a surplus value and a surplus produce. If our spinner, for example, by his daily labour of six hours, added three shillings' value to the cotton, a value forming an exact equivalent to his wages, he will, in twelce hours, add six shillings' worth to the cotton, and produce a proportional surplus of yarn. As he has sold his labouring power to the capitalist, the whole value of produce created by him belongs to the capitalist, the owner pro tem. of his labouring power. By advancing three shillings, the capitalist will, therefore, realize a value of six shillings, because, advancing a value in which six hours of labour are crystallized. By repeating this same process daily, the capitalist will daily advance three shillings and daily pocket six shillings, one half of which will go to pay wages anew, and the other half of which will form surplus value, for which the capitalist pays no equivalent. It is this sort of exchange between capital and labour upon which capitalistic production, or the wages system, is founded, and which must constantly result in reproducing the working man as a working man, and the capitalist as a capitalist.

When the mountain streams are frozen and the Nor'land winds are out; when the winter winds are drifting the bitter sleet and snow; when winter rains are making out-of-door life unendurable; when season, weather and law combine to make it "close time" for beast, bird and man, it is well that a few congenial spirits should, at some favorite trysting place, gather around the glowing stove and exchange yarns, opinions and experiences.

We have the misfortune of living in a country that marches with the unknown; and that is apt to make the fancy sick. Though we laugh at old songs and old yarns, nevertheless, they are the yarn with which we weave our picture of the world.

See, this is the thing about history. His story. That’s all it is. The Old Man’s version of events, which basically the rest of us are supposed to accept as the undisputed truth. Well, call me cynical, but I’ve never been one to take things on trust, and I happen to know that history is nothing but spin and metaphor, which is what all yarns are made up of, when you strip them down to the underlay. And what makes a hit or a myth, of course, is how that story is told, and by whom.

We each have old stories we make new again, the things we tell and twine from time to time. Everything we constantly connect to everything else to enter some sort of cosmic passive-aggressive buzz passing over the planet. Entirely original thoughts are as rare as the diamonds born of asteroids. There's talk about talk. For each of us has his or her own amalgam of tales rife with memories, the anecdotes and yarns we spin like rag strips shorn and woven on the tapestry loom of our own histories.

Like I said last time, the world our parents grew up in is history. All the old rules, we've thrown them out. We're the ones making the future. We're the founding fathers. Hand us universal Wi-Fi and soup dumplings and we'll fix the world. So how do you fit in? What if you can't code? What if you've never been able to build anything more than a birdhouse? It doesn't matter. You've got skills that you probably disniss as tricks. That dance you can do, that song you can sing, the painting hanging in your room, those are all skills we need. See there's a reason my status online is recruiting for the future. We broke some eggs and we baked a cake. It was delicious, really amazing cream cheese frosting. I saved you a piece, but I don't want to give it to you. I want to teach you how to bake your own cake from scratch. Only, instead of flour and water and eggs, I want you to make something with oil paints, yarn, peptides, or computer parts. The revolution is now. Welcome aboard. And, uh, get ready to create...

The majority of these old farts are content to crash out in a drunken stupor on the backbenches. They just want to pick up their company directorships at £200,000 a year, claim for everything they ever spend personally on expenses and make sure not to rock the boat. I have better things to do with my time than to waste it by voting a different yarn-spinning joker-in-the-pack in. Whoever's in power is not going to affect me in any way. And if you believe otherwise then you can truly nail your colours to the mast of stupidity

Most of my yarn is for knitting, but some of it has a more complicated destiny as support staff: It is there to make me want to knit. It’s absolutely possible that I need the green Merino to inform how I’ll use the blue alpaca, and that ball of gorgeous variegated yarn? You bet

I feel like my mind is a sweater.And a loose thread get's tugged at, pulled and pulled until the sweater unravels and there's only a big fluffy pile of yarn. you can make something with that with it, that pile of yarn, but it will never be a sweater again. that's the state of things p.91

Her father took her plate away. Bean slumped against the back of her chair. “Thanks dude. I owe you one.” “Don’t call me dude,” said her dad. “You’re doing the dishes.” “What?! It’s Nancy’s turn!” yelped Bean. “It was Nancy’s turn until you licked your plate. Now it’s your turn,” said her dad. “That’s totally unfair!” huffed Bean. “I couldn’t help it! Haven’t you ever heard of forces beyond your control?” “Yes,” said her dad. “That’s exactly what’s going to make you do the dishes. Get moving.” Bean clumped into the kitchen. “Bean, you didn’t see my pink yarn, did you?” Oops. Bean tried to roll behind the couch, but

Conspiracy theories—feverishly creative, lovingly plotted—are in fact fictional stories that some people believe. Conspiracy theorists connect real data points and imagined data points into a coherent, emotionally satisfying version of reality. Conspiracy theories exert a powerful hold on the human imagination—yes, perhaps even your imagination—not despite structural parallels with fiction, but in large part because of them. They fascinate us because they are ripping good yarns, showcasing classic problem structure and sharply defined good guys and villains. They offer vivid, lurid plots that translate with telling ease into wildly popular entertainment.

If you could choose any mask to wear right now, what would it be?” Anne lay down her yarn. “I suppose if, as you say, I would grow into this mask, then I would make it of my own face . . . but a braver, better version of myself.” “And what would this braver Anne do?” The answer came quickly, as if it had been there all along. I’d save them, she thought.

Viking Age sail 100 meters square took 154 kilometers (60 miles) of yarn. Working eight hours a day with a heavy spindle whorl to produce relatively coarse yarn, a spinner would toil 385 days to make enough for the sail. Plucking the sheep and preparing the wool for spinning required another 600 days. From start to finish, Viking sails took longer to make than the ships they powered.

Around this time, a young man named Samuel Slater slipped through the tight protective net thrown by British authorities around their textile business. As a former apprentice to Sir Richard Arkwright, Slater had sworn that he would never reveal his boss’s trade secrets. Flouting this pledge, he sailed to New York and made contact with Moses Brown, a Rhode Island Quaker. Under Slater’s supervision, Brown financed a spinning mill in Rhode Island that replicated Arkwright’s mill. Hamilton received detailed reports of this triumph, and pretty soon milldams proliferated on New England’s rivers. With patriotic pride, Brown predicted to Hamilton that “mills and machines may be erected in different places, in one year, to make all the cotton yarn that may be wanted in the United States.” 29 Hamilton

Wait." Walter went to the basket, taking what was a gray sleeve, drawing it out fro the middle of the heap. "Oh," He said. He held the shapeless wool sweater to his chest. Joyce had knit for months the year Daniel died, and here was the result, her handiwork, the garment that would fit a giant. It was nothing more than twelve skeins of yarn and thousands of loops, but it had the power to bring back in a flash the green-tiled walls of the hospital, the sound of an ambulance trying to cut through city traffic in the distance, the breathing of the dying boy, his father staring at the ceiling, the full greasy bucket of fried chicken on he bed table. "I'll take this one," Walter said, balling up the sweater as best he could, stuffing it into a shopping bag that was half full of the books he was taking home, that he was borrowing. "Oh, honey," Joyce said. "You don't want that old scrap." "You made it. I remember your making it." Keep it light, he said to himself, that's a boy. "There's a use for it. Don't you think so, Aunt Jeannie? No offense, Mom, but I could invade the Huns with it or strap the sleeves to my car tires in a blizzard, for traction, or protect our nation with it out in space, a shield against nuclear attack." Jeannie tittered in her usual way in spite of herself. "You always did have that sense of humor," she said as she went upstairs. When she was out of range, Joyce went to Walter's bag and retrieved the sweater. She laid it on the card table, the long arms hanging down, and she fingered the stitches. "Will you look at the mass of it," she exclaimed. "I don't even recall making it." ""'Memory -- that strange deceiver,'" Walter quoted.

the man who has been led to believe that he is a brilliant and interesting talker has been led to make himself a rapacious pest. No conversation is possible between others whose ears are within reach of his ponderous voice; anecdotes, long-winded stories, dramatic and pathetic, stock his repertoire; but worst of all are his humorous yarns at which he laughs uproariously though every one else grows solemn and more solemn.

Have you heard the songs they sing here in Kilanga?” he asked. “They’re very worshipful. It’s a grand way to begin a church service, singing a Congolese hymn to the rainfall on the seed yams. It’s quite easy to move from there to the parable of the mustard seed. Many parts of the Bible make good sense here, if only you change a few words.” He laughed. “And a lot of whole chapters, sure, you just have to throw away.” “Well, it’s every bit God’s word, isn’t it?” Leah said. “God’s word, brought to you by a crew of romantic idealists in a harsh desert culture eons ago, followed by a chain of translators two thousand years long." Leah stared at him. “Darling, did you think God wrote it all down in the English of King James himself?” “No, I guess not.” “Think of all the duties that were perfectly obvious to Paul or Matthew in that old Arabian desert that are pure nonsense to us now. All that foot washing, for example. Was it really for God’s glory, or just to keep the sand out of the house?” Leah sat narrow-eyed in her chair, for once stumped for the correct answer. “Oh, and the camel. Was it a camel that could pass through the eye of a needle more easily than a rich man? Or a coarse piece of yarn? The Hebrew words are the same, but which one did they mean? If it’s a camel, the rich man might as well not even try. But if it’s the yarn, he might well succeed with a lot of effort, you see?” He leaned forward toward Leah with his hands on his knees. “Och, I shouldn’t be messing about with your thinking this way, with your father out in the garden. But I’ll tell you a secret. “When I want to take God at his word exactly, I take a peep out the window at His Creation. Because that, darling, He makes fresh for us every day, without a lot of dubious middle managers.

A big stash allows me to have a fluid sense of creativity - a looseness that is very much like playing. It opens me up, unlocks things. The creative bit takes all the other pieces - the possibility, the abundance, the connections, and the actual work of making yarn - bundles them, and explodes like a glitter bomb. It gets everywhere, it makes me smile, and a I can't escape it. My stash is the spark. Even if I haven't spun for days or weeks, even when I'm feeling dull-witted or anti-craft, I still spend time with my stash. It pulls on doors that have been locked, slides under the crack and clicks them open from the inside. After an hour tossing my fibers around, I am revitalized for making yarn, yes, but for things well beyond that, too. My sash fees like an extension of me that I sometimes forget about: the part that plays, that connects things that don't seem to go, that experiments and makes things.

I like to see the long line we each leave behind, and I sometimes imagine my whole life that way, as though each step was a stitch, as though I was a needle leaving a trail of thread that sewed together the world as I went by, crisscrossing others' paths, quilting it all together in some way that matters even though it can hardly be traced. A meandering line sutures together the world in some new way, as though walking was sewing and sewing was telling a story and that story was your life. A thread now most often means a line of conversation via e-mail or other electronic means, but thread must have been an even more compelling metaphor when most people witnessed or did the women's work that is spinning. It is a mesmerizing art, the spindle revolving below the strong thread that the fingers twist out of the mass of fiber held on an arm or a distaff. The gesture turns the cloudy mass of fiber into lines with which the world can be tied together. Likewise the spinning wheel turns, cyclical time revolving to draw out the linear time of a thread. The verb to spin first meant just this act of making, then evolved to mean anything turning rapidly, and then it came to mean telling a tale. Strands a few inches long twine together into a thread or yarn that can go forever, like words becoming stories. The fairy-tale heroines spin cobwebs, straw, nettles into whatever is necessary to survive. Scheherazade forestalls her death by telling a story that is like a thread that cannot be cut; she keeps spinning and spinning, incorporating new fragments, characters, incidents, into her unbroken, unbreakable narrative thread. Penelope at the other end of the treasury of stories prevents her wedding to any one of her suitors by unweaving at night what she weaves by day on her father-in-law's funeral garment. By spinning, weaving, and unraveling, these women master time itself, and though master is a masculine word, this mastery is feminine.

I am quite safe, I assure you. But, even if I were not, I have the habits of a lifetime to protect me. And Lacey.” “Lacey?” I could not keep incredulity from my voice nor a grin from my face. I turned to exchange a wink with Lacey. Lacey glared at me as if affronted by my smile. Before I could even unfold from the hearth, Lacey sprang up from her rocking chair. A long needle, stripped of its eternal yarn, prodded my jugular vein, while the other probed a certain space between my ribs. I very nearly wet myself. I looked up at a woman I suddenly knew not at all, and dared not make a word. “Stop teasing the child,” Patience rebuked her gently. “Yes, Fitz, Lacey. The most apt pupil that Hod ever had, even if she did come to Hod as a grown woman.” As Patience spoke Lacey took her weapons away from my body. She reseated herself, and deftly rethreaded her needles into her work. I swear she didn’t even drop a stitch. When she was finished, she looked up at me. She winked. And went back to her knitting. I remembered to start breathing again.

The Christmas I was sixteen, my ma and I were poorer than church mice. My pa died when I was two, taking her heart with him." A smile curved his lips. "She could have remarried for a more comfortable life. But she couldn't bring herself to do it. We were happy, though, her and I. Just when I was getting old enough to do odd jobs, bring in some money to make her life easier, she got sick. I stayed home to nurse her. She had no strength left. But somehow she'd scraped together the last of her red yarn and made me a pair of stockings. My Christmas gift that year." Sensing his thoughts lingered in the past, Louisa brushed a finger over the scrap in her palm. "She died several weeks later." Louise caught her breath, aching for the pain of that young man. "I took a lot of ribbing for wearing red stockings. But I didn't give them up, even when I could afford to. I felt like they kept my ma close. Like she was with me." Tears welled up in Louisa's eyes. One dripped over. He caught the drop on the tip of his finger. "They brought me luck." "That's why you're called Red. I wondered.

I wish I could answer your question. All I can say is that all of us, humans, witches, bears, are engaged in a war already, although not all of us know it. Whether you find danger on Svalbard or whether you fly off unharmed, you are a recruit, under arms, a soldier." "Well, that seems kinda precipitate. Seems to me a man should have a choice whether to take up arms or not." "We have no more choice in that than in whether or not to be born." "Oh, I like choice, though," he said. "I like choosing the jobs I take and the places I go and the food I eat and the companions I sit and yarn with. Don't you wish for a choice once in a while ?" She considered, and then said, "Perhaps we don't mean the same thing by choice, Mr. Scoresby. Witches own nothing, so we're not interested in preserving value or making profits, and as for the choice between one thing and another, when you live for many hundreds of years, you know that every opportunity will come again. We have different needs. You have to repair your balloon and keep it in good condition, and that takes time and trouble, I see that; but for us to fly, all we have to do is tear off a branch of cloud-pine; any will do, and there are plenty more. We don't feel cold, so we need no warm clothes. We have no means of exchange apart from mutual aid. If a witch needs something, another witch will give it to her. If there is a war to be fought, we don't consider cost one of the factors in deciding whether or not it is right to fight. Nor do we have any notion of honor, as bears do, for instance. An insult to a bear is a deadly thing. To us... inconceivable. How could you insult a witch? What would it matter if you did?" "Well, I'm kinda with you on that. Sticks and stones, I'll break yer bones, but names ain't worth a quarrel. But ma'am, you see my dilemma, I hope. I'm a simple aeronaut, and I'd like to end my days in comfort. Buy a little farm, a few head of cattle, some horses...Nothing grand, you notice. No palace or slaves or heaps of gold. Just the evening wind over the sage, and a ceegar, and a glass of bourbon whiskey. Now the trouble is, that costs money. So I do my flying in exchange for cash, and after every job I send some gold back to the Wells Fargo Bank, and when I've got enough, ma'am, I'm gonna sell this balloon and book me a passage on a steamer to Port Galveston, and I'll never leave the ground again." "There's another difference between us, Mr. Scoresby. A witch would no sooner give up flying than give up breathing. To fly is to be perfectly ourselves." "I see that, ma'am, and I envy you; but I ain't got your sources of satisfaction. Flying is just a job to me, and I'm just a technician. I might as well be adjusting valves in a gas engine or wiring up anbaric circuits. But I chose it, you see. It was my own free choice. Which is why I find this notion of a war I ain't been told nothing about kinda troubling." "lorek Byrnison's quarrel with his king is part of it too," said the witch. "This child is destined to play a part in that." "You speak of destiny," he said, "as if it was fixed. And I ain't sure I like that any more than a war I'm enlisted in without knowing about it. Where's my free will, if you please? And this child seems to me to have more free will than anyone I ever met. Are you telling me that she's just some kind of clockwork toy wound up and set going on a course she can't change?" "We are all subject to the fates. But we must all act as if we are not, or die of despair. There is a curious prophecy about this child: she is destined to bring about the end of destiny. But she must do so without knowing what she is doing, as if it were her nature and not her destiny to do it. If she's told what she must do, it will all fail; death will sweep through all the worlds; it will be the triumph of despair, forever. The universes will all become nothing more than interlocking machines, blind and empty of thought, feeling, life...

The (unratified) Preamble of the European Constitution begins by stating that it draws inspiration “from the cultural, religious and humanist inheritance of Europe, from which have developed the universal values of the inviolable and inalienable rights of the human person, democracy, equality, freedom and the rule of law.”3 This may easily give one the impression that European civilization is defined by the values of human rights, democracy, equality, and freedom. Countless speeches and documents draw a direct line from ancient Athenian democracy to the present-day European Union, celebrating twenty-five hundred years of European freedom and democracy. This is reminiscent of the proverbial blind man who takes hold of an elephant’s tail and concludes that an elephant is a kind of brush. Yes, democratic ideas have been part of European culture for centuries, but they were never the whole. For all its glory and impact, Athenian democracy was a halfhearted experiment that survived for barely two hundred years in a small corner of the Balkans. If European civilization for the past twenty-five centuries has been defined by democracy and human rights, what are we to make of Sparta and Julius Caesar, of the Crusaders and the conquistadores, of the Inquisition and the slave trade, of Louis XIV and Napoleon, of Hitler and Stalin? Were they all intruders from some foreign civilization? In truth, European civilization is anything Europeans make of it, just as Christianity is anything Christians make of it, Islam is anything Muslims make of it, and Judaism is anything Jews make out of it. And they have made of it remarkably different things over the centuries. Human groups are defined more by the changes they undergo than by any continuity, but they nevertheless manage to create for themselves ancient identities thanks to their storytelling skills. No matter what revolutions they experience, they can usually weave old and new into a single yarn.

Returning to my yarn stash, I select a pair of ebony needles and a lustrous ball of handspun alpaca. Then I quickly cast on to create a light, resilient fabric. We don’t have much time before the students get back, which means the gauge has to be right the first time around. When you’re weaving or knitting enchanted fabrics, gauge is critical. Gauge—the relative density of the fabric—determines the degree to which a magical object can utilize or redirect fields of energy. But magic often requires a mix of skill and sacrifice. It’s not enough to knit a pattern without making a mistake: you also have to give up something of yourself. A heart shroud is a complex spell, filled with twisty cables mimicking the structure of the human heart.

Because I believe that the beauty of life outweighs the bad. And I know that were I to take up the banner against such hatred, they would use my Otherness to hurt more than just me. Tis better that I take Will’s own words to heart, which he so eloquently penned. ‘The web of our life is of a mingled yarn, good and ill together.’” Trust Horatio to use a quote from Shakespeare to make his point, even though I needed it interpreted. “What does that mean?” His rumbling chuckle vibrated against me like thunder. “Simply put, life is messy. You cannot have all good, for without the bad as well, how would you recognize that which is fair? Without knowing the darker feelings of your kin, I would not appreciate the goodness of your friendship as much.

Do you have a dream? If you do, what is it? Is your dream similar to mine? I hope that even more people dream the same dream as me, because my dream is so big I couldn't handle it by myself. If you are someone who has the same dream as me, this is what I have to say to you. Right now, you are planting a single tree. Right now, you are sowing a single seed. And you are beginning to knit something with one strange of yarn. The first step or two are nothing, but imagine that you continue that work for ten years. One tree becomes a forest, one seed becomes a field, and that single thread becomes a beautiful cloth. Believe in the life inside you, believe in the great and holy mind within you, and push forward with the dream you have chosen until you make it.

I need everyone to love me. My feelings of inadequacy and lack of parental attachment have made me one of those sick bitches who can't tolerate being ignored. My parents say all the right things when they are pretending to listen to me. But the truth is, they are more like cats. They accidentally had a litter of kittens, and then emotionally moved on to whatever ball of yarn rolled past their line of sight. When self-obsessed people breed, they make empty people like me who spend the rest of their time on earth trying to gain the love and approval they didn't get as children. This doesn't excuse my behavior. It's just to say, if my parents had actually noticed me, I probably wouldn't care so much about whether everyone else on the planet adored me. Unfortunately, I'm a bottomless pit of need.

She'd once read a description of new motherhood that had struck her, at the time that she was returning to work after maxing out her maternity leave allowance, as a beautiful metaphor for her own days back at the office. It was that mother and baby are like a ball of yarn, and when the mother leaves the baby's side, it's as if the baby grabs hold of the loose end, a tug that both mother and baby feel in their every fiber. As they both move through the hours spent apart, the string unravels more and more, and then just when each is starting to feel diminished, barely even a ball of yarn at all anymore, it's time for the mother to make her way back. Together again, they need only a bit of time to wind the string back up, and then it's as if they had never been apart, right up until they wake up and do it all over again.

Yet once we are done nodding earnestly at Whitehead and Latour, what do we do? We return to our libraries and our word processors. We refine our diction and insert more endnotes. We apply "rigor," the scholarly version of Tinker Bell's fairy dust, in adequate quantities to stave off interest while cheating death. For too long, being "radical" in philosophy has meant writing and talking incessantly, theorizing ideas so big that they can never be concretized but only marked with threatening definite articles ("the political," "the other," "the neighbor," "the animal"). For too long, philosophers have spun waste like a goldfish's sphincter, rather than spinning yarn like a charka. Whether or not the real radical philosophers march or protest or run for office in addition to writing inscrutable tomes - this is a question we can, perhaps, leave aside. Real radicals, we might conclude, make things.

Terror is an artery. Running unfailing channels of bloodied thoroughfares by dint of the wilds beyond our knowing. Fluctuations and murmurs are audible within the splintered leeway of our preserve as a consequence of interstices modeled in such brutality. This appended artery offers no direction; idle and at times desultory. Bloodstained tracks and avenues guide casualties. Terror, like death, is not complicated, nor is it simple. It is but routine—natural. To call it otherwise is to parsimoniously say that birth is effortless, hurricanes are facile, and earthquakes are meek when they are a lot more. Myths, parables, and allegories lie in the construct of terror. Kings have fallen and succeeded in the yarns of terror. Simple men have been turned into heroes due to terror. Villains have been great orchestrators in the art of terror, allowing sole individuals and denizens to feel their makings. A soul never needed God to feel terror. The most nihilistic can undergo such a dreadful emotion. Animals are perfect examples of this. They are well-equipped creations to the world of terror and death, holding no cognizance to deity or creator. Terror is quite exclusive as it is a function of the mind, conducted by the intersections and throughways of nerves and bounded to that alone. Although it approaches with university, like hunger or sickness, it is selfish by fashion and segregating in nature. But death is quite opposite… death is all embracing. Disregarded and glossed over, it is never reserved or inaudible, especially if you listen hard enough. Death transmits a signal that can be discerned if you listen hard enough. Frail in birthing, the airing is not limited to the clairvoyant, though they are a standard audience. The most simple-minded can hear this. But they choose to ignore it for whatever grounds. Even in the obviousness of it when it comes in dream, awaking its public in night terrors and cold sweats, it should be heeded. In lurk of dark uncertainties the signal should be adhered in this societal horrific caprice. Death is a declaration waiting to broadcast the haunting awareness of our own deterrence. And within these pages is its proclamation.

What do you do for Nigel Jennings?" There was no pause at all. "I'm his tailer," he answered immediately. "You're nothing of the sort." Rupert gave her a cheeky grin. "Meant to say, he's my tailor." She cast him a thoughtful look. "Interesting that you would lie about it." "You call joking lying?" "Evasion is a form of deceit." "Interesting that you would see it that way." He gave her back her own words. She almost laughed. While he hadn't answered her question any more truthfully than she had answered his, he surprised her by not pursuing his inquiry about why she had been on Wigmore Street. Fingering a white silk yarn within his reach, he said, "I'll take a vest in this if you run out of ideas to ply your needle toward." She couldn't help but grin. "Will you indeed? But that implies a gift-" He cut in, "Consider it an early Christmas present," and actually sounded serious. "I don't make presents for mere aquaintances." "We're more'n that." "We aren't." "Of course we are,or do you make a habit of kissing mere aquaintances?" She huffed. "You did the kissing, not I." He was grinning again. "You fully participated,Becca. Don't even try to deny it.

More Activities to Develop Sensory-Motor Skills Sensory processing is the foundation for fine-motor skills, motor planning, and bilateral coordination. All these skills improve as the child tries the following activities that integrate the sensations. FINE-MOTOR SKILLS Flour Sifting—Spread newspaper on the kitchen floor and provide flour, scoop, and sifter. (A turn handle is easier to manipulate than a squeeze handle, but both develop fine-motor muscles in the hands.) Let the child scoop and sift. Stringing and Lacing—Provide shoelaces, lengths of yarn on plastic needles, or pipe cleaners, and buttons, macaroni, cereal “Os,” beads, spools, paper clips, and jingle bells. Making bracelets and necklaces develops eye-hand coordination, tactile discrimination, and bilateral coordination. Egg Carton Collections—The child may enjoy sorting shells, pinecones, pebbles, nuts, beans, beads, buttons, bottle caps, and other found objects and organizing them in the individual egg compartments. Household Tools—Picking up cereal pieces with tweezers; stretching rubber bands over a box to make a “guitar”; hanging napkins, doll clothes, and paper towels with clothespins; and smashing egg cartons with a mallet are activities that strengthen many skills.

Most curiously, the very scientist who, in the service of the sinful king, was the brain behind the horror of labyrinth, quite as readily can serve the purposes of freedom. But the hero-heart must be at hand. For centuries Daedahis has represented the type of the artist-scientist: that curiously disinterested, almost diabolic human phenomenon, beyond the normal bounds of social judgment, dedicated to the morals not of his time but of his art. He is the hero of the way of thought — singlehearted, courageous, and full of faith that the truth, as he finds it, shall make us free. And so now we may turn to him, as did Ariadne. The flax for the linen of his thread he has gathered from the fields of the human imagination. Centuries of husbandry, decades of diligent culling, the work of numerous hearts and hands, have gone into the hackling, sorting, and spinning of this tightly twisted yarn.Furthermore, we have not even to risk the adventure alone; for the heroes of all time have gone before us; the labyrinth is thoroughly known; we have only to follow the thread of the heropath. And where we had thought to find an abomination, we shall find a god; where we had thought to slay another, we shall slay ourselves; where we had thought to travel outward, we shall come to the center of our own existence; where we had thought to be alone, we shall be with all the world

What about Saint Francis?” “Saint Francis relied on the bounty of farmers, not the bounty of God. Even the most fundamental of the fundamentalists plug their ears when Jesus starts talking about birds of the air and lilies of the field. They know damn well he’s just yarning, just making pretty speeches.” “So you think this is what’s at the root of your revolution. You wanted and still want to have your lives in your own hands.” “Yes. Absolutely. To me, living any other way is almost inconceivable. I can only think that hunter-gatherers live in a state of utter and unending anxiety over what tomorrow’s going to bring.” “Yet they don’t. Any anthropologist will tell you that. They are far less anxiety-ridden than you are. They have no jobs to lose. No one can say to them, ‘Show me your money or you don’t get fed, don’t get clothed, don’t get sheltered.’” “I believe you. Rationally speaking, I believe you. But I’m talking about my feelings, about my conditioning. My conditioning tells me—Mother Culture tells me—that living in the hands of the gods has got to be a never-ending nightmare of terror and anxiety.” “And this is what your revolution does for you: It puts you beyond the reach of that appalling nightmare. It puts you beyond the reach of the gods.” “Yes, that’s it.” “So. We have a new pair of names for you. The Takers are those who know good and evil, and the Leavers are …?” “The Leavers are those who live in the hands of the gods.

What would happen, wonders Borges, if due to his belief in these fantasies, Don Quixote attacks and kills a real person? Borges asks a fundamental question about the human condition: what happens when the yarn spun by our narrating self causes grievous harm to ourselves or those around us? There are three main possibilities, says Borges. One option is that nothing much happens. Don Quixote will not be bothered at all by killing a real man. His delusions are so overpowering that he will not be able to recognise the difference between committing actual mored and his duelling with imaginary windmill giants. Another option is that once he takes a person’s life, Don Quixote will be so horrified that he will be shaken out of his delusions. This is akin to a young recruit who goes to war believing that it is good to die for one’s country, only to end up completely disillusioned by the realities of warfare. But there is a third option, much more complex and profound. As long as he fought imaginary giants, Don Quixote was just play-acting. However, once he actually kills someone, he will cling to his fantasies for all he is worth, because only they will give meaning to his tragic misdeed. Paradoxically, the more sacrifices we make for an imaginary story, the more tenaciously we hold on to it, because we desperately want to give meaning to these sacrifices and to the suffering we have caused. In politics this is known as ‘Our Boys Didn’t Die in Vain’ syndrome.

Next morning, when Semyon woke up, the children were still asleep and his wife had gone over to the neighbour's to borrow some bread. Only the stranger was sitting on the bench, wearing the old trousers and shirt and looking up. His face was brighter than the evening before. Semyon said, 'Well, my friend. The belly needs food and the body clothes. We all have to earn a living, so what sort of work can you do?' 'I can't do anything.' Semyon was amazed and replied, 'If a man has the will he can learn anything.' 'Yes, men work for their living, so I'll work too.' 'What's your name?' 'Mikhail.' 'Well, Mikhail, if you don't want to tell us about yourself that's your affair. But we have to earn our living. If you do as I tell you I'll see you have enough to eat.' 'God bless you! I'll learn how to work, just tell me what to do.' Semyon took a piece of yarn, wound it round his fingers and twisted it. 'It's not hard, just watch...' Mikhail watched and right away he caught the knack, winding the yarn and twisting it just like Semyon. Then Semyon showed him how to wax it and Mikhail understood at once. Then he showed him how to draw it through and how to stitch. Again Mikhail immediately understood. Whatever Semyon showed him he mastered right away and within three days was working as if he had been making shoes all his life. He would work without any let-up and ate very little. Only when one job was finished would he stop for a moment and silently look up. He never went out, only spoke when he really had to, and he never joked or laughed.

Knit me a sweater out of your best stories. Not the day’s petty injustices. Not the glimmer of a seven-eighths-forgotten moment from your past. Not something that somebody said to somebody, who then told it to you. No, I want a yarn. It doesn’t have to be true. “Okay,” you say. “Do you want to know how I met you?” I nod. “It was on the carousel. You were on the pink horse, I was on the yellow. You were two horses ahead of me, and from the moment you got in the saddle, I wanted to draw up right next to you and say hello. "Around and around we went, and I kept waiting for my horse to pull ahead. I sensed it would know when I was ready, and it was waiting for that moment. You rose and you fell, and I followed, and I followed. I thought my chance would never come. But then, like magic, all the power in the entire city went out at once. It was darkness, utter darkness. The music stopped, and there were only heartbeats to be heard. Heartbeats. I couldn’t see you, and worried that you’d left. But right at that moment, the moon came out from behind the clouds. And there you were. I stepped off my horse just as you stepped off yours. I turned right and you turned left. We met in the middle.” “And what did you say?” “Don’t you remember? I said, ‘What a lovely evening this is.’ And you said, ‘I was just thinking the same thing.’” As long as we can conjure, who needs anything else? As long as we can agree on the magical lie and be happy, what more is there to ask for? “I loved you from that moment on,” I say. “I loved you from that moment on,” you agree.

In my introduction to Warriors, the first of our crossgenre anthologies, I talked about growing up in Bayonne, New Jersey, in the 1950s, a city without a single bookstore. I bought all my reading material at newsstands and the corner “candy shops,” from wire spinner racks. The paperbacks on those spinner racks were not segregated by genre. Everything was jammed in together, a copy of this, two copies of that. You might find The Brothers Karamazov sandwiched between a nurse novel and the latest Mike Hammer yarn from Mickey Spillane. Dorothy Parker and Dorothy Sayers shared rack space with Ralph Ellison and J. D. Salinger. Max Brand rubbed up against Barbara Cartland. A. E. van Vogt, P. G. Wodehouse, and H. P. Lovecraft were crammed in with F. Scott Fitzgerald. Mysteries, Westerns, gothics, ghost stories, classics of English literature, the latest contemporary “literary” novels, and, of course, SF and fantasy and horror—you could find it all on that spinner rack, and ten thousand others like it. I liked it that way. I still do. But in the decades since (too many decades, I fear), publishing has changed, chain bookstores have multiplied, the genre barriers have hardened. I think that’s a pity. Books should broaden us, take us to places we have never been and show us things we’ve never seen, expand our horizons and our way of looking at the world. Limiting your reading to a single genre defeats that. It limits us, makes us smaller. It seemed to me, then as now, that there were good stories and bad stories, and that was the only distinction that truly mattered.

Mr. Scoresby,” said the witch, “I wish I could answer your question. All I can say is that all of us, humans, witches, bears, are engaged in a war already, although not all of us know it. Whether you find danger on Svalbard or whether you fly off unharmed, you are a recruit, under arms, a soldier.” “Well, that seems kinda precipitate. Seems to me a man should have a choice whether to take up arms or not.” “We have no more choice in that than in whether or not to be born.” “Oh, I like choice, though,” he said. “I like choosing the jobs I take and the places I go and the food I eat and the companions I sit and yarn with. Don’t you wish for a choice once in a while?” Serafina Pekkala considered, and then said, “Perhaps we don’t mean the same thing by choice, Mr. Scoresby. Witches own nothing, so we’re not interested in preserving value or making profits, and as for the choice between one thing and another, when you live for many hundreds of years, you know that every opportunity will come again. We have different needs. You have to repair your balloon and keep it in good condition, and that takes time and trouble, I see that; but for us to fly, all we have to do is tear off a branch of cloud-pine; any will do, and there are plenty more. We don’t feel cold, so we need no warm clothes. We have no means of exchange apart from mutual aid. If a witch needs something, another witch will give it to her. If there is a war to be fought, we don’t consider cost one of the factors in deciding whether or not it is right to fight. Nor do we have any notion of honor, as bears do, for instance. An insult to a bear is a deadly thing. To us... inconceivable. How could you insult a witch? What would it matter if you did?” “Well, I’m kinda with you on that. Sticks and stones, I’ll break yer bones, but names ain’t worth a quarrel.

Captain Hank Bracker’s book, Salty and Saucy Maine, should have been titled Salty and Saucy Hank Bracker. Yup, Hank’s stories are definitely saucy and salty. The book is full of stories about Hank’s time at Maine Maritime Academy. There are plenty of tales that will make you laugh, a lot of interesting history, and then there are those stories I’d label ribald. Hank worked for many years, after graduating from Maine Maritime, in the maritime industry, including the navy. And he’s written four other books, with lots more stories. “More than anything,” writes Hank, “it was my time at the Academy that built the foundation for what evolved into an adventurous, exciting career and life.” He describes this book as “a young man’s coming-of-age book,” and it is surely that. “Not surprising, by nature I am a free spirit, who loves the company of most animals and some people. You might say that I love to laugh, hold center stage, and tell my yarns the way I remember them. For years, friends have encouraged me to write these tales as short stories. This is part of that effort! All I can add is that Hank’s wife of almost 60 years, Ursula, must be a saint!

Gaiman provides some additional insights via these comments in his script for chapter 5: “What I want to do here, without destroying the story as an adventure yarn, is grab the subtext and make it text, grab the metaphor and make it text; allow that we’re spinning a metafiction and see how far we can push that fact before it collapses in on itself. Which is going to be hard; good fantasy is as delicate as butterfly wings, and just as liable to crumble if improperly handled, leaving you with something that can no longer fly.

She was making a shawl for the child. The knitting was so intricate that it looked like one of the wedding veils worn in his grandparents’ day. Then, the women had said the yarn should be so fine that you should be able to pull the veil through a wedding ring.

Mini-Journal Click here for the image to this craft! Materials   ● Plain card stock ● Construction paper ● Patterned paper ● Protractor ● Tapestry needle ● Ruler ● Yarn Directions

Here are few words to the unknown person who hurted me in a way nobody else did. This has been very impacting, the words still bang my head like marijuana. Even though I didn't knew much about you, I had no idea of the vulgarity of your mind which was so flithy for me but beautifuly coated with saccharine tales and rains with utmost fake sympathy. I sigh almost in tears for the words I never ever imagined to hear from anybody, but you broke that thought away henceforth believing that Satan did existed in the harmony of Angels. We could have been such good friends talking secretly about you to my besty that 'Maris is so warmest being'. You didn't had any idea how much I respected you and your struggles. I wonder how could you do this to a stranger like me who had been happily good to your gestures ever since I Mailed you. That mail just said to take care of my favourite thing and you took a revenge of my kindness. I sigh my pity on you that I cared for you beyond I thought I would do. But my dear, I still have care for you and never wish to accept your apology because you were in anger and wrath does Mahabharata. I just want to tell you that everything you did,hurted me and the challenges are really unbearable, the consequence is worst, you making me alone in such darkness that I wish to sleep in weepy rain and wake up in never.

I spoke for hours on end. I told Thain everything. Once I started, I found I couldn’t stop. It was like picking at a thread in a woven rug, and before long the structure I had held so rigid was reduced to loose yarn in my hands, and I couldn’t make sense of the start or end.

Men are always on the side of power. Even the Dark Fairy had to learn that. They will always betray us for power, so why shouldn't we do the same? If only it didn't make our hearts so cold.

Don't get caught in your own thoughts, Fox. They would make her blind and deaf.

in dreams, “just about any event can occur, which means that the ordinary/ extraordinary distinction relevant to stories of non-dream experiences no longer applies, which makes tellability more murky.” Another problem is that dreams don’t follow the type of logic we expect of a good yarn, Phelan said. “Often tellers will try to recount faithfully the sequence of the dream events. But such faithfulness typically means no cause-and-effect logic, and that absence typically means no coherence to the story, and no coherence means a bad story.

I imagined her helping me unravel each problem until they were simple, soft balls of yarn ready to be reknit with purpose. Instead, Stacy listened calmly until I was done. Then she said, “We’ll get to all that later, but first, why don’t we take a step back? Tell me about you.

She knew it too well, that terrible empty feeling that stemmed from loneliness. That desperate desire to be close to something--- someone. Someone who understood you. Someone who allowed you to be yourself without any strings attached. Perhaps, all along, it hadn't been freedom or adventure they'd truly craved that night in the graveyard, she thought suddenly. Perhaps it had been connection. She looked up, realizing Jack's face was near hers. He gave her a timid smile, reaching out to brush a lock of yarn from her eyes. Sally felt her leaves swirl, and her first instinct was to jerk away, laugh, break from the moment and make it all a joke. But no. That was the coward's way out. She needed to face her fears. To be the Sally she so desperately wanted to be. The Sally she saw reflected in Jack's dark eyes. "Jack..." she whispered. His name felt like a prayer on her lips. "Oh, Jack." "Sally..." Jack closed his eyes. Tilted his head. Began to lean closer.

Samuel Marquis's earth-shattering thriller, Blind Thrust, excels at making a mystery story, with geology as background, an exciting yarn. With believable, intelligent characters, there is a fine thriller on these pages that could shake things up. --Foreword Reviews - Four Stars (****)

I make up characters. I create whole worlds in my head. I add words to the lexicon of daily conversation—maybe you talk about your vajayjay and tell your friend that someone at work got Poped because of my shows. I birth babies, I end lives. I dance it out. I wear the white hat. I operate. I gladiate. I exonerate. I spin yarns and tell tall tales and sit around the campfire. I wrap myself in fiction.

They look like confused strangers standing in a lopsided triangle, like the one Ashley made out of yarn. It makes me wonder what makes anybody family. I think that maybe for some people, family is just the people you're standing next to when awful things happen

Cats, based on their corporeal existence, have a different view on trees even if one dismisses the fruit eating aspect. A closer look at common domestic feline behaviour makes these views spring forth like a kitten pouncing on a ball of yarn. It can be hard to miss.

You can think of your life as being a little like knitting. When you first begin, there is no shape to it, but you keep knitting with some goal in mind—to make a sweater, a sock, or whatever. Every stitch is like a thought that you add to the overall shape of your life. Eventually, thoughts lead to action and the form will emerge, if you can only keep your intent in mind. If you have no clear vision, however, you will end up with a random pile of knotted yarn

Instructions: Row 1 Forward Pass: This pass is worked from left to right. Pull up the active loop on the hook, and place it onto the end of the needle without twisting. Remove the hook. In the next st to the right work into the back loop only, yarn over and pull up a loop, and place it onto the needle, removing the hook. Repeat in each st across, working to the right and into the back loop only of each st. At the end of this pass you'll have as many loops on the needle as you had sc sts in the previous row. Do not turn. Row 2 Return Pass: This pass is worked from right to left. Carefully pull 3 loops off the end of the needle with your hook. Be sure to keep the loops taut so they keep their height. Ch 1 and work 3 sc into the loops, going through the center of the loops to make each st. (The reason we work 3 sc here is because we are working a group of 3 loops.) Pull the next group of 3 loops off the hook and work 3 sc through the center of these 3 loops (do not ch 1 again - the only ch 1 is at the very beginning of this pass). Continue working

I haven’t even checked to see if my Heart-2-Heart pal wrote back.” Madison plucked at the fuzzy strands of yarn on her pillow. “You should. I love this program! We can tell each other anything. It’s so great!” “And this guy’s name is Blue?” Piper’s voice sounded doubtful. “I don’t remember any kid at school named Blue. There was that one guy we called Green in our chem lab, remember? But I think we called him that because his last name was Green and we could never remember his first name.” Madison giggled even more. She was feeling like a fizzy soda pop, bubbly all over. “Oh, Piper, his name isn’t really Blue. That’s just his nickname.” “Do you have a nickname?” “Of course,” Madison said. “But I don’t want to tell you what it is. You’ll think it’s ridiculous.” “I can’t believe you won’t tell me,” Piper protested. “I’m your BFF. We share everything!” “I know…”” “Come on, tell me!” Piper pleaded. “Look, I told you about the time I wet my pants in second grade, and that I had a total crush on Mr. Proctor, our fifth-grade teacher. And last year, when I--” “This is different, Piper,” Madison tried to explain. “We can tell our deepest secrets to our Heart-2-Heart pal because they don’t know who we are.” “I just can’t believe this,” Piper continued in a really hurt voice. “Didn’t I tell you about that D I almost got in Algebra I and the secret tutor I had to hire to bring up my grade? God, I even told you about that mole on my butt that I had to have removed. If that’s not a deep secret, I don’t know what is.” “Okay, okay!” Madison sat up. “I’ll tell you. It’s Pinky.” There was a long pause. “Pinky? That’s ridiculous.” “See?” Madison shouted into the phone. “I knew you’d say that.” She got up and crossed to her vanity mirror. She tousled her hair with one hand to make it stand up. “It had to do with dyeing my hair pink.” There was an even longer pause. “You’re not going to do that, are you?” Piper asked quietly. “Because I don’t think it will help the campaign. Oh, it might steal a few votes from Jeremy--but do we really need them? I’m not sure.” “Piper, relax,” Madison said. “I was just joking about doing it.

She watched him cut through the barn to the well, and she felt Wyatt’s arms come around her from behind. “You were perfect, McKenna.” She leaned into him, mindful of Emma running straight for them. Chin Li nodded their way then averted his gaze. But McKenna saw the smile on his mouth. “Papa!” Wyatt caught Emma up and gave her a big hug. “How are you, little one?” Emma’s eyes sparkled. “Did you bring me anything?” “Now what makes you think I’d bring you anything?” She stuck her hand into his outer vest pocket, which earned a raised brow from Wyatt. So she immediately went for his inner pocket, and her grin widened. “Another doll!” she squealed. Wyatt tugged the red-yarned head of the rag doll. “I figured Clara needed a sister, since you’ll be getting either a new brother or sister yourself real soon.” Emma hugged his neck tight. “Thank you, Papa.” “Now,” he said, kissing her forehead and setting her down. “We’re going to have Uncle Robert’s welcome home dinner in just a minute, but first, I’d like for you to run on inside and show Chin Li and Mei your new doll while I kiss your mama good and proper. Think you can do that for me?” Grinning, Emma nodded and set off. McKenna was grinning too, until Wyatt pulled her close. Seeing the desire in his eyes sparked her own, and she slipped a hand beneath his vest to finger a button on his shirt. “I’ve missed you, Mr. Caradon.” No longer Marshal, and she was so thankful. His hand moved lower down her back, pressing her closer against him. He smiled. “I think I’ve warned you before, ma’am”—his gaze went from her eyes to her mouth—“about looking at a man that way when he can’t do anything about it.” Remembering the first day he’d said that to her, McKenna cradled the back of his neck and drew his face down to hers. “Then I suggest, sir, that you do something about it. Right quick.” And he did.

What Elzy had learned in the war was this: Sometimes your life depended upon having to do an awful thing, and the only way to make it through was to just do it and feel the sorrow later. - 'Elzy Taylor and the Men from the City by Jesse Knifley

It was the job of people like me to make up reasons, to spin a plausible yarn. And it’s amazing what people will believe. Heavy selling out of the Middle East was an old standby. Since no one ever had any clue what the Arabs were doing with their money or why, no story involving Arabs could ever be refuted. So if you didn’t know why the dollar was falling, you shouted out something about Arabs.

THE BASTARD STEPCHILD There’s a new kid on the shelves in bookstores these days. Most often he can be found back in the science fiction and fantasy section, walking with a certain swagger among the epic fantasies, the space operas, the sword-and-sorcery yarns and cyberpunk dystopias. Sometimes he wanders up front, to hang out with the bestsellers. They call him “urban fantasy,” and these past few years he’s been the hottest subgenre in publishing. The term “urban fantasy” isn’t new, truth be told. There was another subgenre that went by that name back in the 1980s; it mostly seemed to involve elves playing in folk-rock bands and riding motorcycles through contemporary urban landscapes—usually in Minneapolis or Toronto, both of which are very nice towns. The new urban fantasy may be some kin to that 1980s variety, but if so, the kinship is a distant one, for the new kid is a bastard through and through. He makes his home on streets altogether meaner and dirtier than those his cousin walked, in New York and Chicago and L.A. and nameless cities where blood runs in the gutters and the screams in the night drown out the music. Maybe a few elves are still around, but if so, they’re likely to be hooked on horse or coke or stronger, stranger drugs, or maybe they’re elf hookers being pimped out by a werewolf. Those bloody lycanthropes are everywhere, though it’s the vampires who really run the town . . . And don’t forget the zombies, the ghouls, the demons, the witches and warlocks, the incubi and succubi, and all the other nasty, narsty things that go bump in the night. (And worse, the ones that make no sound at all.)

Thus it is that four strangers sit in the red chairs, strip off their socks, plunge their feet into the ink-baths, and hold hands under an amphibian stare. This is the first act of anyone entering Palimpsest: Orlande will take your coats, sit you down, and make you family. She will fold you four together like Quartos. She will draw you each a card—look, for you it is the Broken Ship reversed, which signifies Perversion, a Long Journey without Enlightenment, Gout—and tie your hands together with red yarn. Wherever you go in Palimpsest, you are bound to these strangers who happened onto Orlande’s salon just when you did, and you will go nowhere, eat no capon or dormouse, drink no oversweet port that they do not also taste, and they will visit no whore that you do not also feel beneath you, and until that ink washes from your feet—which, given that Orlande is a creature of the marsh and no stranger to mud, will be some time—you cannot breathe but that they breathe also.

Alison went to the Waldorf school, and they had a whole classroom hour devoted to tweeting on those plastic flutes. They also spent a lot of time building birdhouses, singing along to Peter, Paul, and Mary, and making God's eyes out of twigs and yarn. By the second grade, Alison has still barely heard of arithmetic.

That’s why I brought so much yarn,” she explained. “I knit whenever my hands don’t have something else to do. It helps make my thoughts more orderly.” He turned back toward her and saw she’d drawn the yarn out of her pack. Blue and fluffy, it was being transformed into something tubular by the four crisscrossing needles that Raina deftly maneuvered. It was magical seeing a single strand feed into her hands and a three-dimensional object slowly appear on the other side. It was a little like watching a plant grow and bloom, miraculous, from a seed.

In the last week of June, the AICC met in Ahmedabad. Here, Gandhi moved a resolution making it mandatory for all Congress representatives/office-bearers to spin for at least half an hour a day except when travelling, and to send to the All India Khadi Board at least ten tolas (about 1.8 kg) of ‘even and well-twisted’ yarn every month. The resolution passed, by seventy-eight votes to seventy. Among those resolute in their opposition were Motilal Nehru and C.R. Das. The narrowness of Gandhi’s victory suggested that he no longer had complete control over the Congress.

Life is a ball of yarn that someone got all tangled. It would make sense if it were rolled up tight, or if it were unrolled and completely stretched out. But such as it is, life is a problem without shape, a confusion of yarn leading nowhere.

Besides cooking, baking, cleaning, and the full-time role of wife and mother, there were cows to milk, gardens to tend, candles and soap to be made, butter to churn. As would be said, “Working butter with wooden paddles in the large wooden bowl, molding it, and cleaning the pails and utensils was as much a part of women’s work as washing dishes.” Butter was a major element of the frontier diet and making good butter was a skill in which women took particular pride. Then there was yarn to spin, wool to weave, clothes to make for large families, clothes to wash, mend, and patch. And just as the man of the house had his ax, plowshare, long rifle, and those other tools necessary for the work to be faced, so, too, did the woman of the house—knives, needles, spoons, paddles, hickory brooms, spinning wheels, and most important, the bulbous, heavy iron pots to be seen in nearly every cabin that were used more for cooking than any other item and led to countless aching backs by the end of the day.

…I am a storyteller. From barstools to back porches, from kitchen tables to campfires, from podiums to park benches, I have spun my yarns to audiences both big and small, both rapt and bored. I didn’t start out that way. I was just a dreamer, quietly imagining myself as something special, as someone who would “make a difference” in the world. But the fact is, I was just an ordinary person leading an ordinary life. Then, partly by design, partly by happenstance, I was thrust into a series of adventures and circumstances beyond anything I had ever dreamed. It all started when I ran away from home at eighteen and hitchhiked around the country. Then I joined the Army, became an infantry lieutenant, and went to Vietnam. After Vietnam, I tried to become a hippie, got involved with Vietnam Veterans Against the War (VVAW), and became a National Coordinator for the organization. I was subsequently indicted for conspiracy to incite a riot at the Republican Convention in 1972—the so-called Gainesville Eight case—and one of my best friends turned out to be an FBI informant who testified against me at the trial. In the early eighties, I was involved with the New York Vietnam Veterans Memorial Commission, which built a memorial for Vietnam veterans in New York City and published the book Dear America: Letters Home from Vietnam. In the late eighties, I was part of a delegation of Vietnam veterans who went to the Soviet Union to meet with Soviet veterans of their Afghanistan War. I fell in love with a woman from Russia, married her, and spent nine years living there, during which I fathered two children, then brought my family back to the U.S. and the suburban middle-class life I had left so many years before. The adventures ultimately, inevitably perhaps, ended, and like Samwise Gamgee, I returned to an ordinary life once they were over. The only thing I had left from that special time was the stories… I wrote this book for two reasons. First and foremost, I wrote it for my children. Their experience of me is as a slightly boring “soccer dad,” ordinary and unremarkable. I wanted them to know who I was and what I did before I became their dad. More importantly, I hope the book can be inspiring to the entire younger generation they represent, who will have to deal with the mess of a world that we have left them. The second reason is that when I was young, I had hoped that my actions would “make a difference,” but I’m not so sure if they amounted to “a hill of beans,” as Humphry Bogart famously intoned. If my actions did not change the world, then I dream that maybe my stories can.

What he found was astonishing. Every wall was plastered with posters and flyers. Some were like the ones he'd seen on the brick wall at King's Cross; others seemed to advertise specific market traders. Some were old and faded; some seemed much more recent. Some sounded quite ordinary-- Cocksfoot & Sable: Fine Ales and Cheeses; Clancy's Rustic Furnishings-- and some were more unusual. Tom frowned over Yellow Belle's Night-Woven Yarns, and felt his heart beat faster at Spindle Ermine's Love Spells. What kind of a market was this? He thought he understood Bird-Cherry's Flowers and Fruits, or Straw Dot's Most Accurate Timepieces, and even Scarlet Tiger Sleeve Tattoos-- but what was he to make of Pretty Pinion Wing Repairs or Mother Shipton, Laundress of Dreams, or Pale Eggar's Glamours and Charms, or Dusky Sallow's Evercoats?

So. It's finished." "Yes." "What did we make? What was it, in the end?" "What it always is. A handful of yarn; a little weaving and stitching; some embroidering perhaps. A few loose ends, but that's only to be expected... It's the same old story... Whatever it turns into on the way, whatever it is you originally undertake to spin or knit or weave, keep it going long enough and, in the end, my lilies, it's always a winding sheet.

So much time and energy is wasted when we worry about the past. Every time we walk back into yesterday's yarn we get tangled up in its woolly story. We were not created by God with an extra set of eyes on the back of our head because God did not intend for us to keep looking backwards. Don't rehearse your reverse. The Apostle Paul got it right when he said, 'I press on'. Press on, beyond the past, into your tomorrow.

Laila watches Mariam glue strands of yarn onto her doll’s head. In a few years, this little girl will be a woman who will make small demands on life, who will never burden others, who will never let on that she too has had sorrows, disappointments, dreams that have been ridiculed. A woman who will be like a rock in a riverbed, enduring without complaint, her grace not sullied but shaped by the turbulence that washes over her. Already Laila sees something behind this young girl’s eyes, something deep in her core, that neither Rasheed nor the Taliban will be able to break. Something as hard and unyielding as a block of limestone. Something that, in the end, will be her undoing and Laila’s salvation.

Work. He’d think about work. Cade was behind in a ton of paperwork, and he had some females that hadn’t been acting right. He needed to get down to their paddock this morning and try to figure out if they were sick or not, hoping like hell he wouldn’t have to call the vet. The ranch was doing okay financially, but that was because he cut corners, not wasting anything. He was, in fact, the opposite of how Eliza had been. Eliza, who wouldn’t cull an animal from the flock even if it was making the others sick. That was if she’d noticed they were sick at all

The magic wishbone spell that she taught me that afternoon is the following. Take a wishbone from a chicken that your family eats. The person for whom you are making the wishbone should also partake of some of the meat of the chicken. If that person does not eat with your family at the meal where the chicken is served, some of the meat can be saved for him or her. Dry out the wishbone after removing all of the meat from it. Now set the wishbone on a small clay dish, like a saucer, which is to become its home. Take some red wool yarn, and wrap it around the right half of the wishbone while praying that the wishbone may be used to bring good things into the life of the person who uses it. Now sprinkle the wishbone with a small amount of mullein leaf that has been ground up to a powder. This powder is also known as wishbone powder. It is what is used to “feed” the wishbone. Then give the wishbone, sitting on its saucer, to the person who is to use it along with the instructions for its use. The instructions are as follows. When you firmly know what it is that you want, you should take the wishbone and, holding it in both hands, tell it exactly what it is that you desire. Then sprinkle a pinch or two of the mullein leaf (or wishbone) powder on it. Now repeat your request to it as it lies on its plate or saucer, and when you have done so, replace the wishbone in the dark place where you keep it. It must be kept out of sight, and you should not ever tell anyone else that you have a magic wishbone.

Get to know the feel of the yarn with your fingertips. Allow its fidelity to flow through you. Be at one with the animals and the earth that have given you this gift. A happy weaver makes a happy cloth. -- Eleanor in Flower Girl A Novel

You know, I could have made the arduous journey next door to leave your order with the doorman,” I said as I counted out the skeins to make sure they were all there. Nico and Elizabeth lived in one of the condos in the building above the shop. In fact, it was Elizabeth who’d suggested this location to me when the retail space became available. Nico’s grin grew flirtatious. “I know, but then I wouldn’t have gotten to fondle your yarn—and you know how I love to fondle your yarn.” I flicked my hand at him, shaking my head in amusement. “Fondle away.” Nico wandered off to browse the in-stock yarns, and I smiled as I watched him reach out to squish a particularly cuddly alpaca blend.