Quilt Fabric Quotes

My mom says, "Do you know what the AIDS memorial quilt is all about?" Jump to how much I hate my brother at this moment. I bought this fabric because I thought it would make a nice panel for Shane," Mom says. "We just ran into some problems with what to sew on it." Give me amnesia. Flash. Give me new parents. Flash. Your mother didn't want to step on any toes," Dad says. He twists a drumstick off and starts scraping the meat onto a plate. "With gay stuff you have to be so careful since everything means something in secret code. I mean, we didn't want to give people the wrong idea." My Mom leans over to scoop yams onto my plate, and says, "Your father wanted a black border, but black on a field of blue would mean Shane was excited by leather sex, you know, bondage and discipline, sado and masochism." She says, "Really, those panels are to help the people left behind." Strangers are going to see us and see Shane's name," my dad says. "We didn't want them thinking things." The dishes all start their slow clockwise march around the table. The stuffing. The olives. The cranberry sauce. "I wanted pink triangles but all the panels have pink triangles," my mom says. "It's the Nazi symbol for homosexuals." She says,"Your father suggested black triangles, but that would mean Shane was a lesbian. It looks like female pubic hair. The black triangle does." My father says, "Then I wanted a green border, but it turns out that would mean Shane was a male prostitute." My mom says, "We almost chose a red border, but that would mean fisting. Brown would mean either scat or rimming, we couldn't figure which." Yellow," my father says, "means watersports." A lighter shade of blue," Mom says, "would mean just regular oral sex." Regular white," my father says, "would mean anal. White could also mean Shane was excited by men wearing underwear." He says, "I can't remember which." My mother passes me the quilted chicken with the rolls still warm inside. We're supposed to sit and eat with Shane dead all over the table in front of us. Finally we just gave up," my mom says, "and I made a nice tablecloth out of the material." Between the yams and the stuffing, Dad looks down at his plate and says, "Do you know about rimming?" I know it isn't table talk. And fisting?" my mom asks. I say, I know. I don't mention Manus and his vocational porno magazines. We sit there, all of us around a blue shroud with the turkey more like a big dead baked animal than ever, the stuffing chock full of organs you can still recognize, the heart and gizzard and liver, the gravy thick with cooked fat and blood. The flower centerpiece could be a casket spray. Would you pass the butter, please?" my mother says. To my father she says, "Do you know what felching is?

One day when no one else was around, I went into the craft room at the back of the ground floor. I touched Gran's collection of fabrics, the shiny bright buttons, the coloured threads. My head and shoulders melted first, followed by my hips and knees. Before long I was a puddle, soaking into the pretty cotton prints. I drenched the quilt she never finished, rusted the metal parts of her sewing machine. I was pure liquid loss...

Tabitha's quilt was more than pieces of fabric sewn together. It was a patchwork of souls.

It’s only fabric! Freestyle fabric cutting and sewing is a low-risk endeavor with a strong payoff of personal growth and empower- ment.

It tugs at me, filling me with the kind of seasick nostalgia that can hit you in the gut when you find an old concert ticket in your purse or an old coin machine ring you got down at the boardwalk on a day when you went searching for mermaids in the surf with your best friend. That punch of nostalgia hits me now and I start to sink down on the sky-coloured quilt, feeling the nubby fabric under my fingers, familiar as the topography of my hand.

My mama always said piecing quilts is like making friends.' She kept her eyes on the scissors as she cut up a piece of blue ticking. 'Sometimes the more different fabrics - and people - are,' she said, 'the stronger the pattern.' I looked up at her. She smiled a sad, sweet smile at me. I felt as if she'd looked right into my heart and seen all my warts and flaws, and held her own heart out to me anyway.

Kansas afternoons in late summer are peculiar and wondrous things. Often they are pregnant, if not over-ripe, with a pensive and latent energy that is utterly incapable of ever finding an adequate release for itself. This results in a palpable, almost frenetic tension that hangs in the air just below the clouds. By dusk, spread thin across the quilt-work farmlands by disparate prairie winds, this formless energy creates an abscess in the fabric of space and time that most individuals rarely take notice of. But in the soulish chambers of particularly sensitive observers, it elicits a familiar recognition—a vague remembrance—of something both dark and beautiful. Some understand it simply as an undefined tranquility tinged with despair over the loss of something now forgotten. For others, it signifies something far more sinister, and is therefore something to be feared.

Mrs. Watanabe loved hand painting, quilting, and the discipline of woven textiles, but she worried these techniques were a dying art. “Computers make everything too easy,” she said with a sigh. “People design very quickly on a monitor, and they print on some enormous industrial printer in a warehouse in a distant country, and the designer hasn’t touched a piece of fabric at any point in the process or gotten her hands dirty with ink. Computers are great for experimentation, but they’re bad for deep thinking.

Take a good look at your fabric and intuit what it is saying to you.

You’re part of the fabric of my life, Giselle, and our quilt is stronger now. You have to see that. Forgive yourself, and things will be clearer, your heart open, major decisions easier.

On some intuitive level, I knew that learning had to be more than the mastery of facts. I've experienced it as an adult. I become consumed with a subject like quilting or preparing yogurt cultures, and that topic takes over my life - fabric scraps scattered on the floor, little jars of white sludge cuddled by blankets on my kitchen countertops. When I learned to play guitar in my thirties, no one had to schedule my practices. My guitar lived on a stand in the living room and I tormented our ears multiple times a day until my fingers bled. Passion for learning has that fiery, consuming, can't-stop quality.

Like a patchwork quilt, I realize now that it’s the culmination of small beautiful moments that makes the quilt of our lives so beautiful. And even though we haven’t had as much time to create the fabric for the squares of ours, I know without a doubt that I will leave behind an entire quilt of beautiful moments.

My head and shoulders melted first, followed by my hips and knees. Before long I was a puddle, soaking into the pretty cotton prints. I drenched the quilt she never finished, rusted the metal parts of her sewing machine. I was pure liquid loss, then, for an hour or two. My grandmother, my grandmother. Gone forever, though I could smell her Chanel perfume on the fabrics.

The stakes are higher than you may ever know. Your life, man, it’s a reflection of everything. Everything that ever was. You’re a link in the chain, but it’s more than a chain. It’s like a whole gigantic fabric. A huge quilt. And God, God’s like the needle. God sews it all together. God connects us. It’s a crazy ass quilt, and every square is different, see, but God connects us.

She showed me her quilt, scraps of fabric pieced together into the pattern called Valmata’s Return. She was now stitching the top and batting and backing together, overlaying Valmata’s Return with a pattern called Scorpion Dance—appropriate to the story of Valmata, who returned from war and poisoned his father in order to take control of the family estates. They sang the ballad in Lohaiso.

It's difficult to know where to begin, sir.' 'Yes, the beginning is the tricky part. But perhaps there is no beginning, perhaps we can't look that far back.' He got up from his desk and went over to the window, from where he could see thin pillar of smoke rising into the clouds. 'I never know where anything comes from, Walter.' 'Comes from, sir?' 'Where you come from, where I come from, where all this comes from.' And he gestured at the offices and homes beneath him. He was about to say something else but he stopped, embarrassed; and in any case he was coming to the limits of his understanding. He was not sure if all the movements and changes in the world were part of some coherent development, like the weaving of a quilt which remains one fabric despite its variegated pattern. Or was it a more delicate operation than this - like the enlarging surface of a balloon in the sense that, although each part increased at the same rate of growth as every other part, the entire object grew more fragile as it expanded? And if one element was suddenly to vanish, would the others disappear also - imploding upon each other helplessly as if time itself were unravelling amid a confusion of Sights, calls, shrieks and phrases of music which grew smaller and smaller? He thought of a train disappearing into the distance, until eventually only the smoke and the smell of its engine remained.

The transformationist leaders are not men, but they are white, they are “European,” they are middle-class. Minority women have begun to deny that the leaders of the women’s movement have any right to speak for them. Most members of the women of color caucus boycotted the 1992 Austin National Women’s Studies Conference I attended for its failure to recognize and respect their political identity. The slighted group sent the conferees an African-American women’s quilt made from dashiki fabrics, as both a reprimand and a “healing gesture.” The assembled white feminists sat before it in resentful but guilty silence. In the game of moral one-upmanship that gender feminists are so good at, they had been outquilted, as it were, by a more marginalized constituency.

I go straight toward the last place where I felt safe: Tobias’s small apartment. The second I reach the door, I feel calmer. The door is not completely closed. I nudge it open with my foot. He isn’t there, but I don’t leave. I sit on his bed and gather the quilt in my arms, burying my face in the fabric and taking deep breaths of it through my nose. The smell it used to have is almost gone, it’s been so long since he slept on it. The door opens and Tobias slips in. My arms go limp, and the quilt falls into my lap. How will I explain my presence here? I’m supposed to be angry with him. He doesn’t scowl, but his mouth is so tense that I know he’s angry with me. “Don’t be an idiot,” he says. “An idiot?” “You were lying. You said you wouldn’t go to Erudite, and you were lying, and going to Erudite would make you an idiot. So don’t.” I set the blanket down and get up. “Don’t try to make this simple,” I say. “It’s not. You know as well as I do that this is the right thing to do.” “You choose this moment to act like the Abnegation?” His voice fills the room and makes fear prickle in my chest. His anger seems too sudden. Too strange. “All that time you spent insisting that you were too selfish for them, and now, when your life is on the line, you’ve got to be a hero? What’s wrong with you?” “What’s wrong with you? People died. They walked right off the edge of a building! And I can stop it from happening again!” “You’re too important to just…die.” He shakes his head. He won’t even look at me--his eyes keep shifting across my face, to the wall behind me or the ceiling above me, to everything but me. I am too stunned to be angry. “I’m not important. Everyone will do just fine without me,” I say. “Who cares about everyone? What about me?” He lowers his head into his hand, covering his eyes. His fingers are trembling. Then he crosses the room in two long strides and touches his lips to mine. Their gentle pressure erases the past few months, and I am the girl who sat on the rocks next to the chasm, with river spray on her ankles, and kissed him for the first time. I am the girl who grabbed his hand in the hallway just because I wanted to.

There was also a package wrapped in pale blue paper and tied with a matching ribbon. Picking up a small folded note that had been tucked under the ribbon, Beatrix read: A gift for your wedding night, darling Bea. This gown was made by the most fashionable modiste in London. It is rather different from the ones you usually wear, but it will be very pleasing to a bridegroom. Trust me about this. -Poppy Holding the nightgown up, Beatrix saw that it was made of black gossamer and fastened with tiny jet buttons. Since the only nightgowns she had ever worn had been of modest white cambric or muslin, this was rather shocking. However, if it was what husbands liked... After removing her corset and her other underpinnings, Beatrix drew the gown over her head and let a slither over her body in a cool, silky drift. The thin fabric draped closely over her shoulders and torso and buttoned at the waist before flowing to the ground in transparent panels. A side slit went up to her hip, exposing her leg when she moved. And her back was shockingly exposed, the gown dipping low against her spine. Pulling the pins and combs from her hair, she dropped them into the muslin bag in the trunk. Tentatively she emerged from behind the screen. Christopher had just finished pouring two glasses of champagne. He turned toward her and froze, except for his gaze, which traveled over her in a burning sweep. "My God," he muttered, and drained his champagne. Setting the empty glass aside, he gripped the other as if he were afraid it might slip through his fingers. "Do you like my nightgown?" Beatrix asked. Christopher nodded, not taking his gaze from her. "Where's the rest of it?" "This was all I could find." Unable to resist teasing him, Beatrix twisted and tried to see the back view. "I wonder if I put it on backward..." "Let me see." As she turned to reveal the naked line of her back, Christopher drew in a harsh breath. Although Beatrix heard him mumble a curse, she didn't take offense, deducing that Poppy had been right about the nightgown. And when he drained the second glass of champagne, forgetting that it was hers, Beatrix sternly repressed a grin. She went to the bed and climbed onto the mattress, relishing the billowy softness of its quilts and linens. Reclining on her side, she made no attempt to cover her exposed leg as the gossamer fabric fell open to her hip. Christopher came to her, stripping off his shirt along the way. The sight of him, all that flexing muscle and sun-glazed skin, was breathtaking. He was a beautiful man, a scarred Apollo, a dream lover. And he was hers.

He tried to force her to stop buying fabric for her quilts. "There's enough material in this house to last a lifetime." Without saying a word, Birdie went into their bedroom with a pair of scissors and cut squares out of his best shirts. After that she bought fabric whenever she wanted to.

The time spent with fabric, needle and thread is precious to a woman in a closed community. The task presents a time to think private thoughts. As Kelly Martinez expresses the quilting experience: “Slow stitching means setting aside time to find myself somewhere in the thread and spread myself out on a piece of fabric.” The intricacy of the Amish comforter attests to the value of quiet work.

She was pleasantly surprised at how much remained. Her parents had abandoned a heap of old Caltreyan clothes. Selecting one of the island dresses, Kiela shook it out. Dust plumed in the air. The skirt was a quilt of blue--- sky blue, sapphire blue, sea blue--- all stitched together with silvery thread and hemmed with silver ribbon, and the bodice was a soft white blouse. Not at all a city style, but it was perfect for a picnic in a garden or a stroll on a shore. With a few repairs, she could wear a lot of her mother's abandoned clothes, and she could use her father's for... She wasn't sure what, but they were nice to have. She'd find a use for them. If nothing else, she could chop the fabric up into cleaning rags. Or perhaps learn to quilt? There was a moth-eaten blanket in one closet, in addition to the old quilts on the daybed and her parents' bed. Each quilt had its own pattern--- one was comprised of colors of the sunset and sewn in strips like rays of light, while another was the brown and pale green of a spring garden with pieces cut like petals and sewn like abstract flowers. We left so many beautiful things behind. She'd had no idea. She'd been too little to help much with the packing, though she remembered she'd tried. Carrying an armful of clothes into the kitchen, Kiela dumped them into the sink to soak in water. She planned to use the excess line from the boat to hang them out in the sun to dry. They'll be even more beautiful once they're clean. The kitchen cabinet produced more treasures: a few plates, bowls, and cups. Each bowl was painted with pictures of strawberries and raspberries, and the plates were painted with tomatoes and asparagus. The teacups bore delicate pictures of flowers.

When the first day of the festival had concluded, I retired early, my feet aching and my body exhausted. Narian had left us after our tour of the grounds, and I had not seen him since, although I hoped he would come to me now. He did, but even as he dropped through my window, he seemed distracted, far away inside his own head. I tried to engage him in conversation, but found it to be mostly one-sided, for I could not hold his interest. Though there was no smooth way to launch into the necessary topic, I did so anyway, doubtful that he was even listening. “Are you upset that your family was with us today?” I asked. “You invited them?” Judging by the tone of his voice, I had landed upon the correct issue. “Yes. It made sense to do so.” “I suppose,” he replied, but I knew the answer did not reflect his actual thoughts. “They’re old friends of my family, Narian. And I thought perhaps you would…enjoy seeing them again.” “Alera, they don’t want my company.” “Your mother does.” His eyes at last met mine. “I spoke to her about you. She would give up her husband to regain her son.” “I doubt that’s true,” he said with a short laugh. “It is,” I insisted, reaching out to run a hand through his hair. I might have changed her words a little, but I understood her intent. “She told me so herself. Believe it.” Narian stared at me, a flicker of hope on his face that quickly faded into his stoic façade. “Even if what you say is true,” he said at last, “in order to have a relationship with her, with my siblings, I need to have one with Koranis.” “You’re right,” I admitted, for my dinner at the Baron’s home had proven that to be the case. He sat on the bed beside me and drew one knee close to his chest. “Koranis doesn’t want to be anywhere near me, and to be honest, I have no interest in a relationship with him. I have no respect for him.” Narian read the sympathy in my eyes. “It’s all right, Alera. I don’t need a family.” “Maybe you don’t need one,” I said with a shrug, playing with the fabric of the quilt that lay between us. “But you deserve one.” I thought for a moment I had hit a nerve, but instead he made a joke out of it. “Just think--if I’d had Koranis as my father, I might have turned into him by now. I’d be brutish and pretentious, but at least my boastful garb would distract you from those flaws. Oh, and this hair you love? It would be gone.” I laughed at the ounce of truth in his statement, then fell silent, for some reason feeling sadder about his situation than he was.

It’s all right, Alera. I don’t need a family.” “Maybe you don’t need one,” I said with a shrug, playing with the fabric of the quilt that lay between us. “But you deserve one.” I thought for a moment I had hit a nerve, but instead he made a joke out of it. “Just think--if I’d had Koranis as my father, I might have turned into him by now. I’d be brutish and pretentious, but at least my boastful garb would distract you from those flaws. Oh, and this hair you love? It would be gone.” I laughed at the ounce of truth in his statement, then fell silent, for some reason feeling sadder about his situation than he was. He reclined upon the pillows, considering me. “You know, in Cokyri, fathers don’t raise their children. I think maybe it’s better that way.” “How can you think that?” I asked, troubled by the decided tenor of his voice, and he sat up again, not having expected this reaction from me. “Your father controlled you and forced you to marry Steldor. How can you disagree with me after living through that?” “Because…” I faltered. “Because I love my father for all the good things he’s done. Because he made me laugh when I was a child. That’s what I think about when I see him. Not his mistakes.” “I couldn’t forgive him like you do.” “Could you forgive me? I mean, if I did something awful.” Narian did not immediately respond, unsettling me, but it was in his nature to weigh all things. “I don’t know,” he slowly answered. “But I would still love you.” He looked at me, an epiphany in his eyes, finally understanding my connection to my family. Then his expression changed, and I knew he was going to raise a difficult issue. “Explain this then. If that is how families are supposed to function, and you would forgive your father anything, and clearly my mother would forgive me anything, then Koranis fails because he won’t accept me. The women, you and my mother, are loving, but the man fails.” “Yes, but not all men fail.” “Prove it. Your father sold you into marriage, and the only father figures I’ve known have respectively made my life hell and rejected me.” He lay back once more, watching me, and though he had caught me off guard, I was determined to make my point. “Cannan is a just and fair man.” “Whose son is Steldor.” “Who has faults, yes--” “As all men do.” Frustrated, I threw my hands in the air. “Are you going to keep interrupting me?” “No, he said apologetically. “Go on.” “What about you? Am I, the woman who is in love with you, supposed to believe you’re a terrible person when I know better?” “I would be a terrible father,” he said, shifting onto his side. “What?” “Come, Alera, you have to admit it.” “I don’t have to admit anything, especially when I think you’re wrong.” “On what grounds?” I was so exasperated I wanted to tear my hair out. And his bemused visage only made it worse. “Because I saw you with that little girl this afternoon! You were perfect with her. And if you can be perfect with a stranger’s child, how could you be any different with our own?” “It’s different raising a child than talking with one,” he contended. “I never had a father, Alera. No one taught me how to be one.” “And did anyone teach you how to love me?” This stopped him short. “No.” “Well, you’re pretty good at it. So be quiet, and accept that our children are going to love you.” Narian’s eyebrows rose, and I started laughing. Taking my hand, he pulled me toward him and I lay down beside him, mirroring his position. “I’m sorry for yelling at you,” I murmured, giving him a light kiss. “You never know where a conversation is going to take you,” he said, gazing into my dark eyes. “I’m rather glad you did.

As soon as my girls were old enough to hold scissors, I taught them how to cut fabric into blocks for us to piece together into family quilts for them to keep so I can pass along my love of quilting, and my grandmother’s love of quilting, to the next generation. Jep’s granny was a quilter and a knitter. She kept her hands busy, and when I knew her, she was always sitting on the couch, knitting something. She knitted an afghan for every new grandchild, and Merritt got two afghans because she was named after her great-grandmother. I want to pass on a legacy of creativity and of taking something that seems of little value and transforming it into something beautiful. Our quilts are like our lives, each with a different story, each a little tattered and torn, but each unique and beautiful in the way the patterns, colors, and designs come together. Quilting is becoming a lost art that I never want to lose. To me, quilts are the perfect combination of love and art.

Ireland’s social fabric was by now such a patchwork quilt that practically everyone had relatives on the adversaries’ side. Sigtrygg had Irish blood from his mother, a princess named Gormflaith, who had been married many times, once to Brian Boru, which made Brian one of Sigtrygg’s stepfathers. Sigtrygg, in turn, had married one of Brian’s daughters by another Irish wife, which made him a son-in-law of Brian’s. To top it off, the rebellious Maelmordha of Leinster was Gormflaith’s brother, which made him Brian’s brother-in-law and Sigtrygg’s uncle.

abolitionist

Yet there was something noble in the way Gertie presided over her home town, surrounded by people to whom she’d made herself useful, like the now-grown children who once rode her school bus, or the neighbor woman she took to Walmart every other week for quilt fabric.

We are not the first to go this way. In the Jewish tradition, there's a long history of faithful wondering. It's summarized in the midrash, ancient commentaries of the rabbis that contain their speculations about what lies off the page of Scripture, about all the details that didn't make the main scroll. "Midrash" means "study" or "searching out." In the Jewish rabbinical tradition, this type of learning has always been a group effort. "Through communal reading of Scripture with homiletical commentary and translation, community was formed, reformed and advanced," writes Rabbi Burton Visotzky, midrashic expert and Hebrew Bible scholar. "Midrash was to the Rabbis of old the primary means of hearing God's voice speak through the Word of Scripture." Midrash was never meant to concretize one particular understanding of a particular verse or a particular part of Scripture. While it sought to uncover ancient truths, it was also relentlessly open to contextualizing the sacred text for a new generation. "Earlier comments were passed on, modified, retold, so that the Bible became a patchwork quilt of text, with a verse of Scripture at the center and the various interpretations of the verse radiating outward to form the fabric," Visotzky says. "This quilt of scriptural interpretation offered warmth to all who sheltered under it.

If I use just one red fabric in a quilt and it’s the wrong red, well then it might make the whole quilt ‘wrong’. If I use that red plus twenty others, the individual fabric won’t matter as much. It becomes ‘right’. Yay!

I pulled up my quilt, tucking the worn fabric next to my face, and closed my eyes. I could hear the birders chattering loudly about the blackbirds. I fell asleep the same way I’d woken up that morning. To the sound of a ruckus outside my window.

When I asked Grandma about it she told me in her own way . . .she wanted me to know that each time I looked at my quilt it would remind me to be compassionate with other and identify with their struggles. I remember her exact words, same ones she repeated so many times: "Chile, Grandma never wants you to look at the bad in folks and go backwards. I wants you to look at the good in them and go forward. If you jest look at the bad you gonna fine zactly what you lookin' for. Even the worse folks got a speck of good, you jest gotta fine it.

One of my favorite things about designing a new quilt is going through my stash and fondling the fabric. My fingertips feel happy.

Sorting through your fabric is like visiting old friends.

I’ve also left my quilt.” Ginny frowned at her in astonishment. “Really? Why?” “It was irreparable, really. Leaving all our blocks behind was a little like casting off our heartbreak stories and moving on from them. Daisy will always be a part of me and I don’t need scraps of fabric to feel that way.

Aunt Jane was in perfect correspondence with her environment. She wore a purple calico dress, rather short and scant; a gingham apron, with a capacious pocket, in which she always carried knitting: or some other "handy work"; a white handkerchief was laid primly around the wrinkled throat and fastened with a pin containing a lock of gray hair; her cap was of black lace and lutestring ribbon, not one of the butterfly affairs that perch on the top of the puffs and frizzes of the modern old lady, but a substantial structure that covered her whole head and was tied securely under her chin. She talked in a sweet old treble with a little lisp, caused by the absence of teeth, and her laugh was as clear and joyous as a young girl's. "Yes, I'm a-piecin' quilts again," she said, snipping away at the bits of calico in her lap. "I did say I was done with that sort o' work; but this mornin' I was rummagin' around up in the garret, and I come across this bundle of pieces, and thinks I, 'I reckon it's intended for me to piece one more quilt before I die;' I must 'a' put 'em there thirty years ago and clean forgot 'em, and I've been settin' here all the evenin' cuttin' 'em and thinkin' about old times. "Jest feel o' that," she continued, tossing some scraps into my lap. "There ain't any such caliker nowadays. This ain't your five-cent stuff that fades in the first washin' and wears out in the second. A caliker dress was somethin' worth buyin' and worth makin' up in them days. That blue-flowered piece was a dress I got the spring before Abram died. When I put on mournin' it was as good as new, and I give it to sister Mary. That one with the green ground and white figger was my niece Rebecca's. She wore it for the first time to the County Fair the year I took the premium on my salt-risin' bread and sponge cake. This black-an' white piece Sally Ann Flint give me. I ricollect 'twas in blackberry time, and I'd been out in the big pasture pickin' some for supper, and I stopped in at Sally Ann's for a drink o' water on my way back. She was cuttin' out this dress.

She smiled and admired his fabrics and traced her finger along a line of his stitching. It tickled.

One of my favorite words to research was ‘text’. It comes from the Latin verb ‘texere’ meaning to weave. Think of writing as sewing a quilt. All the pieces with their various colors and textures are being woven together to form a beautiful spread, a fabric of words. In 1870, a prairie woman wrote: “I make them warm to keep my family from freezing. I make them beautiful to keep my heart from breaking.” A poignant and powerful image. So now go weave your words.

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And I saw how thoroughly these families embraced their American identity—they were patriots, just like the people with whom I had grown up. But they also understood that they were from another continent. This is one of the greatest lessons of our nation’s improbable makeup: A united citizenry can be quilted together from so many different cultural fabrics.

Opening the lid, Beatrix found her neatly folded clothes and a drawstring muslin bag containing a brush and a rack of hairpins, and other small necessities. There was also a package wrapped in pale blue paper and tied with a matching ribbon. Picking up a small folded note that had been tucked under the ribbon, Beatrix read: A gift for your wedding night, darling Bea. This gown was made by the most fashionable modiste in London. It is rather different from the ones you usually wear, but it will be very pleasing to a bridegroom. Trust me about this. -Poppy Holding the nightgown up, Beatrix saw that it was made of black gossamer and fastened with tiny jet buttons. Since the only nightgowns she had ever worn had been of modest white cambric or muslin, this was rather shocking. However, if it was what husbands liked... After removing her corset and her other underpinnings, Beatrix drew the gown over her head and let a slither over her body in a cool, silky drift. The thin fabric draped closely over her shoulders and torso and buttoned at the waist before flowing to the ground in transparent panels. A side slit went up to her hip, exposing her leg when she moved. And her back was shockingly exposed, the gown dipping low against her spine. Pulling the pins and combs from her hair, she dropped them into the muslin bag in the trunk. Tentatively she emerged from behind the screen. Christopher had just finished pouring two glasses of champagne. He turned toward her and froze, except for his gaze, which traveled over her in a burning sweep. "My God," he muttered, and drained his champagne. Setting the empty glass aside, he gripped the other as if he were afraid it might slip through his fingers. "Do you like my nightgown?" Beatrix asked. Christopher nodded, not taking his gaze from her. "Where's the rest of it?" "This was all I could find." Unable to resist teasing him, Beatrix twisted and tried to see the back view. "I wonder if I put it on backward..." "Let me see." As she turned to reveal the naked line of her back, Christopher drew in a harsh breath. Although Beatrix heard him mumble a curse, she didn't take offense, deducing that Poppy had been right about the nightgown. And when he drained the second glass of champagne, forgetting that it was hers, Beatrix sternly repressed a grin. She went to the bed and climbed onto the mattress, relishing the billowy softness of its quilts and linens. Reclining on her side, she made no attempt to cover her exposed leg as the gossamer fabric fell open to her hip. Christopher came to her, stripping off his shirt along the way. The sight of him, all that flexing muscle and sun-glazed skin, was breathtaking. He was a beautiful man, a scarred Apollo, a dream lover. And he was hers.