Thread The Needle Day Quotes

Solar Eclipse Each morning I wake invisible. I make a needle from a porcupine quill, sew feet to legs, lift spine onto my thighs. I put on my rib and collarbone. I pin an ear to my head, hear the waxwing's yellow cry. I open my mouth for purple berries, stick on periwinkle eyes. I almost know what it is to be seen. My throat enlarges from anger. I make a hand to hold my pain. My heart a hole the size of the sun's eclipse. I push through the dark circle's tattered edge of light. All day I struggle with one hair after another until the moon moves from the face of the sun and there is a strange light as though from a kerosene lamp in a cabin. I pun on a dress, a shawl over my shoulders. My threads knotted and scissors gleaming. Now I know I am seen. I have a shadow. I extend my arms, dance and chant in the sun's new light. I put a hat and coat on my shadow, another larger dress. I put on more shawls and blouses and underskirts until even the shadow has substance

I am reminded that every day I have the chance to pick up a needle and some thread and add to the story. To stitch together something beautiful and unique, to patch a small scrap of fabric to the story, to the Story of God, that will be retold again and again for all of eternity.

Bolivian women sewed their lips shut for days. They threaded needles through their skin to stop their speech, to show what good speaking had done them.

Possibilities I prefer movies. I prefer cats. I prefer the oaks along the Warta. I prefer Dickens to Dostoyevsky. I prefer myself liking people to myself loving mankind. I prefer keeping a needle and thread on hand, just in case. I prefer the color green. I prefer not to maintain that reason is to blame for everything. I prefer exceptions. I prefer to leave early. I prefer talking to doctors about something else. I prefer the old fine-lined illustrations. I prefer the absurdity of writing poems to the absurdity of not writing poems. I prefer, where love's concerned, nonspecific anniversaries that can be celebrated every day. I prefer moralists who promise me nothing. I prefer cunning kindness to the over-trustful kind. I prefer the earth in civvies. I prefer conquered to conquering countries. I prefer having some reservations. I prefer the hell of chaos to the hell of order. I prefer Grimms' fairy tales to the newspapers' front pages. I prefer leaves without flowers to flowers without leaves. I prefer dogs with uncropped tails. I prefer light eyes, since mine are dark. I prefer desk drawers. I prefer many things that I haven't mentioned here to many things I've also left unsaid. I prefer zeroes on the loose to those lined up behind a cipher. I prefer the time of insects to the time of stars. I prefer to knock on wood. I prefer not to ask how much longer and when. I prefer keeping in mind even the possibility that existence has its own reason for being.

We already have what we need—the opportunity to weave the tapestry of happiness every day with the needle and thread of our own mind.

The pain from his arthritis was sewn through the fabric of his day, like a bright needle threaded with dull wire.

Why say 'the world is complicated' and stop there? I say the world is complicated but not incomprehensible. Only you have to look at it steadily. Isn't it true a person's shoulder hurts sometimes because they've got a disorder in their stomach? And then what does a stupid doctor do? Order massages for the shoulder. What does a wise doctor do? He takes time to think about it, watches the patient carefully, gives him some medicine for his stomach, and the pain in his shoulder goes away. Better yet, he explains to his patients what they have to do to keep their stomach from getting out of order. One day his patient's going to get old and die, just like himself, just like us, and one day, incredible as it may seem, the Empire's going to die, and how foolish people are who whine about it, and whine about how complicated the world is. A seamstress's room is complicated too, but even at night, with the lights out, she can reach out in the darkness and find the yellow thread, the needles, the pincushion. We couldn't, because we don't know the order things are in, in the seamstress's room. And we can't see the order the world is in. But all the same it's there, right under our eyes.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

And just like that,the cloth was torn. was it the days, weeks of the same argument was it the months without affection, or was it simply the year and a half wasted on empty promises from both sides?I don't know what ripped it, but here I sit with my needle and thread trying to fix it knowing it will never look as beautiful as it did when we first started weaving it.

we always went back to my grandma’s pockets, because she carried in them everything you would need to get through the day or start life in a new state. You wanted hard candy, loose change, a little pencil, a bobby pin, a safety pin, a pre-threaded needle, an aspirin, Band-Aids, stamps or rubber bands? She had them on her person at all times. Those pockets carried what are now carried at bodegas.

I have a fond daydream of a day when, like normal, unclutterd folks, I can bring people through my house without hesitation, without secrecy, and without closed doors. More than that, I envision a day when I can confidently stride into every room of my house and find my children's birth certificates or my high school year book or a needle and thread whenever the need presents itself without breaking into hives.

When I closed the door Grandmother was already seated at her spinning wheel. Her foot was on the treadle but her eyes were thoughtfully on me. The spinner was beautifully carved of dark oak with leaves twining their way round and round the outer rim. It must have been very old, as the designs were too fanciful to have been made i the new England. She called to me and asked me if I could spin. I told her yes, well enough, but that I could sew better, which was a statement only half true. A camp surgeon would have a better hand with a cleaver to a limb than I with a needle on the cloth. She spun the wool through knotted fingers glistening with sheep's oil and wrapped the threads neatly around the bobbin. Gently probing, she teased out the story of our days in Billerica just as she teased out the fine thread from the mix and jumble of the coarse wool in her hands.

Tranquility is the soul of our community.” Not a quarter mile’s distance away, Susanna Finch sat in the lace-curtained parlor of the Queen’s Ruby, a rooming house for gently bred young ladies. With her were the room house’s newest prospective residents, a Mrs. Highwood and her three unmarried daughters. “Here in Spindle Cove, young ladies enjoy a wholesome, improving atmosphere.” Susanna indicated a knot of ladies clustered by the hearth, industriously engaged in needlework. “See? The picture of good health and genteel refinement.” In unison, the young ladies looked up from their work and smiled placid, demure smiles. Excellent. She gave them an approving nod. Ordinarily, the ladies of Spindle Cove would never waste such a beautiful afternoon stitching indoors. They would be rambling the countryside, or sea bathing in the cove, or climbing the bluffs. But on days like these, when new visitors came to the village, everyone understood some pretense at propriety was necessary. Susanna was not above a little harmless deceit when it came to saving a young woman’s life. “Will you take more tea?” she asked, accepting a fresh pot from Mrs. Nichols, the inn’s aging proprietress. If Mrs. Highwood examined the young ladies too closely, she might notice that mild Gaelic obscenities occupied the center of Kate Taylor’s sampler. Or that Violet Winterbottom’s needle didn’t even have thread.

1 I don't believe in omens or fear Forebodings. I flee from neither slander Nor from poison. Death does not exist. Everyone's immortal. Everything is too. No point in fearing death at seventeen, Or seventy. There's only here and now, and light; Neither death, nor darkness, exists. We're all already on the seashore; I'm one of those who'll be hauling in the nets When a shoal of immortality swims by. 2 If you live in a house - the house will not fall. I'll summon any of the centuries, Then enter one and build a house in it. That's why your children and your wives Sit with me at one table, - The same for ancestor and grandson: The future is being accomplished now, If I raise my hand a little, All five beams of light will stay with you. Each day I used my collar bones For shoring up the past, as though with timber, I measured time with geodetic chains And marched across it, as though it were the Urals. 3 I tailored the age to fit me. We walked to the south, raising dust above the steppe; The tall weeds fumed; the grasshopper danced, Touching its antenna to the horse-shoes - and it prophesied, Threatening me with destruction, like a monk. I strapped my fate to the saddle; And even now, in these coming times, I stand up in the stirrups like a child. I'm satisfied with deathlessness, For my blood to flow from age to age. Yet for a corner whose warmth I could rely on I'd willingly have given all my life, Whenever her flying needle Tugged me, like a thread, around the globe.

I never knew what Mother knowed, Like how a thread and needle sewed, And how a kiss healed boo-boos fast. Why family knots were made to last. I never knew how Mother saw A caring man in angry pa, A smile beneath the teary gloom, A game inside a messy room. I never knowed what Mother knew, Like how to smile when days were blue, And how to laugh for laughter’s sake, While giving up her slice of cake. I never saw what Mother see’d Like honor pulling garden weeds, Or deep confessions in a look, And hope alive in storybooks. I never knew how Mother knowed To hand out carrots when it snowed, And why hot cocoa liked the rain, While naptime kept a person sane. For mother knowed and see’d it all. A winner in a strike-out ball. A 'yes, please' in a shoulder shrug. A 'love you mostest' in a hug. Perhaps, someday, I’ll come to know What Mother saw and knowed as so. Like how 'I’m right' can be all wrong, And why the night requires a song. But of the things I learned and knew I never doubted one thing true. My mother made it crystal clear, she knowed and loved me ever dear.

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.

Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both holden and invisible. A bee settled into a flower, humming and humming.

The only thing that [Amaranta] did not keep in mind in her fearsome plan was that in spite of her pleas to God she might die before Rebeca. That was, in fact, what happened. At the final moment, however, Amaranta did not feel frustrated, but, on the contrary, free of all bitterness because death had awarded her the privilege of announcing itself several years ahead of time. She saw it on one burning afternoon sewing with her on the porch a short time after Meme had left for school. She saw it because it was a woman dressed in blue with long hair, with a sort of antiquated look, and with a certain resemblance to Pilar Ternera during the time when she had helped with the chores in the kitchen. Fernanda was present several times and did not see her, in spite of the fact that she was so real – so human and on one occasion asked of Amaranta the favor of threading a needle. Death did not tell her when she was going to die or whether her hour was assigned before that of Rebeca, but ordered her to begin sewing her own shroud on the next sixth of April. She was authorized to make it as complicated and as fine as she wanted, but just as honestly executed as Rebeca's, and she was told that she would die without pain, fear, or bitterness at dusk on the day that she finished it. Trying to waste the most time possible, Amaranta ordered some rough flax and spun the thread herself. She did it so carefully that the work alone took four years. Then she started the sewing. As she got closer to the unavoidable end she began to understand that only a miracle would allow her to prolong the work past Rebeca's death, but the very concentration gave her the calmness that she needed to accept the idea of frustration.

They sat eating ham sandwiches and fresh strawberries and waxy oranges and Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both golden and invisible. A bee settled into a flower, humming and humming. The trolley stood like an enchanted calliope, simmering where the sun fell on it. The trolley was on their hands, a brass smell, as they ate ripe cherries. The bright odor of the trolley blew from their clothes on the summer wind.

That new reality, it takes place for you at a normal pace, but within that giant fabric of time. What felt like months to you was actually days here, because again, time was compressed the minute you left that other life.” “I don’t really understand,” I say. “You’re not supposed to,” Rayanne tells me. “Most lives end and get compressed into that tiny, tiny hole and we pick up a new thread—a brand-new existence that goes on and on until it’s over and gets condensed down into a single stitch in the fabric again. But for you, the needle jumped. For you, death wasn’t a stitch. It was a veil. You got to peek through, and see what was on the other side.

Navin Sapru’s friend, the poet and writer Maharaj Krishan Santoshi, wrote a poem on his death. In ‘Naveen my friend’, Santoshi writes: Naveen was my friend Killed he was, in Habba Kadal while on the tailor’s hanger remained hung his warm coat. Passing as it did through scissors and thread–needle in the tailor’s hand, till the previous day it was merely a person’s coat that suddenly was turned into a Hindu’s coat In the last stanza the poet writes: I used to ask him every time why doesn’t he possess the cunningness of Srinagar I still await his response My friend! Yes, I changed my address since after your murder it ceased to exist the bridge of friendship, this Habba Kadal

There are some strange cold people in this world. It is priests, I think. Saving your presence. Training themselves out of natural feeling. They mean it for the best, of course.’ ‘It was not a mistake. We did have a year. I think of her every day.’ The door opens; it is Alice bringing in lights. ‘This is your daughter?’ Rather than explain his family, he says, ‘This is my lovely Alice. This is not your job, Alice?’ She bobs, a small genuflection to a churchman. ‘No, but Rafe and the others want to know what you are talking about so long. They are waiting to know if there will be a dispatch to the cardinal tonight. Jo is standing by with her needle and thread.’ ‘Tell them I will write in my own hand, and we will send it tomorrow.

The extent to which perception and, consequently, vision are dependent upon memory and imagination is a matter of every day experience. We see familiar things more clearly then when we see objects about which we have no stock of memories. The old seamstress, who cannot read without glasses, can see to thread needle with the naked eye. Why? Because she is more familiar with needles then with print. In man who can work all day at the office without undue fatigue of the eyes is worn out by an hour at the museum and comes home with a splitting headache. Why? Because in the office he is following a regular routine and looking at words and figures, the bike of which he looks at every day; whereas in the museum everything is strange novel, and outlandish.

My father had a sister, Mady, who had married badly and ‘ruined her life.’ Her story was a classic. She had fallen in love before the war with an American adventurer, married him against her family’s wishes, and been disinherited by my grandfather. Mady followed her husband romantically across the sea. In America he promptly abandoned her. By the time my parents arrived in America Mady was already a broken woman, sick and prematurely old, living a life two steps removed from destitution. My father, of course, immediately put her on an allowance and made her welcome in his home. But the iron laws of Victorian transgression had been set in motion and it was really all over for Mady. You know what it meant for a woman to have been so disgraced and disinherited in those years? She had the mark of Cain on her. She would live, barely tolerated, on the edge of respectable society for the rest of her life. A year after we arrived in America, I was eleven years old, a cousin of mine was married out of our house. We lived then in a lovely brownstone on New York’s Upper West Side. The entire house had been cleaned and decorated for the wedding. Everything sparkled and shone, from the basement kitchen to the third-floor bedrooms. In a small room on the second floor the women gathered around the bride, preening, fixing their dresses, distributing bouquets of flowers. I was allowed to be there because I was only a child. There was a bunch of long-stemmed roses lying on the bed, blood-red and beautiful, each rose perfection. Mady walked over to them. I remember the other women were wearing magnificent dresses, embroidered and bejeweled. Mady was wearing only a simple white satin blouse and a long black skirt with no ornamentation whatever. She picked up one of the roses, sniffed deeply at it, held it against her face. Then she walked over to a mirror and held the rose against her white blouse. Immediately, the entire look of her plain costume was altered; the rose transferred its color to Mady’s face, brightening her eyes. Suddenly, she looked lovely, and young again. She found a long needle-like pin and began to pin the rose to her blouse. My mother noticed what Mady was doing and walked over to her. Imperiously, she took the rose out of Mady’s hand and said, ‘No, Mady, those flowers are for the bride.’ Mady hastily said, ‘Oh, of course, I’m sorry, how stupid of me not to have realized that,’ and her face instantly assumed its usual mask of patient obligation. “I experienced in that moment an intensity of pain against which I have measured every subsequent pain of life. My heart ached so for Mady I thought I would perish on the spot. Loneliness broke, wave after wave, over my young head and one word burned in my brain. Over and over again, through my tears, I murmured, ‘Unjust! Unjust!’ I knew that if Mady had been one of the ‘ladies’ of the house my mother would never have taken the rose out of her hand in that manner. The memory of what had happened in the bedroom pierced me repeatedly throughout that whole long day, making me feel ill and wounded each time it returned. Mady’s loneliness became mine. I felt connected, as though by an invisible thread, to her alone of all the people in the house. But the odd thing was I never actually went near her all that day. I wanted to comfort her, let her know that I at least loved her and felt for her. But I couldn’t. In fact, I avoided her. In spite of everything, I felt her to be a pariah, and that my attachment to her made me a pariah, also. It was as though we were floating, two pariahs, through the house, among all those relations, related to no one, not even to each other. It was an extraordinary experience, one I can still taste to this day. I was never again able to address myself directly to Mady’s loneliness until I joined the Communist Party. When I joined the Party the stifled memory of that strange wedding day came back to me. . .

The next day, Emily is doing her best to show me one of her finer skills: needlepoint. I suck at it. It took me ten minutes just to get the needle threaded, and then it promptly fell off. I’m pretty sure this means I’d make a terrible wife in the 1800s. Needlepoint is like the ABCs of wifery or something.

At Hobby Lobby She tosses a bolt of fabric into the air. Hill country, prairie, a horse trots there. I say three yards, and her eyes say more: What you need is guidance, a hand that can zip a scissor through cloth. What you need is a picture of what you've lost. To double the width against the window for the gathering, consider where you sit in the morning. Transparency's appealing, except it blinds us before day's begun. How I long to captain that table, to return in a beautiful accent a customer's request. My mother kneeled down against her client and cut threads from buttons with her teeth, inquiring with a finger in the band if it cut into the waist. Or pulled a hem down to a calf to cool a husband's collar. I can see this in my sleep and among notions. My bed was inches from the sewing machine, a dress on the chair forever weeping its luminescent frays. Sleep was the sound of insinuation, a zigzag to keep holes receptive. Or awakened by a backstitch balling under the foot. A needle cracking? Blood on a white suit? When my baby's asleep I write to no one and cannot expect a response. The fit's poor, always. No one wears it out the door. But fashions continue to fly out of magazines like girls out of windows. Sure, they are my sisters. Their machines, my own. The office from which I wave to them in their descent has uneven curtains, made with my own pink and fragile hands.

In that tool kit is a little dark brown glass jar. Give Cody half a spoonful,” I tell Brett. He gives his friend half a spoonful. When the laudanum hits his system, I feel Cody relax. It’s time to try again with the pliers. This time the arrowhead comes out. I carefully work it out of the wound channel trying not to cut any extra muscle. Using the tweezers, I pull threads of his shirt from the wound. Satisfied it is as clean as I can get it, I’m ready to sew it closed. I dip the needle in the cup of rot gut, then submerge the clump of horsehair in the whiskey. Satisfied it is no longer dirty, I thread a needle with a long strand of horsehair. I begin sewing the cut closed. Before closing it completely I add half a little finger’s width of the clean horsehair into the wound channel. The horsehair will act as a drain, in case the wound needs to drain. I sew the wound close and wash the outside. I cover the wound with a clean strip of his shirt. I can remove the horsehair drain within ten days.

Each soldier carried sixty-five pounds: rifle and ammunition, knapsack, canteen, extra boots, entrenching tools, knife and a multiplicity of implements and kits strapped to his coat. In one bag was his “iron ration” containing two cans of meat, two of vegetables, two packages of hardtack, one of ground coffee, and a flask of whisky which was only to be opened on permission of an officer and was inspected daily to determine if its owner had cheated. Another bag held thread, needles, bandages and adhesive tape; another held matches, chocolate, and tobacco. Around the officers’ necks hung binoculars and leather-bound maps covering the particular regiment’s designated line of march so that no German would ever be in the predicament of the British officer who complained that battle is a process which always takes place at the junction of two maps. As they marched the Germans sang. They sang “Deutschland über Alles,” “Die Wacht am Rhein,” and “Heil dir im Siegeskranz.” They sang when they halted, when they billeted, when they caroused. Many who lived through the next thirty days of mounting combat, agony, and terror were to remember the sound of endless, repetitious masculine singing as the worst torment of the invasion.

Out of luck Even this bold idea failed to work. At first the batteries were too heavy for the trio to carry. Then when they brought the radio from the crash site to the tail, they found that the electrical systems were incompatible: the plane used AC, the batteries supplied DC. Sewing for survival It was now apparent that the only way out was to climb over the mountains to the west. They also realized that unless they found a way to survive the freezing nights, they would die attempting the journey. So the survivors came up with an ingenious solution. They tore out large sections of fabric from clothing, gathered padding from the plane’s upholstery and got to work with a needle and thread from an emergency pack. Eventually they created a passable sleeping bag. It would fit three men inside, but would carry the lives of all sixteen of the remaining survivors. Hiking with hope On 12 December 1972, Parrado, Canessa and Vizintín set out to climb the mountain to the west. It was two months since the crash. As they climbed over the first peak their bodies struggled in the thinning oxygen. It was savagely cold at night, but the homemade sleeping bag kept them alive. After three days of trekking they met with a major disappointment. Cresting the shoulder of the mountain they expected to see the green countryside of Chile. Instead there was a sea of snow-bound peaks stretching out to the horizon. They were deeper in the mountains than they thought. They had tens of kilometres of high altitude hiking still to go. After the initial rush of despair the men again found hope, and through that, a positive plan of action. They had further to go, so they must be stricter with their

People like me—like the Roussels—are a dying breed, our gifts of little value to a world that no longer believes in la magie. For generations, my family has been part of a kind of conte de fée—a fairy tale. Though perhaps fairy tale is the wrong term. Fairy tales have happy endings. Fables are meant as cautionary tales, lessons intended to teach us about life and its consequences. And over the years, the Roussels have learned much about consequences. There are many names for what we are. Gypsies, hexers, white witches, and shamans. In England we’re called cunning folk, though I’ve always hated the term. Perhaps because it conjures thoughts of slick-handed cheats, waiting to separate the unsuspecting passerby from the few pennies in his pocket, the charlatans with their phony magic and vulgar showmanship, making up fortunes and doling out platitudes. We are not those people. For us, The Work is sacred, a vocation. In France, where I come from, we are les tisseuses de sort—Spell Weavers—which is at least closer to the truth. We possess certain skills, talents with things like charms and herbs, cards and stones—or in our case, needle and thread. There are not many of us left these days, or at least not many who depend on the craft for their living. But there are a few still, if one knows where to look. And for a time, I was one of them, like my mother and her mother before her, living in the narrow, twisty lanes of Paris discreetly known as the craft district.

Betsy worked six days a week. She gathered the materials the workers needed, including fabric, needles, and thread. Sometimes she made deliveries to customers. And she became a better seamstress. She had a busy life in a busy city.