When I saw the poster for the show, I thought, “When did I pose for this?” But it is not me.
I am bound for Atlanta.
This weekend is the big Quilting LIVE! show — an event so jam-packed with excitement, the organizers had to deploy caps lock and an exclamation point in the naming of it.
It really is going to be neat. Many wonderful speakers and teachers will be there, including my mother, Liz Porter, Mark Lipinski, Debby Kratovil, as well as friends Ebony Love and Victoria Findlay Wolfe, and Diane Tomlinson of Team Quilty. I just named about 10% of the great/luminary folks who will be at the show, so please google it and see for yourself all the reasons you should come on over if that makes sense for your life in the next four days.
Aside from the classes I’m teaching and the book signings and the Quilty magazine gallery walks I’ll be doing, I’m honored to be the interviewer/moderator for a very special luncheon with my mother and Liz. I’ll be asking them questions about their history, the Fons & Porter story, where they see quilting in America headed — all that and more. Plus: lunch! It’s going to be very cool and I plan to watch several James Lipton clips on YouTube before Friday to bone up on technique.
If you’re in the area, come see the show. So many quilts. So many fantastic people. It’s the quilt industry. It’s fun.
It’s one heck of a picture, especially if you’re a chick who likes to sew.
I found it quite by accident while sifting through Wikicommons, a clearinghouse for public domain images that is occasionally The Best Thing Ever. I say “occasionally” because copyrighted work (i.e., The Wizard of Oz, images of the quilts of Gee’s Bend, etc.) is, by definition, not in the public domain, so Wikicommons has its limits because those copyrighted images are the ones tends to need most and they are not there. But then you find something like this and it’s just great.
The drawing was made by Frenchman Adolphe Willette (1857-1926) and the description we get from the Wikifolk (via the Library of Congress) says:
“A soldier on leave from World War I embraces a young woman, whose chair by a sewing machine tipped in haste while she answered his arrival. At his heels a small dog begs for attention.”
That dog’s gon’ wait awhile.
My mom and I speak on American quilts and quilters and we often remark on the need for a tune-up of the quilter’s public image. The world tends to picture us as being — how to put it — rather long in tooth and either super docile or extra cranky. (There there are those who fit such bills.) But American quilters are 21 million strong: We’re as diverse a group as that number would clearly produce. There are interesting reasons for the prevailing image of the “little old lady” quilter which I’d love to expound upon at a later time — it has to do with WWII — but for now, l urge you to share this free image with wild abandon. Credit it properly, of course, and pin it and tell your friends.
We quilters are a saucy bunch when we want to be, darn it. We may be ample-bosomed. Long-legged. Firecrackery.* Lusty. We, like the nerdy librarians (who clearly have a good PR machine working for them) need simply to take off our glasses and take out our hairpins to reveal sexy, sensuous kittens with throaty laughs who were just waiting for you to take a little initiative, soldier.
Though… Well, wait till we finish this block. Then take the initiative. Because we just have the one seam left. On this block. Just… Hang on just one second, dear.
Eva Phillips, Lora King and Crystal Cruise on side of quilt frame. Photo: Terry Eiler, 1978.
Nestled cozily in the Library of Congress, waiting for me to discover it tonight while doing research, the photograph above shows members of the Meadows of Dan Baptist Church quilting group hand quilting a Grandmother’s Flower Garden quilt on a frame. Isn’t it marvelous?
Quilts have wrapped around me, covered the ground under me, and been pulled over me my whole life. As a tot, I sat on a lap I had to share with a wooden hoop (didn’t mind.) I played under tables in church basements while quilts were basted above me. Spools of thread were great tables for my sisters and my Sullivan Family figurines. Being immersed like this means I have had a deep love for the American patchwork quilt for a long time, almost like a person loves her country. There’s no question, almost no notice taken of the love and honor one has for it; it’s just who you are.
As a result of this immersion and by sheer osmosis I’ve known a fair bit about quilts and quiltmaking for some time — even when I wasn’t making quilts myself.
My “quilt epiphany” happened right around the time I got sick. Life as I knew it was falling to pieces, and it made perfect sense to tear fabric up into pieces and sew it back together again, but prettier. Growing along with my passion for making quilts grew a deep and abiding love for the history of the American quilt, the story of the thing, the reasons why, the hows, the styles, etc. And so my quilt geekhood has ripened into true geekdom. I could talk double-pinks and madder browns all day, I think. The stories, the people, the quilts themselves never get old. Even when they are old.
This post has taken me well over an hour to compose and it’s still not right. My brain is in a fog. The diet is very difficult. My guts feel better — honestly, they do. In fact, there are several reasons to be extremely happy with the results of this major change so far.
But I’m slow. And I’m foggy. And I keep looking at those women quilting and I would like to crawl under the table and be six.
Look at teh little kittehs! I recently purchased a very small amount (all that was available) of this fabric on Etsy.
I have a dream.
This dream involves tiny little kittens drinking milk (see above), ships with wee flags flying, and very small dots and chits and needles and spools printed in blacks, blues, and reds on yards and yards of snow, oyster, and cream-colored cotton fabric. In short: I want to design a line of conversational prints and shirting prints for quilters. Definitions:
Conversational prints: also called “I spy” fabrics; any fabric printed with a small-scale, recognizable picture in it, such as cats, dogs, gondolas, paperclips, etc. — something you might strike up a conversation about, as in “Hey, is that a tiny pegasus on that fabric?”
Shirting prints: cotton printed with small, usually simple figures. Typically grounded in whites (or, with a white or off-white background.)
Brothers and sisters, it’s killin’ me! More than anything in the world, more, even, thanonemeelliondollars, t’would be my heart’s delight to design a Mary Fons line of conversational and shirting prints for quilters. Because I love them. I use them. I seek to find them.
Conversational prints and shirtings with darling design, they delight and inspire. They feel like a surprise. “Oh! Look at that little kitten drinking milk!” converts to, “I love this quilt!!” There’s a quilt in my book called Whisper that is made of conversational prints and shirtings. So far, I have heard more people say Whisper is their very favorite quilt in the book. I’m not surprised at all.
So I’d love to curate my very own line and share my love with all my fellow quilt geeks. But I can’t. and it’s okay, at the end of the day, because it’s for solid reason: I’m a magazine editor.
I can’t have a line of fabric with a fabulous, incredible, amazing fabric company because then the other fabulous, incredible, amazing fabric companies that advertise in the magazine I edit will rightfully be annoyed. In publishing, “annoyed” quickly leads to “see ya later” vis a vis advertising and sponsor support and this is bad for everyone (me, fabric company, consumer, etc.) So for now, no fabric for me and, painful as it is, I understand and respect the problem. I’m not whining. For me to do fabric, I’ll either have to stop being an editor, or we’ll all have to start living in a world where media and advertising are not interrelated and interdependent. Neither of these options seem terribly likely. And that is okay.
Until something changes, my quilting friends, do this for me:
1) please send me any hot tips on great conversationals to me — I’d love to do some shopping
2) post your favorite conversational prints (and shirtings) on my FB page — that would be so fun!
3) keep quilting, no matter what fabrics make your “favorite” list
The view of my monitor on set today. Look closely and you’ll see a quilt reflected in the glass (and me taking the shot.) Outside of Denver.
Greetings from just outside of Denver, Colorado, the city that boasts 300 sunny days a year! It was raining when I arrived yesterday, but I’ll let go.
I was inside a production studio and very much on camera all day today, filming online courses for Craft University (I’ll share details soon; these will be cool) and I also filmed one of three lectures I’m doing for F+W Media, which will be available online when they’re all done in post-production. The how-to classes are awesome but I have to say: man, am I stoked about these lectures.
I’m calling the series the “While You Sew” lectures. You see, when I’m sewing at my machine, I like some audio/visual company — but I don’t want anything that requires me to pay close attention. I don’t want an actual plot. I tried watching Mad Men once when I was making patchwork. Two things happened: 1) I did not track what was happening on Mad Men; 2) I made lots of mistakes in my patchwork and therefore did not enjoy myself. Because you can’t actually do two things at once; this is what they tell us. Our brains switch back and forth and it’s lousy.
Instead of watching drama shows, I fire up YouTube and find interviews with interesting people (thanks, Charlie Rose!) or I find lectures (TEDTalks work) or I’ll really dig deep and find long CSPAN BookTV clips with intriguing authors. (Documentaries are good, too.) This kind of media is edifying and pleasant but I don’t have to watch as much as listen and if I miss something, I can go back and hear it again or simply not worry much about it because it’s not like someone really important to the storyline just got shot or maimed. I don’t want anyone to get shot whether or not I’m paying attention.
Well, being the quilt geek that I am, nothing would please me more than to sew while listening to interviews with quilters or find a series of lecture from quilt experts. There are a handful of good documentaries (I praise them in the lectures I’m taping) but they’re not online. Really, there’s very little in the way of quilter interviews, documentaries, lectures, talks — any of that. A sea of how-to, but no geek stuff.
What to do? Make some, I reckon.
And so I am. We are. It’s happening. The lectures are around 30-40 minutes each. The visuals are awesome. The lectures are funny, they’re packed with fascinating information about quiltmaking in America, they clip along. They’re casual, but boy, are they researched. Honestly, I have worked so hard on these things, it’s reminding me of writing the book.
As soon as I know when they’ll be available, you’ll know. I’ll be selling them through my site, here, sort of: you can click a link and be taken to the site where you watch/download them. A lot of the projects I’ve been working on are set up so that if you “click-through” my site to get to the purchase page, I make some money on that. It’s a bit gross to talk about it but I’ve decided I have to mention it because I am trying to earn a living for goodness’ sake. Again, more info coming later and I so hope this sounds like fun to you. It’s nearly killed me, getting them done during the move in order to be ready to record this week, but here on my hotel bed tonight, I am feeling slightly more like a human being and less like a law student the night before the bar.
I’m in St. Louis, attending a hosted event for a group of about 40 bloggers, designers, “sewlebrities,” industry folk, etc. to network, make stuff, and eat lots of snacks. In other words: I am surrounded by talented, hardworking, creative women, all of whom need snacks to keep going. It’s not a bad way to spend two-ish days, even with all that’s going on with work and (cough, cough) moving to Manhattan.
Did I really do that? Did I really move to Manhattan?
Okay!
The event is being hosted by BabyLock, a sewing machine company owned by the attractive, beneficent Tacony family. I like BabyLock a lot because they make really, really great sewing machines, but I also like them because they believed in me. Back in 2010, I had an idea for a show called Quilty and they were the first company to sign up to underwrite. You always remember your first sponsor. (They all real pretty n’ nice, too.)
There are activities and learning stations and all kinds of cool things going on here, but tonight the organizers outdid themselves: 15 minute massages. The two people they hired to come in and administer these complimentary massages were, I have deduced, actually Sent By An Angel Of The Lord. Who knew the best back-and-shoulder massage a gal can get is in a suburb of St. Louis in the back room of a sewing education center? This is why you travel.
My turn came. I heaved my aching body into the room and slumped, weary, weary, into the chair. Once I got my face comfortably smashed into the puffy donut, Dawn began to work me over.
“Oooo, waaaaow,” Dawn said, somewhere down at my lower back. “You are…waaaaaow, you are reeeeeally tight.” I got the impression Dawn doesn’t speak in elongated syllables as a rule, but that the state of my back was just that horrifying.
“Oh, yeah,” I said, muffled. “It’s been a rough couple of weeks.” But I didn’t go into the six work projects due Monday, the move to New York City, or that I’m putting at least two or three Southwest Airlines employees’ kids through college at this point. Because I don’t like to talk during these things. You can’t waste a second.
“Hooo-hoo! Hooo-weeeeee,” Dawn said, and whistled low. “Yap, yap. Yeeeah. That’s tight.” And then she said, “Ya poor thing,” and clucked her tongue.
At that I could’ve cried, partly because she had her thumb jammed into my shoulder blade and partly because whenever someone sincerely says, “poor thing,” I get sad. We’re all poor things, aren’t we. It’s hard work being alive.
The fifteen minutes galloped away and zap! Massage over, next person’s turn.
I have, at various times in my life and for various lengths of time, seen a psychiatrist. Results varied: I’ve been aided, I’ve been nonplussed, I’ve ended up more confused — and I’ve been poorer as a result, for sure. I hate to sound provincial, but I’m starting to think a regular massage is gonna do more for a person than a shrink — this person, anyway. Look: I have never, ever left a massage feeling worse than when I went in; it’s a hey of a lot cheaper, and when Dawn goes, “Hooo-hoo! That’s not good,” you know it’s fixable, whereas a shrink won’t even say that, even if he’s thinking it, and how’s he gonna fix it, anyway?
I’m doing a little meet n’ greet n’ shop talk talk at The Yarn Company, that lovely haven of color and fiber where I was able to sew this spring. From 4-5, I’ll be showing some quilts, talking patchwork, and generally hanging out to meet whomever feels like dropping by. Let’s do it!
I need a break from unpacking, so I will be in an EXCELLENT mood.
The Yarn Company is located at 2274 N. Broadway, upstairs. (That’s the corner of 82nd and Broadway.) Look for the totes adorbs sheep mascot, Keffi, on the sign above the door.
Attractive Florida woman pulling parrots. Postcard, circa 1950.
Florida lures and catches people. It’s got a little voodoo going.
Forget the tourists that flock here; the Disneyland pilgrims, the week-long vacationers lounging in the Keys. I’m looking at the people who spend months down here at a time or more, people who have Florida in their veins, who don’t just drink the Kool-Aid but bathe and shower in it, too.
First, you got your snowbirds. These are people who live in northern parts of the country while it’s sane to do so (roughly May-October, though lately its anyone’s guess) then fly south to escape winter. Snowbirds are usually older folk, but I don’t think this is necessarily because they’re finicky or because they sincerely enjoy canasta: they just have the money to come here. I know plenty of thirtysomethings who would love nothing more than to split their year in half and escape to balmy climes when it’s -30. Alas, jobs.
Then there’s the Miami Factor, another lure. Miami is to the rest of Florida as New York City is to the rest of the state of New York. There are dairy farms and motor homes in New York State, but you’d never know it, deep in a throbbing, sweaty underground nightclub on any given night in lower Manhattan. Same goes for Miami: Jay-Z and Justin Bieber are surely doing disgusting/fabulous things with or to various body parts in Miami — possibly at this very moment! — while I’m preparing to demo quilt block construction to the fine people of Baker. Same state, different worlds. I’m still trying to figure out if Miami has gotten more fancy/cool in my lifetime or if I was simply clueless about Miami’s hotness and then someone told me. Either way, the Miami Factor brings legions to Florida because there are crazy parties there and there is apparently very good art there. So you have those party/art people here in Florida, too.
You’ve got immigrants, legal and otherwise, seeking refuge. Most of them come far across the terrifying ocean to touch Florida sand. The fingertip of the state is the first — and sometimes the last — U.S. point they touch. After that, we don’t know for sure if they stay, but I’m writing this from a popular/dangerous entry point.
You’ve a large number of indigent here, indigent for the reasons why people get that way: mental illness, addiction, poverty, abuse, etc. The U.S. Department of Housing and Urban Development does a “Homeless Assessment Report” and in 2013, Florida claimed about 50,000 people without a home, third only to California and New York. The weather’s good here. It’s easier to be without a home in Pensacola than it is to be without one in Green Bay.
The rest of Florida, seems to me, is split into two groups: transplants, who fell in love with Florida and moved all operations so they would never have to leave (Ernest Hemingway comes to mind) — and the natives.
I think I like natives best. You would, too, if you had been meeting the people I met this week.
“Honey, you get yourself some’uh that strawberry wiggle?”
Strawberry wiggle is a dessert and yes, ma’am, I did.
I also got me som’uh that homemade fried chicken, fried turkey, gravy, green beans, candied sweet potato casserole, pecan pie, mousse cake, and sweet tea. I ate it sitting at big, long picnic table on the front porch of the shop where I’m teaching. Me and the quilters, we ate together, and I didn’t talk too much so that I could listen.
There’s a way down here, a way I love. The natives — and transplants who’ve been here for so long they count — are defiantly generous. You wouldn’t think defiance and generosity could live in harmony, but they can and do down here. And this defiance isn’t toward you: it’s toward life itself, toward the weight of it. These people simply will not be beaten by anything, man, nature, or otherwise, and their resolve is palpable. Perhaps the generosity rises from that, though it might be the other way around: the giving, loving nature came first and endures suffering against all odds. War, blight, hurricane, poverty, etc. — it’s all in His hands, honey, so get you some’uh that strawberry wiggle and git in these arms.
That’s what my new friend Margaret says when she sees someone she hasn’t seen in awhile. She opens her long arms wiiiide, like she’s praisin’ Jesus, and she smaaahles this huge smaaahle and she says:
There’s an error on this version of the cover. The ampersand should be a plus-sign; it should read: “Make + Love Quilts”. That makes this cover feel like an outtake, or a rare Czech/bootleg pressing of a Stones record.
My book has received a positive review from a reputable source!
It could all be downhill from here, so let’s enjoy this.
Though I have made my pledge and try my hardest to maintain its integrity, from time to time, we must jettison our rules and regulations to celebrate unpredictability and joy in life. Today, I link to the outside web because this nifty review is cause for celebration. If you’d like to see what the fancy critic said, you can click right over here.
Everyone likes shapes. That’s Grandma Moses, by the way.
I’m in Cleveland at the Original Sewing and Quilt Expo show. I’ll be teaching today; tomorrow, I’ll teach again and then give a lecture. If you’re in the state of Ohio, you should do the following immediately:
1. Eat a buckeye
The candy, I mean! Not the sports fan, tree, chicken, or passenger train that also use the term “buckeye.” Eating a passenger train… What’s wrong with you??
2. Drive to the OSQE show.
It’s at the I-X Center. I don’t know what I-X is for, but is there any better place for us all to find out than in the actual I-X Center? Clearly, there is not.
3. Come find me!
I’m wearing pants, shoes, and a top. And earrings. And a necklace. And bra and underwear, naturally, and I’m deodorized and flossed. Can’t miss me. Shouldn’t miss me, really. We can rap about the tip sheet up there. It’s full of good information for beginner quilters of all ages and stages.
4. Gimme one of those buckeyes.
I smell peanut butter on you. You’re holding out. C’mon, man, hurry up… No, just do it quick! Just be cool! Aright, aright. Now we’re talkin’… Mmmm…
I have so enjoyed sewing at The Yarn Company over the past few weeks. I’ve nearly completed my latest quilt for Quilty, a string quilt I’m calling “Majesty,” due to all the royal purple fabrics. A string quilt, if you don’t know, is a quilt made by sewing long strips (“strings”) of fabric to paper foundations. You sew, trim, and then tear the paper off the back of the units you’ve sewn. You sew the units together to make blocks, and from the blocks, you make the quilt top, and so on.
There is a myth that quilters are patient. It’s the opposite. We are extremely impatient. We must forever be doing something with our hands. We finish a quilt and immediately start the next one (many of us, including me, begin our next project before we finish what we’ve got going.) We look for efficiencies everywhere. We strategize. There is no meandering, no lackadaisical approach. We make patchwork and quilt quilts to calm ourselves down, not because we are some breed of serene creature with nothing better to do than sit around and (slowly) make “blankets.”*
I’ve calmed myself down in the middle of Manhattan by working on “Majesty” at my sewing machine. If I could’ve spent hours and hours more doing so, maybe I wouldn’t have gotten sick. (A more optimistic way to frame it: I might’ve been sicker had I not enjoyed many hours of sewing.) The whirr of my Babylock, the snic! of my scissors cutting thread; these are the sounds of patchwork science that have soothed my cerebrum when it’s been burnt crispy by the sirens and the subway. There are dishes to do, always, and dinner and cookies to make for myself and Yuri. There are phone calls and emails and fires — all of it important, none of it more important than anyone else’s phone calls, emails, and fires. All of this is laid down when you sew. You really can’t do much else when your foot is on that pedal.
My mom likes to say this:
“When I was a young mother, working on my first book, it seemed crazy to make quilts in my ‘spare time.’ But I loved making patchwork and quilts because they stayed done. The dishes didn’t stay done, the laundry didn’t stay done. There was always more homework, there were more bills… But a quilt block stayed done. You could say, ‘I made this’ and enjoy it forever.”
Chicago will see very little of me; the remainder of March is all we have together. I go to Cleveland, Iowa, Florida, Lincoln, and somewhere else before coming back to NYC in early May. Nothing stays done. Plane tickets don’t get framed. Suitcases don’t stay packed or unpacked. Kisses are like matches. Sandwiches are consumed. But “Majesty,” when it’s done, will stay done. And someone will cover up under it one day and see the Quilt Charm on the back. It will read, “Made by Mary Fons, NYC, 2014. Done.”
*Don’t call them “blankets.” Your CB2 knit throw is a blanket. We make quilts.
Tim Gunn backstage during New York Fashion Week, 2009. Image: Wikipedia.
I have only a few days left in Manhattan before I return to Chicago for a few weeks. I was getting worried that I hadn’t bumped into Madonna in the park or seen Sam Harris on the subway. I don’t seek out celebrity encounters, but I was a little bummed my elbows hadn’t been bumped by anyone fancy since arriving in the city.
Then I met Tim Gunn.
Yuri and I both had loads of work to do this weekend and decided to set up shop at the Balcony Lounge at the Met. This is a private lounge for members of the museum, and my family has a membership. (Thanks, Ma!) The lounge is quiet, serves excellent tea and cheese, there’s fast wireless, and if you need to take a break and go see Walker Evans photographs or stare at The Harvesters by Bruegel the Elder, you can absolutely do that. We all need Bruegel the Elder breaks from time to time.
I was focused on editing the May/June ’14 issue of Quilty when I heard a one-of-a-kind voice. I looked up to see none other than style icon and Project Runway host Tim Gunn greeting the nice lady at the registration desk. My mouth dropped open. I grabbed Yuri’s leg. I do that a lot for a variety of reasons on a regular basis, so he didn’t look up from his laptop.
“Yuri!” I hissed. “Yuri, it’s Tim Gunn. Tim Gunn just walked in!”
Yuri was programming. “Who?”
“Tim Gunn! Tim Gunn from Project Runway! And, like, fashion!”
My body was contorting into Martha Graham-like shapes. I was excited. Tim Gunn is someone whose career I admire. He taught at (and led) Parsons School of Design for many years. He was Chief Creative Officer at Liz Claiborne for awhile, which, according to my research, put him at the company during its morph into the Kate Spade-Juicy Couture-JC Penny animal it is now? This is unclear to me, but it is clear is that Tim Gunn is the man. And, as most people who are not named Yuri know, Tim Gunn has served as beloved mentor to designers cast in Project Runway since the very first season of the show in 2004. He’s written books, he’s done TV and film cameos; he’s even got his own catchphrase. Though we know people on screens are not magic, it’s plain as can be: Tim Gunn is neat.
I tried to focus on my work but it was impossible. I kept stealing teensy glances over to the sofa where Tim Gunn was sitting. He was perusing a large art book. There are many beautiful books of art on offer in the member lounge, no surprise, and he was engrossed in his selection.
What to do? I desperately wanted to meet him but refused to be weird or annoying. I decided after he had been there for an hour or so to write an extremely short, non-creepy little note to him. (Hear me out.) I would buy his glass of wine and give my note to the waitress to give to him in lieu of his check. My note said something like:
“Hi, Tim Gunn! Thank you for inspiring so many of us who work with textiles. If you ever need a quilt or a quilter for any reason, call me!”
I taped my business card in the center of the note using one of the stickers for my upcoming book. Actually speaking to the man was not part of my plan. I’d take care of the bill and Yuri and I would leave before he did or he’d call for his check and before he left, I’d escape to the bathroom so he wouldn’t feel obligated to come say anything. I wanted to make tiny, meaningfulcontact with a compliment. No awkwardness, no foul.
But then the waitress went on break! She was his waitress and my waitress! She was the lynchpin of my entire scheme! Now what?!
After a few panicky texts with my sisters, I changed my mind: I would deliver my note in person. If I didn’t try to say hello to Tim Gunn at the Met lounge at that moment, I would never have the chance again. I put on some lip gloss and walked over to where he was sitting.
Readers, I am happy to report that Tim Gunn is wonderful.
“Excuse me, Mr. Gunn?”
He was immediately on his feet.
“Call me Tim! Please!” He placed his book down on the table and stood to shake my hand. “How are you?” he asked, as though we had met. Eep!
“Oh, I’m fine,” I said. I was more timid than I have ever been in my life, I think. “I had this whole plan how not to disturb you. I was going to give you this little note and buy your glass of wine, but then the waitress went on break and, well, I just wanted to say thank you so much. You’re very inspiring. I’m a quilter.”
Tim Gunn was looking at my note. “This is wonderful! How delightful! My goodness! A quilter? That’s marvelous! What is this?” He was pointing to the sticker.
“That’s my book! My first book. It’s coming out in May.”
“That is a tremendous accomplishment,” said Tim Gunn. “I don’t know what I’d do without my co-author. She turns what I write into something actually worth reading! Congratulations to you! When does it come out?”
“May,” I said, beaming. Talking to Tim Gunn was like talking to… Well, Tim Gunn. It was the best. And yes, he looked amazing in tailored everything and he smelled terrific.
We chatted a teensy bit more. He said, “Oh, good. I see your email, here. I’ll send you my last couple of books!” and I said, “I’ll send you mine! We’ll trade!” and Tim Gunn said that sounded like a fine idea.
Start to finish, the encounter was all of two minutes, but it sure was pleasant. Thanks, Tim Gunn, for being kind to a stranger who admires you a great deal. I hope you do receive my book when I send it to you; since it doesn’t come out till May, it’s possible you’ll forget why you’re getting it and your people will move it to the revolving file. But if you do get it, I hope the quilts in the book will inspire you, even a tiny bit.
“Northbound.” From my first book, “Make + Love Quilts: Scrap Quilts for the 21st Century.” Available nationwide May 15th.
Most people assume I have been making quilts since I was small. My mother, Marianne Fons, is a famous quilter, so it makes sense that she would’ve taught me how to sew from an early age. If I had shown more interest, she most certainly would have. We made a few doll quilts and a few quilts for friends of mine, but my creative pursuits took me to writing stories, putting on plays, singing…and creating and editing a magazine for my junior high school called TRUTH, the name of which I got from a film strip we watched about Russian communist propaganda newspaper, PRAVDA (translation: “truth”). I hired my best friends as columnists and we put out six issues with zero ad support. True story. Have I mentioned I didn’t have a boyfriend till my senior year of high school?
I started making quilts about six years ago. In my lectures to quilters, I talk about the reasons why:
I realized I didn’t have to make quilts that looked like what I saw in contemporary magazines or books; my quilts could look like ME, with solid black fabric, and teeny-tiny prints, and washed out shirting prints, and zero rick-rack
it was no longer uncool to be like my mom — in fact, it struck me as the coolest thing ever to be a part of my family’s place in the world
I got really, really sick and I needed non-medicinal healing (hello, patchwork)
the timing was right, age-wise. I was in my late twenties and ready to sit down for five seconds
And so I became a quilter and making quilts has brought me untold joy ever since. I’m not sure how many quilts I’ve made; it’s dozens, and they’re all kinda huge. Mom has always told me to make quilts that cover people, since that’s what quilts are for. The Fons women don’t do table toppers, though we support anyone who does. We support quilters, period.
A sewing machine with my name on it arrived in New York City yesterday. The fine folks at BabyLock are loaning me an Ellisimo while I’m here, and I carried that huge, glorious box 2.5 blocks and up 2.5 flights of Manhattan walk-up stairs with huge smile on my face. Anywhere I hang my hat for more than about four minutes simply ain’t a home unless I’ve got a sewing machine nearby. Making patchwork and making quilts isn’t just something I do: it’s something I am. The craft, the gesture, the sense-memory of the process is in my DNA, now. I quilt, therefore I am a whole person.
I have absolutely no idea where I’m going to put this thing. Seriously.
If you want to work in the quilt industry — and with a $3.5B+ annual market valuation, a lot of people do — you’re going to need to go to Quilt Market. Anyone doing serious business in the quilt world is there and though there are many shows throughout the year that serve the industry, when people ask you, “Will I see you at Market?” they mean either International Spring or International Fall Market, whichever comes next on the calendar. The answer to the question should be, “Absolutely.”
At Market, you see what’s new. You get the V.I.P. scoop. You make predictions. You discover new designers, new talent. You see who’s hot, who’s tepid, and who isn’t there at all. You make deals. You make friends and faux pas. If you want to be in the business, you have to be at Market because please. Everyone who’s anyone, darling.
Really, going to Quilt Market is a little like being in New York City. Everything happens here first. If you’re not here, you’re just gonna have to find out when everyone else does: later.
I’m staying in an East Village hotel while my NYC living situation sorts itself out. At 4:00am this morning, I woke with a stomachache and couldn’t get back to sleep. (When you don’t eat much during the day and then you eat steak, these things happen.) My hard and fast rule about insomnia? Get up. Tossing and turning is unacceptable. Just get up. Read something or clean something. If you’re in my situation, pad down to the lobby with your computer and talk about vogueing with Zachary, the night porter.
I was scamming some tea from the not-technically-open tea and coffee station when Zachary appeared. He startled me and I instantly regretting not combing my hair or at least putting on flip-flops. I looked like a barefoot, homeless crazy person.
“Please don’t throw me out,” I said, sleep-deprived and thieving. “I just knew where the honey was. I-I’m a good person,” I spluttered.
“You’re fine,” said Zachary, dressed in black skinny jeans and a cap, laconic and cool in that way that early twenty-something New York kids are laconic and cool.
“Thanks,” I said. “I couldn’t sleep, so I’m awake.” Even in the middle of the night, I am excellent at stating the obvious. It’s a talent.
We started chatting. I told him about being a writer and a quilter; he told me about a nearby gallery that is currently exhibiting quilts. I asked him what he did when he wasn’t working at a small hotel at 4am. He told me he graduated last year with degrees in art history and publishing, that he was also a writer, and that he is holding a panel discussion on ballroom culture on Thursday.
“Ooh,” I said, “Tell me more.” Because Zachary wasn’t referring to tango clubs or waltzing, and I knew it. Ballroom culture refers to the dance-centric, underground LGBT subculture that brought us such touchstones as vogueing and the “house” system, a way of forming alliances/collectives within the underground drag and dance community. Mainstream references to all this include the seminal Paris Is Burning film (1990), Madonna’s “Vogue,” and RuPaul’s “House of Love” and Lady Gaga’s “House of Gaga,” though one must note the mass-appeal versions of these things look different from the ground-floor ballroom world Zachary knows.
What he shared with me about the evolution and current state of ballroom culture was fascinating. I was getting the story, that Market-style scoop.
Vogueing has its roots in 1960s Harlem, it became vogueing in the 1980s and 1990s. But it’s been twenty-five-ish years since Paris is Burning and a whole lot has happened in the scene in that time, no surprise. There’s femme voguing (extravagant, feminine, beat-centric) and “dramatics” (jerky, hard, battle-centric) and those styles are already waning to make room for what’s next. The music has changed a lot, too; less wailing diva house, more crunchy, techy beats so fast and frenetic the standard measure of “beats per minute” ceases to be applicable. The Internet happened in there, too, so now the good DJs are instantly hot across the country, as opposed to how it happened in the old days: slowly, while mixtapes were transported from NYC to Chicago to San Francisco and back. Dance styles are instantly mimicked and adapted. We watched YouTube videos together for some time and Zachary showed me the vibrant and vital community of people who are keeping ballroom alive, well, and just as competitive and snatchy as ever. That’s a compliment, by the way.
Anything I’ve gotten wrong or weird in my report is to be blamed entirely on me and my lack of sleep, not Zachary. He knows his subject, he dances, he is more than qualified to host his panel on Thursday.
This is why you get up when you can’t sleep. There’s so much to learn. There’s so much to see, even at 4am. And in the center of the world (that would be New York City), it’s ever-so-slightly more true.
The phrase, “I’m just really stressed out” is a tired one. The phrase is tired. Upon hearing it, the listener is tired, and we all know the person saying it is extremely tired. I stay away from phrases like this because George Orwell said I should. But Orwell also believed in saying what you mean and this time I mean it: I’m stressed out.
On Wednesday, I get in a plane and fly to New York City. I will stay there for six weeks. Six weeks! If you’re new around here or if you don’t have room in your head for the details of my life (I don’t either), here’s why I’m leaving Chicago: I have a refrigerator, a dishwasher, a range, and a kitchen’s worth of cabinetry in my living room which was already layered with dust and compromised with construction zones. (I’m renovating a kitchen and bathroom in a 1500 sq. ft. condo.) Also, my main squeeze is moving to New York City. Also, my sister lives there. Reasons abound for a sojourn in Manhattan, but it’s no weekend jaunt: I’m going there to live for over a month and a half. It will be mid-March before I’m home again. Jiggity-jig.
Here’s the main issue: I’m a quilter. I make quilts. I ask you, fellow quilters: how do you pack up your studio for a six-week trip in the middle of a tremendously inspired and productive period? Seriously, your input — or commiseration — would be appreciated.
For those of you who don’t know, fabric to quilters is as paint is to painters. Fabric is our palate. I have a mad decent palate, too: my stash is sick. If I want, say, a black and white polka dot, not too big, mostly black, well, I just go grab it from the drawer. Whatever will I do in New York City? Yes, yes, I could buy more, but I’d rather not my NYC spell be doubly expensive because I’m 3,000 miles away from my fabric. Trust me: this relocation is gonna cost a few bucks already. And my design wall! And my cutting mat! Oy.
Here’s my solution so far: make up kits for the two quilts I have going right now. Pack them with fabric I want and additional fabric that I might want. Send my machine ahead of me. Commandeer a wall in the apartment to serve as my design wall: be flexible, gentle, and concessionary on everything but this in terms of space-sharing with the fellow.
And make my quilts. And do my work. And look out whatever window I end up with and smile, because my life is charmed, charmed, charmed, after all.
A shot of the aftermath of the Chicago snowstorm of ’67. They got 23 inches in 35 hours. (c) Chicago Tribune archive photo.
I live downtown on the sixteenth floor of a mid-rise building. I have a south-facing wall and that wall has five windows: two of them are in my bedroom, the other three line up in the main room. I’m not surrounded by skyscrapers, thankfully, so from my perch, I can see Chicago for miles. Sometimes, I’ll bet you I can see clear to Indiana, all the way to those fruited plains. I don’t see the actual sun rise (being that I’m looking south and all) but of course I get the slowly strengthening light. I wake up quite early to catch this; it’s my favorite time of day. I make my tea, read one of the three things I have going, and write in my journal. I take from 90 minutes to two hours to do this every day, come rain, shine, or — wait for it — snow.
It’s been sifting down for hours. Every so often the white stops to catch its breath and then starts up again, and it was the same pattern a few days ago. It’s winter in the midwest.
The town I love is quiet. I look down on the street and no one is out. I look across the tops of the buildings and see white billows of steam from the heating systems working in overdrive because it’s not just snowing here: it’s cold. We’ll have temperatures back in the minuses the next few days and when it’s this bad, I think about the homeless people who will die this winter. Macabre, sure. Also true. Sometimes it’s hard to know what to do in the world.
To the couch. To the books. It’s Sunday and it’s a blizzard. I may have to venture down to the 7-Eleven for milk and chocolate later, but that’s later. For now, it’s time to hunker down and enjoy one of the many quilts I have made. I have quite a selection and I do believe they were made for this.
I’ll pick my favorite of all. It’s called “Whisper,” and it’s white.
A Jewish friend of mine told me that if you do a charitable act…you kinda aren’t allowed to talk about it. Obviously, an office charity fundraiser requires group knowledge; a marathoner gets pledges; a wife will need to know about a sizable gift her husband wants to give this year, etc. That’s all fine. The point my friend made is that if you do something nice and go around crowing about it, it can all but cancel out your good deed. Your gesture toward your fellow man becomes about you and this great thing youdid. “Suboptimal,” my friend said, and I agreed.
So in telling you the story I’m about to tell you, I am taking a risk. But it’s a story about a quilt, so I gotta. I also want to tell you about Alameda* and what happened to her this week. By doing that, perhaps her ball of grief will dislodge in some cosmic way and allow her to rest.
Alameda works in the receiving room in my building. It is a depressing, windowless box in the back hallway. She’s been there about four months, I’d guess; she came on when the management changed. Alameda is from Mexico. She’s around twenty-four, I’d guess, and smart. She’s funny, too, and upbeat, even in that dank, horrible room, and we chat whenever I’m picking something up or shipping something out; Alameda and I have become friends, because there’s a lot of shipping in my life.
Yesterday, I picked up a package. Alameda came from around the desk to take it and she looked awful. “Puffy” didn’t describe her eyes; they were red-rimmed, swollen, spent.
“Oh my,” I said, quietly, because there were other people behind me. “Are you okay? Have you been crying, Alma?” She nodded. “It’s okay, it’s okay,” she said, and smiled a “thanks for asking” sort of smile. I gave her a furrowed brow and a pat on her arm and I left.
Later that afternoon, I had to drop something off for UPS. I went in and no one else was there. Without being terribly nosy, I made the attempt to talk to her if she wanted to talk.
“Bad day?”
“Yeah.”
“Can I ask what’s wrong? You don’t have to… If you don’t want to talk about it, that’s totally cool.”
Alameda paused. “My brother died yesterday.”
I clapped my hand over my mouth. I asked her if it was an accident. It was not. Her brother killed himself. The entire family was at his house for Sunday dinner. Alma’s brother went downstairs and hung himself in his room. She said they “heard something” and didn’t think anything of it, kept eating dinner. He had been very depressed, she said. He was working three jobs, he wasn’t a citizen, he had a bad breakup, he was scared and anxious all the time. And he ended it on Sunday, right there in the house, while his two-year-old daughter sat in her booster seat eating mashed peas.
When she told me all this, I was too shocked to burst into tears, though it’s so awful, I wondered why I didn’t. The truth is, I cry less than I used to. When she said that his fondest wish was to join the Navy, get a pilot’s license, and fly, that’s when the tears burbled up for both of us.
“The potential,” I said.
“Yeah,” she said, and put her hand over her face.
It was hard to leave her. As soon as I did, I knew I wanted to do something for her for the holiday. But what? I called my sister Nan and asked for her sage advice. She didn’t disappoint.
“What do I do for this girl?” I asked Nan. “What do I give her?”
Nan paused. “Well, I reckon you should give her a quilt.”
I slapped my forehead, which hurt a lot because I was outside in the Chicago icebox. “Of course,” I said. “Of course.”
“People in crisis, they get quilts,” she said. “Think about the Red Cross. Floods, tornados, family crises — it’s quilts that bring people comfort.”
So I’m going to give Alameda a quilt from my collection. I’m not sure exactly which one, but I have an idea. And I’ll put a label on the back and I’ll put it into a big box, wrap it up pretty, and stick an enormous, obnoxious bow on it.
I don’t have any children. But I have written a book. Because of this book, I feel I understand a thing or two about parentage and stewardship, about hard work and real fear.
Let’s break down the [MOTHER] is to [AUTHOR] as [CHILD] is to [BOOK] analogy:
CHILD: A moment of conception must occur (i.e., orgasm.)
BOOK: A moment of conception must occur (i.e., great idea.)
CHILD: Blastocyst = cluster of cells formed early in mammal development
BOOK: Outline = cluster of ideas formed early in manuscript development
CHILD: The expectant mother may experience extreme tiredness, mood swings, carpal tunnel syndrome, nipple tenderness.
BOOK: Expectant author may also experience all of the above. WELL SHE CAN, OKAY??
CHILD: Needs a name.
BOOK: Needs a name that will sell.
CHILD: Though each woman’s labor varies, nearly all experience degrees of severe pain in labor and delivery.
BOOK: Author labor varies, but nearly all experience degrees of severe pain throughout the editing process and delivery of manuscript.
CHILD: May arrive diseased and malformed through no direct fault of the mother.
BOOK: Totally on you.
Let us leave the analogy, then, and let me tell you about the book coming out this spring from C&T Publishing. This is not the official book blurb, this is just me, PaperGirl, talking to you.
I wrote Make + Love Quilts: Scrap Quilts for the 21st Century is my book to delight readers, artists, and quilters. There are patterns for twelve original bed-sized scrap quilts, designed by me. There is instruction that takes you through the quiltmaking process, start to finish. There are tips and advice for creating good patchwork and a good life. There are quotes on love from all kinds of folks from Nietzsche to Montaigne to Marilyn Monroe. There is stunning photography of the quilts (gorgeous style shots as well as front and back flat shots of each), the fabric used, and the Quilt Charms I had engraved and stitched on the back.
The art direction is killer. When I was on a phone meeting with the book team in California, I reached for the sky: I told them to “make this book the most beautiful book you have ever made. Ever.” I promised them I’d do my part — and they held up their end of the bargain, I assure you. The book is more beautiful than I even imagined it would be. I’ve cried several times and I haven’t even seen a bound galley copy, yet.
I do these from time to time with Quilty, but this is a straight-up Mary Fons giveaway. Look, I really appreciate all the emails, the comments, the Facebook love. I’m very close to 5,000 likes, and while I know that age and Facebook likes ain’t nuthin’ but a number, it still feels good to be 33 and way more popular than I was in high school.
I also have a lot of books. A lot of books. I’d like to give you one. Share the link to my blog on Facebook. Comment here on the blog. I don’t know how to do these things. I’d like to tell you that it’s very scientific and I do have a system that I intend to follow to pick a winner, at random. But basically, let’s just have a little blitzkrieg love fest and somewhere in the mix, someone will get a book.
I’ll write you a hand-written letter, too. A nice note on some nice Mary Fons letterhead. I’ll give you advice to a problem you might have. [NOTE: No purchase necessary and no problem necessary. If you don’t want advice on a life problem, don’t worry about it — you don’t have to have problems to win.*] So comment away, and share away, and perhaps you’ll get a book! Look, someone will win. It might as well be you. Let’s jack up those Facebook likes. Let’s get a few more readers on the ol’ P-Girl. And then at least one other person on the planet can talk to be about Lee Miller’s War. Or Encyclopedia of the Exquisite. Or Babbitt. Or Binky’s Guide to Love.
Two words: Treasure. Trove.
Good luck. Spread the word. This blog is real life!
*”you don’t have to have problems to win” = suddenly in the running to be the copy on my headstone
There are plenty of reasons to love The Peace Garden State. For your consideration:
the North Star Quilt Guild is here; I was invited by this guild to give a series of lectures this weekend. Ladies, it has been a delight — thank you.
Lewis and Clark saw their first Grizzly Bear not far from where I am sleeping this evening
Canada = spittin’ distance
you can get fresh roasted Bavarian nuts in the Grand Forks convention center
About this last thing.
I had three events today: two lectures and a Q&A session. After my first lecture, I stepped out of the room and into the hall and my olfactory senses were caressed? made love to? by the smell of roasting sugar, cinnamon, and vanilla. It was as if an enormous homemade caramel had plopped down on the roof.
“WHAT IS THAT?” I said, a little too loudly to no specific person. “WHAT AM I SMELLING.”
“Oh,” said a lady with a quilt show badge, “Roasted almonds. There’s a game today. ” She said this like it was no big deal, like warm, sugary, roasted nuts were as exciting rubber washers on sale at Home Depot.
“WHERE ARE THEY.”
My nose was pointing straight up in the air and I was whipping my head around — SNIFF! SNIFF! The aroma was mouth-wateringly great. Forget hot chocolate, forget burning leaves. The smell of roasted almonds in October trumps those autumnal scents. Indeed, there was a game on the other side of the big convention center and the almonds are a staple in the concessions sold on game days. I asked if non-game-attending folks could procure these magical treats somehow. The terrible answer came: no, you need a ticket to get past the gate, sorry.
But a hero appeared!
“I can take you up there,” said a young man in a blue convention center staff coat. His name was Kevin and he had overheard me freaking out. I latched onto Kevin at once and he lead me through the hall. The smell got stronger.
I really like roasted nuts. In New York City there are a lot of roasted nut vendors on the street with their steaming carts. You can get cashews, toffee almonds, sesame seed nuts — just about any kind o’ nut. When it’s icy and cruel in New York, you wrap your paws around that warm sack of crunchy, sweet nuts and it doesn’t matter that you can’t afford to live in New York or really even visit for more than three days; it doesn’t matter that you can only afford warm nuts for lunch. Really, like, just the nuts. Maybe a coffee.
I found the vendor upstairs. I paid $11 for the largest plastic cone. The cone was the size of a plumpish guinea pig and every bit as warm. Maybe warmer. A guinea pig with a mild fever, maybe. I cradled it to my breast and stole back down the stairs and to my room on the other side of the complex. I flopped on my hotel bed and I ate five. They were really hot and I have a loose filling, so I had to be careful. I was drowsy from my adventure, so I fell asleep with them in my hand. When I woke, I ate three more and thought up good names for roasted nut vendor carts:
Completely Nuts
Perfectly Nuts
Nuts About Bavaria
The Nutty Bavarian
And then I tried to think of names that would be bad:
She’s Nuts
What Are You, Nuts?! The Fevered Guinea Pig
The Nut Cup
My Little Churn Dash. Made by Mary Fons, quilted by LuAnn Downs.
Unless I’m at a cocktail party hosted by quilters, I am usually the only quilter at a cocktail party.
When I talk about what I do for work, someone will invariably say, “Sorry — did you say you’re a…quilter?” I nod and say yes and then two things happen: first, the person cocks their head and goes “Huh!” and then, “My auntie used to knit, too.” Sometimes I gently explain the difference between quilting and knitting, sometimes I just ask about the auntie.
If you’re not a quilter, you probably don’t think about quilts very often. You know what they are. You maybe had one in your house as a kid. You don’t know that we take umbrage when you to refer to a quilt as a blanket (please!) and you have no idea that the business of quilting kicks up $3.6 billion dollars annually — that’s just in the States. But that’s all perfectly okay. I don’t know about programming in Ruby, nothing about the Blue-Footed Booby (okay, that rhymed), or how to fix the sink. We all have our work and stuff we geek out on. Quilts, for me, are both. I traffic in them; you don’t.
But then…
Then a quilt comes into your field of vision and I can tell you exactly when it happens: when there’s a baby coming. When there’s a marriage. When someone is real, real sick. Unlike the Blue-Footed Booby, quilts arrive when they are needed and what I insist upon, what I know is true, what I make sure to say at any cocktail party, be-quilted or otherwise, is that quilts are still needed, still relevant by virtue of what they are. Quilts are love, manifested. Put another way:
You can’t wrap a baby in an iPad.
Technology is galloping away with us all and I’m riding bareback with all my quilter friends who, you could argue, are more digitally connected than other hobbyists — we have pictures of quilts to share, online bees; the entire Modern Quilt Guild “movement” was born online. But all the binary code on the planet can’t comfort a baby like wrapping it up in a quilt. Another example? Give a newlywed couple a handmade quilt and watch death rays emit from the eyes of everyone else at the shower — the crystal fruit bowl from Tiffany’s and the Kitchen-Aid mixer might as well be crap from the Dollar Store. You can’t beat a quilt with a stick. They’re magic. They’re irreplaceable. They’re also positively American, at least when we speak specifically of patchwork quilts (as opposed to whole cloth or fancy boutis stuff from Europe, and they can keep all that.)
Hey, I want my own MakerBot. My smartphone, myself. In the Venn diagram of “Nerdy,” “Creative,” and “Friendly,” “Quilter” is smack in the middle. Besides, we like buttons and stuff. But what gadget — and while we’re at it, what work of art — can you wrap up in, sit on, barf on, wash, cry under, make a tent out of, mop up stuff with, hug, throw, wad, rip, repair, and then give as an heirloom? I’d guess there’s probably just one answer to that question.
And so we still make quilts. We still do. And we will for a long time because try as we might to wriggle out of it, we’re still human. Humans need comfort and joy and to me and my fellow grieving, joyous, aging, newborn, and just plain chilly humans, a quilt is just the thing.
Better have some of these in the medicine cabinet, dawg.
I cut my finger pretty good last night. I was drinking and sewing, so you are forbidden to have any sympathy for me. It’s okay.
I don’t drink much alcohol these days. I’m just not into it. I realized awhile ago that the increasingly obligatory evening glass of wine was suddenly two obligatory evening glasses of wine and about the time that it became that, I stopped getting a good night’s sleep. I would wake up at 3am and if there’s one thing I do not do, it’s toss and turn. So I’d wake up and read books and try to attack my day — and by noon I was a shell of a woman. When I didn’t drink wine in the evenings, this did not happen. Eureka!
But last night I decided to enjoy a vodka tonic. It’s been months since I indulged in a little evening refreshment and it just sounded nice. A little Tito’s, a little diet Schweppe’s, a little ice. Clink, clink, ahhh. And then, because I am brilliant, I picked up my rotary cutter, which is essentially a razor blade on a wheel. The rotary cutter is to a quilter as the hammer is to the carpenter: an indispensable tool used constantly that can really mess up a finger.
I was slicing around my fan template, zipping to and fro, enjoying some tunes. Sip. Zip. Zip. Sip. “La-la-la,” I sang, and I was so excited about the vodka and the scrap quilt forming on my design wall that I zipped my way right across my index finger and pam! a great flap of skin was now dangling off of me, ruby red blood welling up in astonishing quantity.
“Ah!” I exclaimed and jumped back. I raised my hand over my head and grabbed the first thing I saw to wrap around my wound. What do you suppose I grabbed? Fabric, of course! You see, quilters are very smart. We have bandages at the ready at all times. Carpenters can’t say that (though you could argue they can make a splint pretty quick — or a stretcher.) I hopped up and down and whistled; this thing could be bad, I thought, and I stole a peek. Oh yes! Pretty bad. But there was no tingle, no numbness, so I don’t think I hit a nerve.
The lesson: do not drink and sew. I am not the first to do it, certainly not the first to advise against it, and I know for a fact that I’m not the first to do it anyway and then injure myself. But “the fool who persists in his folly will become wise,” said William Blake, and he actually died while singing, so we should listen to him.
