Quilt Finish #284 from a kit, which means it sewed up lickety-split.
And my quilter…
…let me pick it up in Utah when I was there last month. Jen did a very cool pattern for me which I wrote about here. It’s a great little throw quilt, all ready for Christmas!
And oh, yes: “The Wexford Carol” from YoYo Ma and Alison Krauss on YouTube is a must. I love that first verse:
Good people all, this Christmas time, Consider well and bear in mind What our good God for us has done In sending His beloved Son With Mary holy we should pray, To God with love this Christmas Day In Bethlehem upon that morn, There was a blessed Messiah born.
I wish you a Merry Christmas, a holiday filled with wonder– and quilting!
This quilt has been on quite a ride. A Santa’s Night Ride, to be exact.
It has flown over to France, to the QuiltMania people, who publish three fine magazines: QuiltMania, Simply Moderne and Simply Vintage.
It has flown home.
And it will be making its debut in one of the QuiltMania magazines: Simply Vintage!
I know my friend Carol will like the Corgi on the bed. I do too! My quilt, Santa’s Night Ride will be in this issue, Number #49, which should be out about now. For those of you not aware of the THREE Mania magazines, let me introduce you to this one. While it says “Vintage” on the top, you might instead think of it as more traditional than vintage. It has a lot of our favorite quilt designs, as well as some new ones. I’m just pleased as punch to have my quilt published, and you can buy it from them directly here. Just click on the newest issue, with the Corgi on the front.
label
The center blocks are Foundation Paper Pieced (FPP) and they go together quickly.
I also made the border with FPP, and here you see my favorite roller. Instead of running to the ironing board, just use this tool, an automotive tool, with ball bearings — I prefer it to the old wooden one I used to use, and it’s $cheaper$.
I always print out a light version of my quilt and map out my quilting. Then I will often use a disappearing pen to transfer my ideas to the quilt.
I even sewed on the binding by machine. It seems like every December, when I’m deep in the Christmas season, I get the bug to make a quilt, but I always finish it up in January. Not this one! This is Quilt #272 in my Quilt Index.
Some tips on using scraps: Keep them in similar values for the center blocks. All my blocks are different, but they “read” the same because I used the same red/white for the inner triangles, and while I used four different greens for the large triangles, they are distributed evenly throughout each block.
Go for one fabric for the light background for both the center blocks and the outside little tree-triangles in the border, as it helps tie the quilt together. You can see above all the different fabrics I used in the outer tree-triangles: cut loose and cut from your scraps.
This has been in the works for nearly a year, so while you may have had a glimpse or two of this small quilt, I was waiting for the day when I could share the happy news, of this publication.
During the pandemic, I agreed to let them share my blocks with readers of the QuiltMania newsletter. The patterns have now come home to stay, and most are free (see tab, above).
Emily Dickinson’s phrase, Dying is a Wild Night and a New Road, accompanies me at times in my life. Dickinson first said it in a letter: “I know there is no pang like that for those we love, nor any leisure like the one they leave so closed behind them, but Dying is a wild Night and a new Road.” This past year, I said this phrase to my father, as we sat in the living room of where he lived with mother, who was on her own New Road that week. Life felt like a total slog in those early weeks after we lost her. I tried to get it together, but I felt so strange. Many of you wrote notes, send letters, welcoming me into this new club, and reminded me to give it time.
After a soggy winter and spring, this summer I let myself be pulled into this. I had no idea what it was going to be, or what kind of work it was. Yes, time does heal all wounds, but perhaps a little quilting wouldn’t hurt, either.
The first thing was to watch a video on how to choose fabrics, which was a great video. I could do this new thing. And when the first steps were to cut strips and sew them together, yeah — I was totally in.
Week by week, I cut and sewed and soon my file of print-outs and blocks was full:
It was like I was back in school, in a good way. In school, there’s always a syllabus, a raft of homework, a goal, a test, a completion. Working on this quilt I felt like I was accomplished something that wasn’t a duty. During this time I was getting quilts finished, but usually I have a lot of ideas and sparkles of creativity and things I want to say, but…it not this year. We had our kitchen torn apart, and then rebuilt. It was actually a relief to choose doorknobs, tile and countertop: a welcome distraction.
This article helped a lot with the sadness, letting me know that what I was going through was normal, would take time. Talking to my husband, my sisters, daughter, friends and my family was a solace. It’s all normal, yes, normal, normal, normal…but I wanted my old normal back, of happily diving into color and cloth, of not missing someone terribly.
I began to screenshot memes on Instagram, like this one, or the one below:
I retreated from life for awhile, but kept working on this Summer Camp quilt. Weeks Ringle and Bill Kerr, of the Modern Quilt Studio (who were running the Sew-A-Long) held “campfire talks.” Sometimes goofy, but always authentic, warm and interesting, I would join them a day or two late, and read through the posted comments. This project became my through-line.
I ended up with 52 blocks ( photo 1) which when placed on the wall revealed themselves to be Not Enough (2) and so I chose some of my favorite prompts and made more (3). I couldn’t see how this would ever become anything but a mush of color and line, just like I couldn’t see how I would ever feel like a life without my mother was something I wanted to have. She died at age 94, on November 13, 2022, a year ago. I’d had her all my life. I burst into tears at odd moments.
Finally, the Summer Camp Quilt-A-Long project turned a corner. Now I had to make something of these small blocks. I chose this layout, It’s a variation of one of their variations, with some changes suggested by my husband.
I finished quilting it this month, and made this label.
On the anniversary of her death, my husband and I drove to Utah. We picked up my father and drove to the cemetery in Paradise, Utah to see her gravesite, to remember her. Dad’s very old, and I’d forgotten to bring lawn chairs, so we were there about 3 minutes, 20 seconds. No lie. After he got back in the car, I took a few photographs, feeling a bit strange having such a cheerful quilt in this setting. While we were driving there, my father kept saying little tidbits like, “When she was a senior in high school, she was the editor of both the newspaper and the yearbook.” And, “She lived with her grandmother for a year the year before that.”
When we drove along the road beside this reservoir, he said: “We came along this way some time ago, and got as far as this bridge before we had to turn back. It was under construction.” They’d driven up there nearly every Memorial Day — or as they called it, Decoration Day — to put flowers on the gravesites of all those who had gone before. It felt very circular this day, me with my quilt, thinking about my Mom, as she always thought of her mother, her grandmother and others before her.
Back home several days later, I threw the quilt in the wash, and of course, it changed as quilts do, becoming something soft and cuddly and maybe perfect for a baby blanket? In the end I didn’t put the label on. I’ll send it out in the world without its history, letting it find its own way and purpose. I’m grateful for projects like this which are small bites at a time, helping me become reacquainted with why I like cloth and thread and quilts. I can’t always put my finger on where I am on this new road, but I feel better. I doodled a new design last night and I’m looking forward to making it.
My mother taught me to sew, first doll clothes, then enrolled me in a class at school where I made my first dress. Recently, I’ve had a couple of moments of deep remembrance, times when her presence has popped into my life, seemingly a reminder that she lives on, and still loves her daughter, and her quilts.
I was in a quandary about what to name this quilt, having tried out multiple phrases. It was a quilt made up of blocks from my friends in The Gridster Bee, the penultimate year I ran the group.
Susan, one of my friends in the group, wrote to suggest I consider “Ladies of the canon? As in music – composition in which each successively entering voice presents the initial theme usually transformed in a strictly consistent way. (And there’s also that cool reference to Ladies of the Canyon by Joni Mitchell.).”
I’d played many a canon in my teenager years as I studied music (piano) and who of us can forget the Pachelbel Canon in D? As to the quilt, I’d asked each of the bee members to make a lady, and some made “representative” women, and some made self-portraits. I didn’t really specify which they were to do; it was fun to see what arrived in the mail. I dithered for a long time about whether or not I should create a pieced back (I didn’t), and whether or not I should quilt it myself (I didn’t). If I had waited for myself to do those last two things, the quilt would still be in pieces in my sewing room. I did have a few extra blocks, and I have plans for them, never fear. I so appreciate the women I sewed with over several years time. The Bee was fairly stable for a while, but always a few leaving and a few coming in.
When I finally did leave The Gridsters, Patti took it over and it is still going strong, with a new group of women. It’s fun to see their blocks in my IG feed, and I’m happy for the time when I gathered my own Ladies of the Canon. Good memories, represented in this fun quilt.
I made my sample lady in February of 2021, using blue scraps from my first pieced quilt for her hat.
We photographed the quilt at a local elementary school. My husband catalogues all the murals and art in our town on his blog, Murals and Art, so I have an easy supply of cool backdrops.
Thanks, Dave, for always being willing to hold up a quilt. (BTW, those palm trees are not curved; it’s a function of the camera lenses.) This is quilt #280, in my Quilt Index.
Now, a piece of good news. My quilt, Aerial Beacon, was accepted into Road to California’s quilt exhibit in 2024. I didn’t think any of my quilts would be accepted, so yes, I’m pretty happy.
For a long time now, my husband and I knew of an actual aerial beacon in Southern Utah, but just could never find the time/energy to go there. This week, we did. I wrote about this, and the quilt, in an earlier post:
An arrow, about 50 feet long was poured from cement, and a tower and a small hut were erected on that slab. And we hiked up this hill to go and find one, in St. George, Utah:
You can still see the metal bars poking out of the center section, where the tower would go. This arrow is 56 feet in length.
Found out this is the remnant of Transcontinental Air Mail Route Beacon 37A (from here. More info is found here.)
We’re happy we found it! (I love I could connect with something created in 1925.)
The two white water tanks are to the left of this.
And that’s a good note on which to close this post. Happy November, everyone!
More about the Mitchell song, which I’d never heard before Susan sent me down the rabbit hole:
The Music Aficionado writes that the song was about “Mitchell’s Laurel Canyon’s circle of friends….Trina Robbins moved to LA from NYC in the winter of 1967. She was girlfriend of Paul Williams, publisher of the Crawdaddy rock magazine. She always wore those popular Love Beads, otherwise known as wampum beads. She also loved to doodle in a sketchbook that was always on hand. Annie Burden, wife of photographer Gary Burden, was keeping house and family in Laurel Canyon. She was host to many artist gatherings in her house and described her life there as: “I simply made babies and brownies, encouraged by the fact that Joni Mitchell saw me as a sort of Martha Stewart of the ’60s.” Husband Gary Burden later designed the album cover for Blue. Estrella Berosini was raised in a circus to a Czech highwire performer. Joni Mitchell bought her a gypsy-like shawl that she wore a lot.”