A sad and sweet look at knitting that will appeal to crafters and writers alike.



Writers share their thoughts on knitting in this meditative essay collection edited by Hood (An Italian Wife, 2014, etc.), a follow-up to the editor’s previous Knitting Yarns: Writers on Knitting (2013).

“With its calm, methodical progress, it’s a promise, in the midst of war and chaos and loss, that, somewhere, an orderly world still exists,” writes novelist Stewart O’Nan in his contribution to the collection. Twenty-seven writers, including Lily King, Laura Lippman, and Jodi Picoult, share their stories of knitting among the wars, chaos, and losses of their own lives. Steve Almond writes about the connection between death and crocheting, Diana Gabaldon shares how an early 4-H Club rejection led her to take up knitting, and pediatrician and writer Perri Klass examines all the clothing she knit for her late mother. Nostalgia permeates almost every essay in the book. Whether knitting allows them to remember grandmothers, mothers, old boyfriends, ex-husbands, or their younger selves, the writers have memories knitted into all their scarves, hats, sweaters, and other items. Although a few of the essays are lightly comedic, most deal with loss, death, regret, and similar heavy subjects, which makes for a surprisingly emotional reading experience. As one might expect from a group of writers, connections between the processes of knitting and writing abound. In the hands of such talented writers, this collection is both heartbreaking and life-affirming. Other contributors include Bill Roorbach, Lee Woodruff, Christina Baker Kline, Clara Parkes (author of The Yarn Whisperer: Reflections on a Life in Knitting, 2013), and Jared Flood, owner of the yarn manufacturer and design house Brooklyn Tweed. The book also includes knitting patterns.

A sad and sweet look at knitting that will appeal to crafters and writers alike.

Pub Date: Nov. 9, 2015

ISBN: 978-0-393-24608-7

Page Count: 304

Publisher: Norton

Review Posted Online: Aug. 17, 2015

Kirkus Reviews Issue: Sept. 1, 2015

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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