Knitting and wellness: an interview with Betsan Corkhill

I first met Betsan Corkhill in September 2008.  Stephanie Pearl-McFee (aka The Yarn Harlot) gave a talk at I Knit Day, a knitting event in London.  I bought tickets for the whole family.   Emma and Leah were 15 and 13 at the time, and joined me (and most of the audience) in knitting while we listened to the lecture.  After the talk, we wandered around the booths and exhibits while waiting for the crowds around Stephanie to diminish.  I lost Doug, but eventually found him at a booth labelled Stitchlinks, having an animated discussion about neurons, beta waves, brain plasticity, serotonin uptake, and chronic pain.  This was my introduction to Betsan, the most passionate and articulate advocate for the therapeutic benefits of knitting I know.

Betsan is the author of Knit for Health and Wellness.  She trained as a physiotherapist and continues to work closely with clinicians and academics.  You can find her online at Stitchlinks.com.  We have met Betsan on and off over the years; we went to a conference she organised in Bath on knitting and therapy for chronic pain, and she came and brainstormed with researchers at our neuroscience centre about how to study the link between knitting and brain plasticity.  Last week we met up again at a symposium on the perception and regulation of pain.

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Betsan Corkhill and me

 

I asked Betsan if I could interview her for the blog, and she very kindly agreed.  I sent her a list of questions and she answered them very thoughtfully.  I warn you that this is a long post.  Grab yourself a cup of coffee and get comfortable.  Betsan has some fascinating insights, and I am sure you will find this discussion interesting and enlightening.

 

KELLY:  How did you first become interested in knitting as therapy?

BETSAN:  I had given up physiotherapy and started work as a freelance Production Editor with a large magazine publisher. When I found myself looking after the letters pages of the craft magazines I realised that I’d stumbled on something potentially very important. The vast majority of letters spoke about the therapeutic benefit of craft, particularly knitting. The striking thing was that there were large numbers of people from a range of different backgrounds and cultures saying the same things.

They spoke of the rhythm of the movements inducing a meditative-like state; the creative process enhancing their lives; of enjoying a state of flow; stress relief; of getting together with others to knit making new friends, as well as knitting enabling them to give gifts and knit for charitable causes.

I began to look at how these benefits could be enhanced to deliberately improve wellbeing, thinking it could be an accessible, relatively low cost way of helping a large number of people of all ages. Knitting’s portability means knitters can use it anytime, anywhere, from an armchair, wheelchair, bed, public transport, in the middle of the night. It was an exciting light bulb moment for me.

KELLY: I know that you have often struggled to get healthcare professionals on board.  In your book, you say: “To get my foot in the door with scientists, academics and clinicians I began calling knitting a ‘bilateral, rhythmic, psychosocial intervention’”  I love this!  Can you explain why this is important?

BETSAN: My first meeting with a GP to talk about the potential benefits of knitting didn’t go as I’d hoped. I had printed out several 100 stories from knitters and placed a large pile on his desk. He took one look and said “People are always telling me about weird and wonderful things that they’ve found beneficial. I’m not interested in stories. I’m only interested in hard-evidence.”  Just a mention of the word knitting was enough to send many into peals of laughter and ask “Are you serious?” One group of GPs called me that ‘mad knitting lady’.  The irony of that label was I didn’t regard myself as a knitter at the time. My mother had taught me at about 7 but I hadn’t done much since. I had to brush up my skills to do this work because I believe in practicing what I preach. I was treated like some sort of evangelist trying to spread the word of knitting, whereas I was coming at it purely from a health perspective.

I decided I needed to argue my case from a scientific perspective, from their viewpoint if I was to get anywhere at all. The first step was to call knitting something different so I could get my foot in the door before anyone realised I really was talking about knitting. Using the term ‘bilateral rhythmic psychosocial intervention’ helped people to overcome their preconceptions and to see knitting from a different viewpoint. It opened their minds.

KELLY:  One of the things I like about your book is that you emphasise the therapeutic effects of social knitting and also of “quiet knitting”.  The former can help with isolation (among other things) and the latter promotes “the enjoyment of solitude”.  Both of these speak to me.  Can you elaborate?

BETSAN:  The benefits of knitting alone and in a group are different. Long-term loneliness is harmful to health. Solitude on the other hand is beneficial to health and wellbeing. We can teach people to manage feelings of loneliness by enabling them to learn to enjoy moments of solitude through the absorbing, rhythmic process of knitting.

Online forums can provide a means of getting to know other knitters around the world whereas face-to-face groups offer a means of rich, safe social contact. Rich in that it provides a means of meeting a wide range of people from different backgrounds, cultures and ages. People we wouldn’t normally socialise with.  Enjoying fun, play, laughter and easy banter with friends is an important element of living well. The emotional and social support we get from others is vital for living well.

Those who attend knitting groups say they start to look forward to the next meeting in anticipation of showing off their knitting progress. They start to feel excitement, a sense of self-worth and increased confidence. Attending a group regularly can help to break into negative thought cycles in those times between group meetings and therefore begin to change thoughts in the home environment.

KELLY:  How can knitting be used to impact on chronic pain?

BETSAN:  We can explain how knitting works for pain from the biological perspective of pain. When I’m teaching people about long-term pain I describe it as emerging from a complex conversation between everything going on within you, around you, your environment, past, present moment and culture. I think it is important that people ‘get’ the complexity of pain because we can make the complexity work for us – it gives us lots of avenues in to change pain. For example, stress and pain are closely linked – we can use knitting to reduce stress. Lonely people feel more pain – knitting groups are a great way of meeting people in a safe environment. Knitting is an effective distractant, the rhythmic nature is relaxing, it can be used to improve sleep, to raise mood. It gives meaning and purpose.

Being creative can widen your experience base so your brain has more information to draw on when it makes important decisions. It helps to raise self-esteem, confidence and self-worth. You can enter different mind-states depending on the projects you choose – ranging from one of focused attention to one of daydreaming or you can choose to knit mindfully.

The feeling of being successful at something is really important. It releases powerful pain relieving, mood enhancing, motivating chemicals. Knitting provides a means of ‘being successful’ of achieving from an arm chair and this can help to motivate people to try new, different things. It can act as a springboard to other activities.

All these issues can bias that complex conversation towards not making pain. We can work on making small changes over a range of these issues. Nudging things forward one small step at a time.

Pain, ill health, health, wellbeing all need to be viewed from a whole-person perspective. Nothing in life is linear. Everything we do, everyone we meet, our environment and culture affects all these issues, so making changes in all these areas can help.

KELLY:  Since we last met, your career has moved in an interesting direction.  What are you up to now, Betsan?

BETSAN:  I’m developing my work as a Wellbeing Coach. When I was a physiotherapist I worked with people with long-term health conditions, so have 40 years of experience of working with people who are living with health issues – that makes me feel rather old!  I often come away from conferences with a feeling that there is a big gap between what happens in the world of research and the clinic – the coal face. Findings often don’t filter down to inform actual changes in treatments – the tools we have to offer people trying to live their day-to-day lives in the real, rather messy world.

Poor communication throughout the health service compounds the problems. Their treatment is often disjointed involving a number of departments who don’t talk to each other. If they do, letters often take weeks, sometimes months to travel between departments even in the same hospital … on the same corridor. For example, someone may be under the care of a Pain Clinic for hip pain whilst also seeing an orthopaedic surgeon who has put them on the waiting list for a hip replacement. Very often neither department is aware of what the other is doing or that they are even attending other clinics in the first place. The same happens in other conditions. Communication is so important, not simply from a clinical perspective in that more a accurate diagnose can be made, or a diagnosis of a complex condition with multiple symptoms can be made more quickly but also from the perspective of saving the NHS money and the person involved a lot of stress and time.

I’ve often thought that patients need the equivalent of a PA to help them navigate to get the best out of system and facilitate communication between various clinical departments. I also think our health system would do better focusing on health rather than symptoms, educating people about their conditions and enabling them to improve their wellbeing, so I took a coaching certificate and set myself up as a Wellbeing Coach.

It’s important to look at health from a whole-person perspective – the person in their environment and culture. Knowing a person’s whole story can mean the difference between effective care, and what is often, at best, an expensive waste of time. Past experiences, social issues, housing, education all need to go into the mix. I think Wellbeing Coaches can be a key to helping individuals as well as taking some strain off our health service.

Incidentally, when I ran a knitting group linked to a pain clinic, spending time knitting with the participants enabled me to hear their individual stories in a relaxed, safe space. I think this is so important because treatment plans should be taking these stories into account. Not only would they be more effective for the patient but would save the health service a lot of money from wasted approaches. This is particularly important in the case of individuals who have experienced adverse childhood experiences or abuse in any form. It’s important to have an understanding of how these issues affect people, how they affect their reactions to others in order to be able to optimise treatment and create an environment in which they feel safe to recover and heal.

Right now I’m focusing on running a ‘Wellbeing for People with Pain’ programme. It takes a different perspective from the traditional pain management programmes focusing on health, and improving wellbeing. I’m also writing another book based on this programme and looking at ways I can share this with others with an online version and perhaps a teaching programme to train others to run it. Feedback from participants has been wonderful, many of whom have previously been on traditional pain management programmes and ‘through the system’ a few times.

I’ve also been working with a colleague who is a film and video maker in the US to develop the Institution of Therapeutic Craft and Creativity. She is passionate about the hand/brain link and the importance of making, being creative with the hands. One of my workshops on knitting to improve wellbeing is available in video format on the site and we are working with other creative people and therapists who are developing a range of courses based on creative activities involving the hands.

KELLY:  Earlier you showed that people react differently to the word “knitting” than they do to the descriptor “bilateral, rhythmic, psychosocial intervention”.  Words often have powerful and unintended consequences. As a former professor of linguistics, I am always fascinated with language.  I know that you are now very interested in changing the language of pain.  What does this mean and how do you go about it?

BETSAN:  I first started looking at language in a lot more detail two years ago when I was asked to run my own pain management programme. My first thought was that if I had long-term pain I wouldn’t want to simply ‘manage’ it. I would want to learn to live as full a life as I could, so the wellbeing for people with pain programme was born.

The language that clinicians use sets our expectations about the condition and also about what our future of living with that condition holds. Words can set people on a path of fear, limitation and restriction or one of recovery and healing so it is really important for clinicians to consider the words they use wisely because those words can change outcomes.

As a society we often use warmongering language when dealing with disease. We talk about fighting, beating, winning the battle. It seems strange to me that we use words centred around killing and destroying when we are actually trying to achieve the opposite – to save lives, to enable people to recover and heal. It shouldn’t be about using medicine to win a battle against disease or death. If it was we’d all be losers because we all die eventually of something. Just thinking about fighting raises our stress levels to fight, fly, freeze or flop. When stress levels are high the body’s natural healing processes are tuned down, so it doesn’t make sense on many levels.

Advertisers have known how to use language and its presentation to influence behaviour and outcomes for years. It’s not just a case of not using harmful or factually incorrect language, I think we can take it further to deliberately use language and presentation to purposely improve wellbeing and outcomes.

It won’t be an easy task to change language. To do so means challenging long-held beliefs in medicine, society and individuals. Not to mention the pharmaceutical companies who thrive on promoting drugs as weapons.

KELLY:  Since I first met you, you have been battling against ingrained and often unsupportive behaviours and assumptions from healthcare professionals, scientists, and the industry in general.  What keeps you battling on, Betsan?

BETSAN:  The reality is that GPs still have very little other than drugs to offer those living with long-term health problems, particularly pain. Referral to a specialist unit can take months, treatment sessions are limited to a set maximum quota no matter how complex the issues. Care for those with mental health problems has been in crisis for some time. So when I stumbled across the therapeutic potential of knitting I knew I had to persevere because here was something that appeared to help people that was not only easily accessible to everyone but also had low cost implications for health systems.

Lorimer Moseley who is now Professor of Neuroscience at the University of South Australia and one of the world’s leading pain scientists was one of the first people to encourage me to persevere back in 2006. His support gave me confidence to ride those first, often derisive, comments about knitting. I was hugely proud and excited when he agreed to write the foreword of my book ‘Knit for Health and Wellnesss. How to knit a flexible mind and more…’

My initial theories back in 2006 have been supported by large numbers of ‘stories’ from around the world and increasingly by a number of studies of knitting in areas as wide-ranging as anorexia to preventing nurse burnout in palliative care. I’m also asked on a weekly basis to give assistance to students who are writing dissertations on the benefits of knitting. It’s great to see it developing, albeit still slowly. I can also talk about the benefits of knitting in most audiences now and people listen, so I guess we’ve made quite a bit of progress!

I’m also pretty stubborn and that has carried me through too. I have of course doubted the wisdom of continuing on this path on a number of occasions but then an email will pop into my inbox with yet another inspiring story of how knitting has worked its wonders for yet another person often when everything else has failed.

 

Model knitting

This morning, I fired up my laptop and I saw this:

Kelbourne Woolens, Mojave Collection shoot

© Meghan Kelly

Wow! I love this tank.  I love the eye-popping yellow and the beautiful shaping.  But, man, most of all I love this model!  She models all six patterns in this collection of summer tops designed by Meghan Kelly for Kelbourne Woolens.  Here is another:

Kelbourne Woolens, Mojave Collection shoot

© Kelbourne Woolens

And then, I saw this lovely retro pattern by Norah Gaughan:

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© Norah Gaughan

And once again, I love the model.  This design is from a collection of 16 patterns for Berrocco, and she models the whole collection.  Here is a great cowl pattern by Martha Wissing:

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© Martha Wissing

Let’s here it for diversity in models!  And beautiful designs to boot.

Tangles

Last month I purchased some lovely blue yarn.  This is Dye for Yarn Fingering Merino & Silk in the colourway Fading Stormy Night.

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Until recently, I wound all skeins into balls by hand.  But not too long ago I bought myself a swift and winder.  I debated whether to wind this yarn by hand regardless, as it is very fine and silky.  Speed won out over good sense (I was on my way to South Africa and planned to take it with me).  This is what happened when I tried to knit, pulling the cake from the middle:

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What is this, you say?  A tangle?  No problem; tangles just take patience and determination.  This one defied logic, however.  Instead of one strand of yarn emerging and knotting itself up, I had multiple strands of yarn emerging from the cake all clumped together.  Here is a closeup:

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I reasoned that the solution was just to keep tugging until the knot popped free of the cake, at which point I could start a de-tangling process.  Bad idea!  This is what happened:

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The cake of yarn kept regurgitating smaller cakes of tangled yarn until I had a string of knotted clumps one after the other like a mother duck and her ducklings.  Any reasonable person would have cut the yarn from the project, or ripped it out (I had only knit 3 or 4 rows at that point) but not I!  I patiently sat and unravelled the whole mess from the other end, winding it by hand into a ball.  It took a few hours (and a glass or two of wine).

Mission accomplished, I was then able to get underway with my new project, which by a strange coincidence began to take on the shape of a giant, tentacled mess – a knitted tangle to rival the duckling trail.

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To say the least, this is an interesting project.  It now looks like this; a slightly less tangled look (but still immensely interesting):

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And here is a closeup:

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What am I making?  I leave you to wait with bated breath until the next installment of this blog.

Pattern/yarn mis-match: solution!

How do you solve a mis-match between pattern and yarn?

Here’s how:

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As you may recall, I was having some troubles with my latest project.  I had picked a pattern for a pretty little summer t-shirt; the Sunbird Top by Quenna Lee.

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© Interweave / George Boe

I had paired it with Carol Feller’s yarn, Nua, a rustic blend of wool, linen, and yak.  I had nearly finished knitting it when I finally succumbed to the niggling doubts that had pursued me from the beginning: I like the pattern, I loved the yarn, but they were not a match made in heaven.  The main issue was simply that the Nua is too substantial a yarn for this project.  Even though I hit the gauge exactly, the yarn was too heavy to drape properly for this t-shirt, and, let’s face it: it knits up much too warm for a summer top.

I pointed out two other problems in my post outlining my difficulties with the project.  First, the bottom edge was curling up, more than I thought would be fixed by a good blocking, and second, I hated the top-down cap sleeves, which were puckered and terribly annoying to knit:

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Clearly, this yarn was not going to work with this pattern.  However, I was reluctant to rip the whole thing out so I started thinking about ways to rescue it by re-conceptualising it as a fall sweater.  Here’s what I did.

Buy some more yarn

This one made me laugh.  I pushed the button to buy the yarn just minutes before I saw the comment left on my blog post by Lorenza: “Three words: sunk cost bias…”  Yes, exactly!  So, let’s solve this by throwing even more cash at it!  My idea, however, was to turn this into a fall sweater with long sleeves which means I needed more yarn.  Since I didn’t want to try to track down the right dye lot, I decided to buy a different shade and make a colour block sweater.  I was going to go for a gold colour, but Doug convinced me to buy this olive green, which I adore.  Isn’t it a fantastic mix?

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Doug said it would look like the colour transitions you get on the ocean when the depth changes, and he was right.  It reminds us of the greens and blues we saw last summer on our holiday around Vancouver Island.

Rip out the bottom 6 inches of the sweater, and re-knit with the green.

Not only did I want the sweater to have a contrasting deep border of green, but I decided right away that I didn’t want the curved edging of the Sunbird Top.  It didn’t work well in this yarn, but also it wasn’t fitting into my mental concept of what I was hoping to accomplish.  So, after ripping out a chunk of the bottom, I knit it down straight, keeping the lace on the sides, and then finishing with 6 rows of garter stitch (3 garter ridges) at the hem, to repeat the garter ridges above the chest on the original pattern.  Not only would this tie in the new design with the old, but it would (I hoped) get rid of the curling problem on the edge.  I think it turned out great.

Match the neckline finishing to the edging.

The 6 rows of garter I added to the hemline gave it a very nice finished look.  I decided to add the same around the neckline.  Not only did  it tie all of the elements together, but it raised the neckline a crucial half inch, which matters now that the sweater is a warmer-weight fall sweater instead of a breezy summer top.

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Make long sleeves.

I absolutely hated knitting the original sleeves top down.  I don’t mind seaming either so the obvious thing was to knit these bottom up, flat, and then seam and set in to the shoulders.  I worried a little, since I was knitting bottom up, about getting the line matched up where the blue switches over to the green, but think I planned it out perfectly:

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For those who like to know these details, the sweater measures 11.5″ from the underarm to the bottom of the blue; the green is then another 5″.  For the sleeves, I knit 6.5″ of green, and then switched to the blue for another 11.5″ before starting the underarm decreases. I do think that it stretched a bit when I washed it (gaining just under an inch in length), but it seems to have stretched evenly, as the colour transition still lines up perfectly.

I had to re-knit the sleeve cap three times before it fit properly.  The first time, I even set it in, but the armscythe felt tight and bunchy, so I ripped the seam out, and started the cap over.  I do think that the seam looks pretty good and that the cap fits much better than the original cap I was knitting top down.  If you recall, when I knit the body of the garment, I started with a larger size across the top (a 46″) and then switched to a 43 at the underarms.  This was definitely the wrong choice, and if I was being totally picky, I should have ripped the whole thing out and started again to make the shoulders narrower.  Although I think this sleeve fits pretty well, I do feel it would be a better fit at the shoulders if it were an inch narrower at each side.

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While I still have a few niggles with this, all-in-all I think it is a pretty good save!  The Nua washes up great, it has a lovely silky feel to it and feels fantastic next to the skin.  It is warmer than it looks (due to the yak, I suspect), while the linen makes for a rustic look and adds depth to the colour variation (the linen doesn’t pick up the dye in the same way as the wool).  I have switched this on Ravelry from a Sunbird project to a “incorporates Sunbird” project, and have re-named it Ocean Waters.

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Now, as often happens, I’ve knit a fall sweater just as summer kicks in!

Library in a telephone booth

In this day and age when everyone has a phone in their pocket and the telephone booth has virtually disappeared, I was pleasantly surprised to see this:

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We stumbled upon this lovely old British telephone booth on a tiny village common.  It has been turned into a free book exchange for the community.  The idea is to leave books you no longer want and take ones you do.  What a cool idea: no rent to pay, no staffing needs, no closing times.  If you find yourself without a book to read in the middle of the night (heaven forbid!) all you need is a flashlight and a pair of boots and you can fix what ails you.

I love this idea!  Now to have one for stash yarn……

Storing your knitted swatches

I always have trouble with swatches.  Not in the act of making them – swatching can actually be kind of fun – but in the storing process.  Specifically, how to store them with the appropriate information attached so that you can access it again.   Normally, I will knit one or two or three swatches with a particular yarn, using different sized needles.  I will then wash and block and carefully measure the swatches.  They will then get thrown in a plastic bag and put in a basket for a while.  Some time later, I will find the swatch but not know what size needle I used, and just to be sure, I would knit the swatch all over again.

I have tried to be clever and write it down in a way that I can access the information many months, or years, later.  Storing notes on Ravelry would be useful, but it still doesn’t let you feel the swatch and decide which fabric gauge is most suitable for the project you are thinking about.  Of course, normally I just scribble it on a piece of paper and the information is lost to posterity and when I find a swatch I want to replicate into a garment I don’t know the needle used, and often don’t know what yarn it was knit in either.

I tried attaching the labels to the swatch, by pinning them for example, but this never worked.  Put enough swatches into a bag and they end up all jumbled up and the labels get detached.  I read somewhere about using yarn overs in the swatch to indicate the needle size – 3 yarn overs, which create 3 holes across one row of the swatch, would indicate a size 3 needle.  Well, this caused problems for me because I live in a cross-over world where I equally use US needle sizes and European sizes (in mm), and also because what do you do with half sizes?

Recently, I decided to try something new.  I knit the swatch, wash and block it, and then store it in a plastic file folder that hooks into a ring binder, along with all of the relevant information – yarn, needle size, stitch used, etc.  Here is an example:

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This is a swatch knit with Carol Feller’s yarn, Nua.  In the pocket is the actual swatch along with a piece of paper with the relevant information written on it.  In this case, it tells me that the swatch is knit in stockinette with a US 6 needle, that Nua comes in 50g/140m skeins and is composed of 60% wool, 20% linen, and 20% yak, that the colour used for the swatch is called Unexpected Macaw, and that the blocked gauge is 22×34.

Here are two swatches that I made for my Form pullover:

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This pullover was knit with two strands of yarn held together.  I knit two swatches with two different needles.  I have created a separate page for each needle size, so that the two swatches are easily identified without having to take out a measuring tape to see which is which.  The information on the page identifies both of the yarns used.

Here is another example, in which I have included both the stockinette gauge and the ribbing gauge for the 4ply Hampshire yarn from The Little Grey Sheep:

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I use a very heavy-duty clear pocket folder made by Leitz.  I have a couple of boxes of them left over from my years in Germany.  This method won’t work with the typical floppy lightweight folders; you must have access to the heavyweight type.  I imagine you can find them in a good stationary or office supply shop.

What I like about this method is that the swatches can then be stored in a binder on a bookshelf, all the information is contained in a readily accessible way, and the swatches themselves can be large enough to be be useful.  I have only been using this method for the past few months.  We will see whether it turns out to be practical over the long run and also whether I will actually stick with it (I am notoriously unorganised).

Do you struggle with keeping track of your swatches?  Have you developed any good tricks?

“Off to the Knitting Project Naughty Corner with you!”

In my last post, I talked about the problems I was having with my current project which boiled down to a mis-match between pattern and yarn.  I am pursuing a devious plan with respect to that project, but will instead here reveal another project misadventure.  A few weeks ago, Doug was away on a business trip to China.  I thought it was a perfect opportunity to try to get started on a secret project for him.  I had seen some lovely mini-skeins of 4-ply Hampshire yarn from The Little Grey Sheep, at Loop in London (or, rather, on their website).  I bought one in virtually every colour they had in stock for some experimenting:

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I had decided to make a striped button-down vest.  I did the requisite swatching for tension, worked out the math, spent a very long time doing 1×1 ribbing for the waistband, and then began striping.  What I failed to do was to actually swatch some striping sequences to see if these colours worked together, and if so, how they would work best.  I blame this on the fact that I wanted to get a start on actually knitting the garment while Doug was away.

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Here is where I got to when I had the unfortunate image of a 1970s kitchen pop into my mind.  Those of you who are old enough may remember these avocado, burnt orange and mustard colour schemes that dominated every kitchen of the era?  It gave me a shudder and I just couldn’t knit anymore without seeing those kitchens.  Among the mini-skeins there were also a number of pinks and purples, but these didn’t seem to work with the other colours either:

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What to do?  I mentioned it on Ravelry and most people said (rather sensibly) “Why don’t you ask Doug?”  So I did.  Doug actually has no problem with the colour schemes, or including the pinks and purples.   His criticism: “Stripes are boring: couldn’t I do something to liven them up?”  You know all those women knitters who complain that their husbands only want boring garments?  Clearly, I do not have that problem.

I worked out an interesting way to liven it up, which would involve my needing more of some of the colours, and then went on-line and discovered that those colours were all sold out.  Grrr…..

So, what to do?  “Off to the Knitting Project Naughty Corner with you!”  We will see if you look better after a prolonged period of time-out.  (Most likely I will rip and re-purpose this very lovely yarn.)

While I am on the topic of bad news, I am half-way through a two-week business trip to Johannesburg.  I got sick the moment I arrived.  It is cold here and overcast.  I have a heavy teaching load and am feverish.  I am in a hotel room by myself.  I am too tired at night to knit.  Boo hoo.

Not wanting to drown in self-pity, however, I will end this post by showing you some pretty new yarn.

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This is a fingering weight 75% wool and 25% silk blend hand-dyed by Dye for Yarn, in the gorgeous colour Fading Stormy Night.  Beautiful, no?

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It is for a special new project which I intended to knit here in Jo’burg.  So far, not happening, but tomorrow is Saturday and maybe the knitting gods will smile on me.