The Knitting Sutra: Craft as a Spiritual Practice

The Knitting Sutra: Craft as a Spiritual Practice

by Susan Gordon Lydon
The Knitting Sutra: Craft as a Spiritual Practice

The Knitting Sutra: Craft as a Spiritual Practice

by Susan Gordon Lydon

Paperback

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Overview

Available for the first time in paperback, The Knitting Sutra reveals how women can learn to knit their way to nirvana.

When Susan Gordon Lydon was coping with a broken arm, her craft took on new significance. While knitting was essential to strengthening her hands, it also provided her with a newfound sense of peace and creativity. Immersed in brilliant colors, textures, and images of beautiful sweaters, Lydon found healing and enlightenment in a way she had never imagined. Capturing this journey of discovery, The Knitting Sutra recounts her remarkable membership in a community of craftswomen around the world, from sweater makers in Scotland to Navajo weavers, and the adventures that her craft led her on.

As she masters new techniques and conquers old obstacles, Lydon’s story conveys how the lessons she learned from knitting, such as stillness and interdependence, later sustained her through a cancer diagnosis and even the incapacitation of her hands. The Knitting Sutra is both a meditation on craft and an affirmation for anyone seeking heartfelt comfort.

Product Details

ISBN-13: 9780767916332
Publisher: Clarkson Potter/Ten Speed
Publication date: 04/27/2004
Pages: 176
Sales rank: 936,235
Product dimensions: 5.50(w) x 8.50(h) x 0.35(d)

About the Author

SUSAN GORDON LYDON is a regular contributor to the knitting magazine Interweave and the Knitlit anthologies. The author of Take the Long Way Home, she has written for many national publications, including The New York Times Magazine, The Village Voice, and Ms., and she writes a column for the Oakland Tribune. A resident of the San Francisco Bay Area, she conducts knitting workshops and is working on a new memoir of knitting.

Read an Excerpt

Chapter One

A Broken Wing

I Used To Laugh when my daughter described me as "my mother, with both feet firmly planted in midair." But that was before I actually landed there, stepping backward off a deck literally into thin air.

I was visiting some friends in the Napa Valley who've built two houses on a mountainside there. The late summer day was hot and lazy, and I sat on the upper deck watching hummingbirds come to a feeder. I wanted to study the birds in more detail, so I began to back away from them, trying to fix them in focus in my binoculars.

There's nothing more shocking, in my experience than bringing your foot down, expecting solid ground and finding, after it's too late and you've already lost your balance, that you're stepping into empty space. I tumbled off the deck, arms flung back, binoculars flying, before I even knew what had happened.

I don't recall touching down; I must have blacked out as I landed. When I again became conscious, I was rolling and bumping down a flight of wooden stairs. Time had slowed, the way it does when your life is threatened. I felt as though I had been and would continue to be falling down those stairs forever, like Alice down the rabbit hole. "Everything will be different now," I thought to myself Somewhere in the far reaches of my mind loomed a clear understanding of how, in a single second, one tiny misstep could suddenly change a person's life.

I finally came to rest at the foot of the garden, stairs, legs splayed out in a strawberry patch, upper body flung across the bottom step. My rightarm hurt, with a burning sensation, somewhere between my shoulder and elbow.

As it would later turn out, a doctor friend we called from the house diagnosed my problem without even seeing me. "It sounds like a broken humerus," he said. "They won't be able to put it in a cast, because if they did you'd never be able to move your shoulder again. They'll probably give you a sling."

Soon a fire truck, ambulance, and what seemed at the time like a car full of local politicians appeared on the scene, sirens blaring. I thought the paramedics would give me something for the pain, which by now was intense and throbbing, but they had to see if I'd suffered a head injury first, so they put me on a stretcher and began the long trek to the hospital. The dirt road down the mountain was rutted and bumpy; each time the ambulance jolted and jostled my arm, I sobbed with pain. I asked the paramedic what he thought had happened, if I had torn a muscle or a tendon. I worried that my injury wouldn't be severe enough to justify this degree of drama, more fearful of embarrassment than I was of being disabled. I felt guilty about having ruined everyone's weekend.

My hostess sat with me at Queen of the Valley Hospital; it took hours before anyone in the emergency room got around to seeing me.

Finally, after a painful series of X rays, a nurse appeared at my bedside with a syringe in her hand. "You've got a really nasty break there," she said. "No wonder you're in so much pain."

I'd been in recovery from opiate addiction for almost five' years, without so much as a pain pill in that time, and the shot of Demerol the nurse gave me felt so strong I thought I would leave my body. It occurred to me that I should ask for something nonnarcotic, but I was just in too much pain to refuse the relief, so long in coming, that now crept over my ravaged body.

It seems a truism, but until it happens to you it's almost impossible to understand how helpless you can be with one of your hands or arms out of commission. The simplest tasks presented a complex engineering challenge to me; I couldn't drive, write, or cook, and it sometimes took me all day just to accomplish the barest minimum of life-sustaining activities. My friends did my grocery shopping and drove me to my various medical appointments: orthopedic specialist, chiropractor, Chinese herbalist. I liked to call the crowded orthopedist's office the "Boulevard of Broken Bones."

Others made jokes as well. "Bird-watching. Not for the faint of heart," said one of my daughter's friends when I told him what had happened. "Next time why don't you try bungee jumping instead?" My friend Peter Mitchell claimed I had fallen because "not being from California, you don't have 'deck sense! If it had been a fire escape you would have been fine."

Of course the truth was far more mysterious and, as usual, remained inscrutable. Looking back it seems as though the hummingbird I'd been watching led me off the deck and into an unknown world so I could learn something that wouldn't have been accessible to me unless I shed everything familiar and approached my life from a different perspective.

I've always been the kind of person who worked with my hands. I sewed, knitted, beaded, did needlepoint and embroidery, crocheted, and drew. I've worked out many problems in my mind while my sewing machine needle flew across the fabric or my hands performed some rhythmic repetitive task. None of these things did I take all that seriously. If anyone had asked me, I would have described them as hobbies, though frequently I earned money from them. But the thought of losing the ability to do them was almost beyond my power to comprehend and forced me to view them in a whole new light.

The Knitting Sutra. Copyright © by Susan G. Lydon. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

Reading Group Guide

The Knitting Sutra is a groundbreaking work, the first book to acknowledge that the kind of spiritual connection that we seek in yoga, tai chi, or meditation can be found in the handcrafts that women have pursued for generations. With their own lore, rituals, and traditions, knitting, and other crafts can resemble the familiar spiritual practices that have been providing meaning for many cultures.

Knitting and reading have a lot in common - both are self-sufficient, endlessly entertaining, sometimes all-consuming. Both can also be solitary endeavors, but knitters and readers have known for years that by sharing their thoughts and their time with others who pursue the same activity, they find more pleasure and enrichment. Enjoy the reading, crafting, and sharing journey that Susan Gordon Lydon invites you to join in The Knitting Sutra.

1. Do you feel a personal connection between craft and spirituality?

2. What connection does your craft have to your family, cultural heritage, or history? What traditions are passed down in your family? Do you have clothes, blankets, or doilies that were made by a family member, either someone close like your mother or father, or several generations back, or even someone close enough to be family? What connection do you feel with the objects they have made?

3. Discuss the idea of "practice," in its secular and spiritual meanings, as it relates to knitting.

4. Does your craft bring you into a community? Are there people you sit around a project with, like a knitting circle or quilting bee? Is there a group that has sprung up around a craft store? Do you like being part of an on-line knitting community?

5. If you lost the use of one of your arms, what would you miss most?

6. Do you have any passion or desire, outside life's basic necessities, so strong that you would literally sell your clothes to fund it?

7. Is there a connection between work and play that comes into your craft? Is it as satisfying to craft without making something useful? Do you think you would enjoy making your livelihood as a professional crafter?

8. Is there a connection between the physical aspect of your craft and its importance to you? Do you like to "get out of your head" by spending time with your knitting needles, or keep your fingers flexible, or enjoy the texture of the materials?

9. Do you make or contribute to the production of anything else of practical use in your life? Do you grow herbs, bake, work in manufacturing?

10. Which is more important to you - the process of making something, or the finished product? How do you feel when something is finished?

11. What do you think someone could learn about you from observing your hobby?

12. How willing are you to accept mistakes in your projects?

13. Many religions use beads, knots, or other objects as complements to prayer. Do you ever feel that your handwork has a religious component, whether formal or not? Have you ever made a prayer shawl, or a yarmulke, or a christening gown?

14. Who is the intended user of your finished projects? Do you knit mostly for yourself or for others? Is it more enjoyable to give a knitted item to someone you've been thinking about while you make it, or to imagine using it yourself, or to give it to someone you may never meet?

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