Thanks to everyone who has responded to the Knit Local idea. We’ve got a new group flourishing on Ravelry – invite yourself in if you’re interested! I envision it as a resource for crafters trying to find local producers, research the origins of various yarns, discuss local yarn substitutions for popular patterns, and spread the word about small companies they love, as well as a showcase of beautiful knits made from local materials. Perhaps it will spawn swaps as fiber enthusiasts from different regions exchange hard-to-find local gems.

While I’m dreaming about the directions Knit Local could take, I’ve also been knitting. I’m thisclose to finishing my Indigo Ripples skirt: only another ten inches of the (seemingly interminable) bind-off row remain, and the quest for a suitable drawstring, should I opt out of the five feet of i-cord.

I’ve got a cabled hat going for my brother’s belated birthday present, in a lovely alpaca grown in our hometown by a farmers’ collective called Honey Lane Farms. This stuff comes in 52 colors, and it’s soft as a baby’s bottom.

Speaking of babies, I’m bog-bog-bogging along on a Baby Bog Jacket for the little man across the street, whose first birthday is next week. I’ve passed the “thumb trick” arm divide and I’m getting ready to toss in a handful of shortrows and a measure of shoulder shaping. All that garter stitch makes good carpool knitting, now that school is back in session.

Oh, school. The year promises a steady rolling boil in all the pots on the stove, requiring precise timing and keen attention, but will be fulfilling if I can keep a cool head while coaxing all the projects to fruition. I haven’t even counted the minutiae I’m responsible for this year on top of the major publishing efforts; I’m just taking it as earning my stripes in this place where everyone gives all they’ve got for the kids and one another and the broader community.

Besides, the sun is out this week, and September in the Northwest, when it’s good, is very, very good indeed. All that blue knitting might reflect inaccurately on my mental state, so here’s a glimpse of what’s next:

I’m not going to blog it just yet because it’s a secret something for a special someone with an approaching birthday who sometimes reads here. But tune in on Ravelry to glimpse the pretty in the next couple of weeks.

Finally, thanks to everyone who’s written with kudos and excitement about my Footlights Cardigan. I’m loving the absinthe-green version just as much as the yellow one.

(Even if I did accidentally knit an extra repetition of the lace pattern on the second sleeve.)

Yesterday’s news (to me) that Butternut Woolens had closed hung heavy in my heart. Shelly’s wrenching post about giving up her farm, her dream, her family’s lifestyle, her sons’ chance to grow up on the land as she did, touched something deep. I’m a rural girl — not a farm girl, but a woods girl, an island girl — who moved to the city, but all along I’ve trusted that the doors are open to go back to that life of forests and fields, seashore and small town, flora and fauna and clean air and quiet.

But it’s hard to make a living close to the land nowadays. My sister-in-law and her husband breathe the struggle every day as they fight for their dream of living off the land in Texas, or Oklahoma, or wherever they can manage to lease enough acreage and scrape by to get their lambs to market. The scope of their vision, their sheer cussed determination to make a go of it in a profession conventional wisdom says is doomed, has always astonished me. But dreams like Shelly’s — a five-acre plot, a modest menagerie of sheep and rabbits, a little business dyeing, spinning, and selling wool — it saddens me deeply to see those die. It wasn’t so long ago that many, many Americans lived this way. I’m not saying I think life was easy for them, or financially stable. I just want to believe that it’s still possible to farm on a small scale, as a vital part of a local economy. I want to live in a world where you can get eggs and milk and produce and wool from your neighbors, because I think it’s a sustainable way to exist, and because I value the bonds that are formed when your children can see where their food comes from and when neighbors know they can rely on each other for help, solace, and celebration.

These relationships exist in the urban world, too, of course. I’ve never had as close-knit a group of neighbors as I do in Portland. I love that we’re part of a CSA (Community-Supported Agriculture) that lets us help with the farm work now and then. It’s important to me that we can get good food that hasn’t had to travel around the globe to reach our table. But yesterday I started to think: if Local is valuable to me in my food, and in the clothes and goods I buy, why haven’t I carried that sentiment over into my knitting? Why haven’t I committed to supporting small farmers like Shelly whenever I can?

So I’m trying the idea on. At this point, I’m not ready to go totally ascetic and cut international brands like Rowan out of my yarn diet, but whenever it’s possible — financially and design-wise — for me to support a local grower or dyer or spinner instead of buying a more commercial fiber, I’m going to do it. This means buying Oregon stuff when I’m at home (I’m eager to try the Imperial Stock Ranch wool, for instance), but doesn’t exclude souvenirs from my travels. If I can’t achieve a design idea with something local, I’ll still try to favor a small, family-run producer over a big company. With my rudimentary skills in Adobe Illustrator, I made a little button:

Download it to your computer and put it on your blog if you think you’d like to support more farmers and artisans in your own community. (Or use your own superior skills to make a better button, and then come back here and tell me about it!) I might even start a Ravelry group where folks can share their local-origin knits.

The background photo in the button is another skein of sock yarn from Butternut Woolens. I happened to be loitering in Abundant Yarn (a great resource for local stuff – they do a lot of their own dyeing with natural dyestuffs, and they also carry Imperial Stock Ranch and a number of other Oregon products) yesterday afternoon, and I spied this tempting skein of shifting rusty reds in a display basket. I picked it up, and lo, it was from Butternut Woolens. It was one of only a few remaining skeins, and it felt like a sign after I’d been mulling over Shelly’s quandary all day, so home it came with me. The gesture was small, too little too late, but it felt like a tiny step in a worthy direction. Butternut Woolens may be gone, but a beautiful pair of red socks in my drawer will remind me that it existed and meant the world to one woman in Gaston, Oregon. Thank you, Shelly, for the lovingly crafted yarn, and for opening my eyes a little wider.

I came home from Knitting Camp determined not to buy any more yarn for a good long while. My suitcase was stuffed full of Unspun Icelandic, Jamieson’s Shetland Jumper Weight, angora-wool blend from Kimmet Croft for some Bohus experiements, Satakieli for mittens and a hat (and a couple of skeins as a present for a friend), and a gorgeous lone skein of Bartlett Aran-weight called Blackberry that was too tasty to leave behind. And the home stash is already, shall we say, sizable. But as soon as I figured out I was going to run short of yarn for the secret cardigan, I panicked. I ran all over town (and this town has a lot of yarn stores) in search of a substitute. Sometime I’ll show you a picture of my new Yellow Yarn stash. I was contemplating everything from unraveling a sportweight to get at a single ply to dyeing blanks myself. I was ready to try some Koigu sock yarn in a promising color. I ordered a variegated skein online that looked like it incorporated the right yellow, even though I knew I’d have to experiment with bleaching the darker brown portions. And finally I took the advice of a cool-headed reader and went over to Ravelry to see if anyone was willing to swap some stash. It’ll never work, I thought. The yarn I’m using is too obscure and too old. Even if someone had something I know comes in a similar color and preparation, like Malabrigo Lace, there’s no way I could get it in time to meet my deadline.

And then there they were. Three beautiful cheese-doodle marigold skeins of Malabrigo Lace in Sunset. In the stash of a local knitter who happens to be a friend of a friend, with whom I’ve already corresponded on Ravelry: Tracy knit one of my favorite versions of the Twisted Tree pullover for her younger son. Tracy was willing to let me buy one of her skeins, so yesterday evening I cycled up to her house, met her family, had a little chat, and cycled home again with the precious ball tucked into my backpack. I’m alternating rounds with the old yarn and the new, but the match is so good you can’t even tell.

That’s my first try at a tubular bind-off, by the way. It takes an age in comparison with the old leapfrog standby, but doesn’t it look nice?

I did it last night while I was watching History Boys, which I liked up until the bizarre ending. (We looked it up and found it was adapted from a play, which makes perfect sense, and also that the cast were mostly the stage actors from the original production, which explains how good they were.)

Anyway, I’m finishing one sleeve tonight and since there’s no seaming to be done, I have every hope of finishing by the end of the Tour! A thousand thanks, Tracy. If good karma doesn’t flood your way for this kind act immediately, I’ll personally go beat it out of the bushes and shoo it towards your front door.

Would you believe me if I told you knitters’ heaven is at a Holiday Inn in Marshfield, Wisconsin? I don’t know about eternity, but I could spend an awfully long, happy time amid the heaps of beautiful sweaters, hats, mittens, etc. knit by Elizabeth Zimmermann, under the kind and gracious tutelage of Meg, Joyce, and Amy, with scores of inspiring knitterly comrades. We stuffed our brains with new techniques and sage advice, we drank good beer at the pub across the street, we laughed and chattered for hours and applauded each other’s successes. And we knit like fiends all day long and into the night. Jen and I even woke up early to knit and watch the Tour from our beds.

All too soon the weekend was over and I was boarding a plane to return home. As I did so, I came crashing back to earth most unpleasantly: I discovered that I am going to run out of wool for my yellow cardigan. I thought 850 yards was plenty, but I was wrong. Of course, when I misjudge things like this, I pay heavily. The yarn is from Uruguay; it’s been in the stash for three years; they’re not making the same color any longer. So yesterday saw me in a frantic scramble around town to find a yellow laceweight that was similar enough to substitute. No dice. I bought a skein of Socks That Rock mediumweight in 24 Karat with the insane idea that I might be able to unravel it and use a single ply. This is madness, of course, and will probably lead to ruination (the yarn’s) and despair (mine). I also went online and ordered a skein of Lanas Puras Melosa laceweight in Sunset, which looks like a very similar yarn, but seems to have more brown than my yarn. If it’s really brown, I’m tempted to go all Kay Gardiner and take the bleach to it. (Of course I’ll try this on a single strand before I dip half a skein in. I’m not that far gone. UPDATE: DON’T BLEACH WOOL. It dissolves. Luckily Véronique pointed me to a scientific article about this; I didn’t find out the hard way.) Either way, I’m like poor John-Lee Augustyn, having face-planted off the mountainside and lost my bicycle down the scree, now forced to wait by the road for the team car to bring up a new machine. So I thought I’d keep the French spirit of my knitting alive and finish this:

This is something I’ve been plotting for a long while. My grandmother was fond of the work of a French surrealist named Jean Lurçat, who worked in both textiles and ceramics. I don’t know much about him, but I’ve seen a tapestry of his in the Vatican Museums, and my grandmother (a needlepoint artist herself) had purchased the most wonderful rooster tapestry on one of her visits to her brother and family in France. My cousin has it now. We also have a small collection of black-on-yellow ceramic tiles by Lurçat, the best of which I let my brother take on the condition that he send me a picture of it so I could incorporate it into a knitting design:

I wasn’t sure how I was going to pull this off until I saw Joyce and Meg’s book on Armenian Knitting last fall. Aha! You carry both colors throughout the entire hat, intending the trapped stitches to show through, and then you just bring the contrast color to the fore to make your design! Genius!

See the little flecks of yellow showing through the black? Doesn’t it look tweedy? You know how I feel about tweed.

Inside, it looks like this:

Loose floats all over, but you can just make out the rooster in reverse where I carried the yellow as the main color and trapped the black. These yarns, by the by, are both Socks That Rock lightweight. Korppi and Pondscum. The best part is that when I picked them out at Madrona last winter and explained what I was going to do with them, Tina knew who Lurçat was and was enthusiastic about the project.

So, one Camp project down. I’ve got another to show as soon as I weave in the ends, and a third to work on during the Tour over the next day or two while I wait for my yellow laceweight to come. Hurry, little skeinlet! I need to get back in the race!