Saxon Merino Yarn From The Yarn Store

Follow Our Colors

Follow CatskillMerino on Twitter

Read The 

Farm Newsletter

Pasture Raised Lamb From The Lamb Store

Sold Out Until July 2012

The Garlic Store

New York City

The Farm Stand

In Union Square 

Blog Categories/Tags
1/2 & 1/2
120
36
3rd Party Certification
Albert King
Ansel Adams
Antibiotics
Antoine de Saint-Exupéry
Art
Art Knowledge News
Audible
baa
Barthes
Basic Lamb Recipes
Baudelaire
Big Food
Big Yarn
Biking
Bill of Rights
Bittman
Blanket
Bolano
Botticelli
Botton
Breeding
Breeding Stock
Buddha
Bullamalita
Capitalism
carnivores
Catskill Merino Hat
Cesare Pavese
Cezanne
Chunky Yarn
CIA
Cicero
Clara Parkes
Cochineal
Colette
Colorant
Constable
Cooking Lamb
Corriedale
Coup de Grace
Coyotes
Criticism
David Foster Wallace
DaVinci
Delanceyplace
Deworming
Discount Code
Dogs
Dominion?
doxa
Drugs
Duck
Ducks
Dye
Eartag 36
Eating Policy
Electric Fence
Employment
End of Poverty
Ewe 159
Exercise
Experimental Dyeing
Factory Farm
FAMACHA
Famous Knitters
Farm Help
Farm Stand
Farming
FDR
Fecals
Festival
Fish
Flaubert
Florence Fabricant
Food
Food Deserts
Food Flock
Food Politics
Food Swamps
Foodie
Frances Middendorf
Francesco Mastalia
Garlic
Garlic Cultivation
Georgia O'Keeffe
Gift Certificates
Goncourt Brothers
Gordon Lightfoot
Grazing
Grazing 2009
Great Expectations
Green Mountain Spinnery
Green turn
Greener Shades
Greenmarket
Greenmarket; Union Square
Hahn
Hand Dyeing
Hand Dyeing Workshop
Hang Tag
Hang Tags
Hannah
Hats
Hats for Haiti
Headcheese
Heather
Heather Yarn
Heatwave
Hemingway
Herbicide
Improv
Indigo
Ink
Intelligence
Interns
Irene
Irony
Jack
James Joyce
James Woods
Jane Austen
Jimi Hendrix
Johnny Cash
Judy Geib
Kafka
Knitter's Review
Knitter's Slideshow
Knitting
Knitting Gauge
La Gioconda
Lamb
Lamb 072
Lamb 427
Lamb Andouille Sausage
Lamb Bacon
Lamb Cuisine
Lamb Gallery
Lamb Jerky
Lamb Recipes
Lamb Sausage
Lamb Sausages
Lamb Stew
Lamb Stones
Lambing
Lambing 2009
Lambing 2010
Lambing 2011
Lambs
Lamb's Quarters
Latin
Lede
Leg of Lamb
Limited Edition
Limited Edition Color
Limited Edition Heather
Little Phrase
Madder
Maiwa
Manure
Marcel Proust
Market
Martha and the Vandellas
Media
Merryville
Metaphor
Michael Pollan
Micron
Mittens
Montaigne
Morning
Movies
Mrs. Dalloway
Munch
Muses
Music
My Base & Scurvy Heart
Nabokov
Nadar
Natural Color
Natural Colors
Natural Dyes
Needs
New York
New York Times
Newsletter
Nietzsche
NYT
Oil
Olivia Sethney
On Reading
Osage Orange
Overheard
Painting
Pasture
Pater
Pattern
Blog Entries by Date
Thursday May 17, 2012

artwork: Georgia O'Keeffe and Orville Cox, Canyon de Chelly National Park Monument, 1937. - Photograph by Ansel Adams ©2011 The Ansel Adams Publishing Rights Trust.- Courtesy of the Florida Museum of Photographic Arts

At Chelly National Park Monument, photograph by Ansel Adams 1937

"More than 50 photographs by Ansel Adams are on exhibit at the Florida Museum of Photographic Arts in downtown Tampa...through July 6."

Art Knowledge News

§

This photograph brings to mind that we rented a darkroom in North Beach and I learned how to develop and print black and white film from Noel, Ansel Adam's granddaughter.

Posted by: Eugene Wyatt
5/11/2012 8:48 am

We vaccinated the ewes with 2 ml of CD/T (Clostridium perfringins types C and D) vaccine SQ (subcutaneously). We vaccinate all sheep annually with CD/T. Most importantly we must vaccinate the bred ewes before lambing so they confer a passive immunity to the newborn lamb through its ingestion of colostrum, the first milk from the dam's udder, which conveys various antibodies along with those from the vaccination that will protect the lamb until its own immune system develops.

Death caused by Clostridium perfringins types C is rapid (within 24 hrs) but painful; when the symptoms are observable, treatments are usually in vain.

To vaccinate a sheep is to say, "Not yet Death, this sheep is not ready to die, we can live for a day, a month, a year, a lifetime even." We are Max von Sydow who plays a 15th century knight who plays chess with Death attempting to avoid life's inevitable and unavoidable checkmate, in Ingmar Bergman's film the Seventh Seal which was taken from the Book of Revelation. 

And when the Lamb (having seven horns and seven eyes) had opened the Seventh Seal, there was silence in heaven for half an hour. Revelation 8:1

What differentiates farming from other occupations, is that farmers determine when a living thing dies, be it a lamb that I take to the slaughterhouse or a carrot that a vegetable farmer pulls from the ground. Vegetables die anonymously; they fit well into the industrialized food machinery that Mark Bittman describes in The Human Cost of Animal Suffering, New York Times March 13, 2012.  

I like Mark Bittman for his column in the Times, The Minimalist which ran for 13 years; his recipe for a butterflied leg of lamb with pesto was memorable for the invention, the idea, the simplicity and of course the taste; he has given of us many good recipes including those which have meat as a component. Mark Bittman is a champion of animal welfare, a critic of the factory farm and of corporate agriculture in general that produces adulterated food as it generates cash flow. I applaud him for his work against industrial methods of food production; those applied to vegetables are bad and those applied to animals are worse.

But where I question him is his statement that killing animals is "maltreatment," I would agree with him when it comes to animals slaughtered in a conveyor belt factory of death for fast food chains and supermarkets which is the way most livestock meet their end.  But here is what he says in the Times:

None of which justifies egregious maltreatment. (Yes, vegan friends, I get that killing animals, period, is maltreatment. This ambivalence, or hypocrisy if you prefer, is for every ambivalent or hypocritical omnivore or flexitarian a puzzle, and scale is an issue.)  That maltreatment must first be acknowledged in order for us to alleviate it.

He is absolute: "killing animals, period, is maltreatment." He goes on to describe a middle ground that permits the killing of animals "that allows our children to make more humane decisions." Does he mean that, if our children are to continue as carnivores (which he supposes), this middle ground will allow humane ways of maltreatment?  

Is there a way to kill that is not maltreatment, how, how does one handle this killing, what does one do? It is this so called middle ground that has our answers. To change a person's eating habits is probably more difficult than changing his religious faith. If you want to eat more meat, go ahead, as I am not sure more or less meat, within reason, is worse or better for you or for the planet for that matter; the studies that prove this to be true or disprove it are flawed by their minuscule or prejudicial sampling.  Almost everybody in America has a car or two and many have lawn mowers but few people have cows; to blame global warming on livestock is ludicrous for that anecdotal statement alone.

The uncontrolled population growth, abetted by the large corporation needing more consumers for their products, has not been successfully addressed. All food and environmental problems stem from this. There are too many people in the world now and there will be even more of them in the future.  Who addresses this problem; it's back burnered for sure

§

Saint Augustine said that we can not justify our existence by the experience of it  alone—something is missing—what he describes here is a void, a spiritual necessity in man that is filled by God. Or I might add, filled by feelings of guilt.

On Saint Patrick's Day Mark Bittman published a recipe for beef stew and did not specify how the cow was killed for it's meat.  The recipe was delicious reading and I wonder how many of his readers, those who followed the recipe, bought beef from cows that had been killed in an industrial processing plant, one that, according to what he's written, he abhors for the maltreatment inherent in the way they handle livestock and kill them. 

Maybe I'm wrong but I sensed feelings of culpability (and those feeling are as good as they are real; they are a beginning) from reading the March 13th column and the one that followed it in the New York Times on March 16th, No Surprise: Meat Is Bad for You 

§

I really wouldn't bring up my beliefs if it were not relevant to the topic at hand.  I am a bad Buddhist for reasons different from the many good Buddhists who believe me a bad one. 

Several years ago, Carol, a Tibetan Buddhist and a local sangha member, whom I'd invited over to the farm for two reasons (I was tempted to join a Buddhist sangha and I wanted her to let me touch her breasts), after smelling the complex living fragrances of a sheep barn, turned up her nose as if to say, it stinks of death here, and this fact of her being able to find unpleasant the odors that I find lovely, along with her telling me on the hillside above the sheep barn that the head monk of her sangha had told her I would not be a suitable member because I had sheep, I knew, looking down at the flock before the barn—a little intoxicated with their aroma—and smiling slightly but sadly, that not only had I been barred entrance to her sangha, I would never be able to touch her breasts. 

I don't actually draw a knife across the throat of my sheep but I select the ones that are to be killed that day and I transport them to the slaughterhouse. I suppose for these ancillary facts I am considered a bad Buddhist in the eyes of Carol and the good many of her fellows. Nevertheless I sit six mornings out of seven, I do zazen, except on the morning of the day that I spend at market in New York, on Saturday. Why do I sit?  Even when it's difficult or I have things on my mind and it seems tiresome and long, I enjoy the discipline.

The Japanese Zen master Eihei Dōgen 永平道元 (1200-1253) said that, "Zazen is enlightenment." What did Dogen mean? Zazen is one of the the first practices taught to those starting on a Zen path; beginners are told to focus their attention on the breath as it goes in and out of the body—when you notice that your mind has wandered, you return your attention to the breath. And like the breath, the question a Zen practitioner keeps coming back to is, "Enlightenment, what is it?" If the Dalai Lama were not enlightened, who could be; or is he just the simple monk he says he is?

Conundrums are learning opportunities; but there is no guarantee of learning the right thing, you could learn the opposite; there is no guarantee. And life comes with a too late clause; many people die before they're ready, as if anybody is ready to die, in sound mind. 

Maybe we can come closer to understanding the process of enlightenment elsewhere. Let's attend a meeting of Debtor's Anonymous. DA is a 12 Step program, "Hi, my name is... and I'm a debtor."  A debtor who is having a hard time being solvent will hear from the DA audience she's tearfully or angrily confessing to, "Keep coming back." 

We may even feel responsible for our lack of solvency, for our unhappiness. And we may even feel that we deserve it. This lack of happiness can haunt us; people often see a therapist. 

What progress toward a successful therapy (sans medication) does for us, as does the approach to Enlightenment, is to make us into the recipients of a gift: happiness is very bright to an unhappy person; it is almost warm flashing neon viewed from the depths of despair, but there are other gifts that might be unseen in the giddy glare of happiness; they are almost unnoticeable because they are common. These smaller and more day-to-day gifts are aspects of life itself, so often overlooked in our busy pursuits of occupation and wellbeing. 

And yes, some of these everyday gifts are thoughts about death. We live in a wake of death caused by simply going on from day to day, all of us: you, me, Mark Bittman, HHDL, Carol, members of her sangha, everybody. Life supports life; the taking of life perpetuates the living and the only way we can stay alive is by killing. And eating or, in reality, killing to stay alive requires an intention realized or not, but acted upon. Food died for you, you killed it; it gives you sustenance and the only things that can provide life to living things are living things in and of themselves. All life, in a broader sense, is cannibalistic devouring life to live.

Based on the horror that we call eating you can see why people, when they even think of the food process at all, choose what they consider to be a lesser evil and eat only plants calling themselves vegetarians, why Mark Bittman calls the killing of animals, at the prompting of his vegan friends, "maltreatment," and you can see why Carol and her good fellow Buddhists frown upon keeping sheep that they suspect might be slaughtered, even if I didn't, the keeping of animals, as an occupation, is not highly thought of in Tibetan Buddhist circles.  Abhorrence, denial, guilt and exclusion, or a modern day shunning, are several, and there are more, palliative, projecting or self blaming personal responses to the eating of meat. 

Yet, there is a satisfactory answer, a singular way of successfully addressing the common horrors of life, like killing to live, or as we euphemistically term it, eating; but I am loathe to name this solution because I might be imposing here in the same way my mother imposed on a young and errant me, not by silence, although that was a part of her change of tone coupled with a matter-of-fact look that made me feel alone and cold such that I would do anything to have her warm love—anything at all—I would even be a good boy. Ha! We never grow out of the need be more virtuous than we are, do we.

§

In a previous draft I'd mentioned a contest in a column of the New York Times, The EthicistTell Us Why It’s Ethical to Eat Meat. Having deleted the reference but now that the winner has been declared by the judges, one of them being Mark Bittman, I bring it up again because Jay Bost, writer of the winning essay, states what is paramount to sanely going about one's daily life and that is pertinent to this discussion; he, and only he, of the 6 published finalists from over 3000 entries submitted to the Times expressed a sentiment that should be common not only to the eating of meat but also to everything, and I do mean everything, that enters one's field of concern. 

It's best to read Jay Bost, but let me quote part of the last paragraph where he says that eating meat is ethical if three reasons are met,

First, you accept the biological reality that death begets life on this planet...Second, you combine this realization with that cherished human trait of compassion and choose ethically raised food...  And third, you give thanks.

Reason number one, I described in different, probably much colder, words; and reason number three was what I was approaching in this attempt at an essay, what Mark Bittman and so many others ignore: thankfulness and of course we will return to it as gratitude is tantamount, not only to eating, but to living as well; and last but not least reason number two, Mark Bittman understands "ethically raised food" well (I have no critique of him here); food ethics are his food politics and it mostly fills his column. That's why I enjoy reading him; he informs me and, more often than not, we agree.

But it's difficult to keep those three reasons in mind when we're hungry: We grab something to eat and really don't give much thought to the fact that what we're eating is alive, or once was, and who knows how this food was raised and consequently killed, ethically or otherwise (there were no or inadequate labels on it to specify); and of top of all that, why should we be grateful, as if paying for the food and service weren't enough, and expensive it was too. Besides I always tip well, no matter the quality of the service.

Yes, down deep we're good people. Rather than to admonish you or to chastise you or to impose upon you by correcting you, or me, when we've tumbled form our moral pinnacles, let me offer a solution, one that makes life easier, one that resurrects good feelings that may have been lost temporarily in the plummet, and above all, one that does not blame. 

(first draft, more to come) 

Posted by: Eugene Wyatt
3/14/2012 9:18 pm

 
La Gioconda is, in the truest sense, Leonardo’s masterpiece, the revealing instance of his mode of thought and work...no crude symbolism disturbs the effect of its subdued and graceful mystery...
 
The presence that rose thus so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire.

Hers is the head upon which all “the ends of the world are come,” and the eyelids are a little weary.

It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions.

Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed!

All the thoughts and experience of the world have etched and moulded there, in that which they have of power to refine and make expressive the outward form, the animalism of Greece, the lust of Rome, the mysticism of the middle age with its spiritual ambition and imaginative loves, the return of the Pagan world, the sins of the Borgias.

She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants; and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands.

The fancy of a perpetual life, sweeping together ten thousand experiences, is an old one; and modern philosophy has conceived the idea of humanity as wrought upon by, and summing up in itself, all modes of thought and life.

Certainly Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modern idea.

The Renaissance: Studies in Art and Poetry from the essay, Leonardo Da Vinci HOMO MINISTER ET INTERPRES NATURAE by Walter Pater 1869

"...probably still the most famous piece of writing about any picture in the world." Michael Levey, The Case of Walter Pater: a Biography 1974 

Posted by: Eugene Wyatt
3/13/2012 10:21 pm

This the is second* time I've come across this usage.

On the other hand, those who have dwelt most emphatically on the distinction between prose and verse, prose and poetry, may sometimes have been tempted to limit the proper functions of prose too narrowly; and this again is at least false economy, as being, in effect, the renunciation of a certain means or faculty, in a world where after all we must needs make the most of things.

Style, Walter Pater from Appreciations 1889

Needs adv 

(preceded by must) of necessity; we must needs go we will go, if needs must

From The Free Dictionary

*a third occurs later in the essay.

Posted by: Eugene Wyatt
3/13/2012 10:00 pm
Labels: Needs, Pater, Style

New from Dragon Lady Knits: the Market Day Cowl in a sport weight Saxon Merino yarn that will keep you warm and good looking on those still chilly Spring days. 

 

 Market Day Cowl

"The Half and Half on its own create’s a beautiful self striping design. I mixed it up by using an elongated slip stitch which created a fun “tie dye” effect. It takes just 2 skeins to knit up. You get a really large 44″ cowl that can be worn long or doubled for a little additional warmth." _Olivia Sethney


 

Red Half & Half

Buy the Market Day Cowl pattern at Dragon Lady and the Red Half and Half from the Catskill Merino Yarn Store.

Posted by: Eugene Wyatt
3/13/2012 9:57 pm
Labels: Olivia Sethney

Photo by Francesco Mastalia for his book on farmers and chefs of the Hudson Valley

Well, you can knock me down,
Step in my face,
Slander my name
All over the place.

Do anything that you want to do, but uh-uh,
Honey, lay off of them shoes
Don't you step on my blue suede shoes.
Well you can do anything but lay off of my blue suede shoes.

Carl Perkins, 1955

Posted by: Eugene Wyatt
3/13/2012 9:22 pm

Virginia Woolf (1882-1941) modeled Mrs Ramsay after her mother, Julia Stephen, in To The Lighthouse, which is a fictionalized reminiscence of the Stephen family summering on the coast of Scotland before the turn of the century, and set on two days, one before the Great War and one after.


Julia Stephen 1867, photographed by her aunt, Julia Margaret Cameron

No, she thought, putting together some of the pictures he had cut out — a refrigerator, a mowing machine, a gentleman in evening dress — children never forget. For this reason, it was so important what one said, and what one did, and it was a relief when they went to bed. For now she need not think about anybody. She could be herself, by herself. And that was what now she often felt the need of — to think; well, not even to think. To be silent; to be alone. All the being and the doing, expansive, glittering, vocal, evaporated; and one shrunk, with a sense of solemnity, to being oneself, a wedge-shaped core of darkness, something invisible to others. Although she continued to knit, and sat upright, it was thus that she felt herself; and this self having shed its attachments was free for the strangest adventures. When life sank down for a moment, the range of experience seemed limitless. And to everybody there was always this sense of unlimited resources, she supposed; one after another, she, Lily, Augustus Carmichael, must feel, our apparitions, the things you know us by, are simply childish. Beneath it is all dark, it is all spreading, it is unfathomably deep; but now and again we rise to the surface and that is what you see us by. Her horizon seemed to her limitless. There were all the places she had not seen; the Indian plains; she felt herself pushing aside the thick leather curtain of a church in Rome. saw it. They could not stop it, she thought, exulting. There was freedom, there was peace, there was, most welcome of all, a summoning together, a resting on a platform of stability. Not as oneself did one find rest ever, in her experience (she accomplished here something dexterous with her needles) but as a wedge of darkness. Losing personality, one lost the fret, the hurry, the stir; and there rose to her lips always some exclamation of triumph over life when things came together in this peace, this rest, this eternity; and pausing there she looked out to meet that stroke of the Lighthouse, the long steady stroke, the last of the three, which was her stroke, for watching them in this mood always at this hour one could not help attaching oneself to one thing especially of the things one saw; and this thing, the long steady stroke, was her stroke. Often she found herself sitting and looking, sitting and looking, with her work in her hands until she became the thing she looked at — that light, for example. And it would lift up on it some little phrase or other which had been lying in her mind like that —”Children don’t forget, children don’t forget”— which she would repeat and begin adding to it, It will end, it will end, she said. It will come, it will come, when suddenly she added, We are in the hands of the Lord.

But instantly she was annoyed with herself for saying that. Who had said it? Not she; she had been trapped into saying something she did not mean. She looked up over her knitting and met the third stroke and it seemed to her like her own eyes meeting her own eyes, searching as she alone could search into her mind and her heart, purifying out of existence that lie, any lie. She praised herself in praising the light, without vanity, for she was stern, she was searching, she was beautiful like that light. It was odd, she thought, how if one was alone, one leant to inanimate things; trees, streams, flowers; felt they expressed one; felt they became one; felt they knew one, in a sense were one; felt an irrational tenderness thus (she looked at that long steady light) as for oneself. There rose, and she looked and looked with her needles suspended, there curled up off the floor of the mind, rose from the lake of one’s being, a mist, a bride to meet her lover.

What brought her to say that: “We are in the hands of the Lord?” she wondered. The insincerity slipping in among the truths roused her, annoyed her. She returned to her knitting again. How could any Lord have made this world? she asked. With her mind she had always seized the fact that there is no reason, order, justice: but suffering, death, the poor. There was no treachery too base for the world to commit; she knew that. No happiness lasted; she knew that. She knitted with firm composure, slightly pursing her lips and, without being aware of it, so stiffened and composed the lines of her face in a habit of sternness that when her husband passed, though he was chuckling at the thought that Hume, the philosopher, grown enormously fat, had stuck in a bog, he could not help noting, as he passed, the sternness at the heart of her beauty. It saddened him, and her remoteness pained him, and he felt, as he passed, that he could not protect her, and, when he reached the hedge, he was sad. He could do nothing to help her. He must stand by and watch her. Indeed, the infernal truth was, he made things worse for her. He was irritable — he was touchy. He had lost his temper over the Lighthouse. He looked into the hedge, into its intricacy, its darkness.

Always, Mrs Ramsay felt, one helped oneself out of solitude reluctantly by laying hold of some little odd or end, some sound, some sight. She listened, but it was all very still; cricket was over; the children were in their baths; there was only the sound of the sea. She stopped knitting; she held the long reddish-brown stocking dangling in her hands a moment. She saw the light again. With some irony in her interrogation, for when one woke at all, one’s relations changed, she looked at the steady light, the pitiless, the remorseless, which was so much her, yet so little her, which had her at its beck and call (she woke in the night and saw it bent across their bed, stroking the floor), but for all that she thought, watching it with fascination, hypnotised, as if it were stroking with its silver fingers some sealed vessel in her brain whose bursting would flood her with delight, she had known happiness, exquisite happiness, intense happiness, and it silvered the rough waves a little more brightly, as daylight faded, and the blue went out of the sea and it rolled in waves of pure lemon which curved and swelled and broke upon the beach and the ecstasy burst in her eyes and waves of pure delight raced over the floor of her mind and she felt, It is enough! It is enough!

He turned and saw her. Ah! She was lovely, lovelier now than ever he thought. But he could not speak to her. He could not interrupt her. He wanted urgently to speak to her now that James was gone and she was alone at last. But he resolved, no; he would not interrupt her. She was aloof from him now in her beauty, in her sadness. He would let her be, and he passed her without a word, though it hurt him that she should look so distant, and he could not reach her, he could do nothing to help her. And again he would have passed her without a word had she not, at that very moment, given him of her own free will what she knew he would never ask, and called to him and taken the green shawl off the picture frame, and gone to him. For he wished, she knew, to protect her.

To The Lighthouse 1927, Virginia Woolf

Posted by: Eugene Wyatt
3/13/2012 7:01 pm
 
Virginia Woolf

Virginia Woolf. Photograph: George C Beresford

"...Virginia Woolf writes so exquisitely well. In Between the Acts, Giles arrives home from work in the city and finds a car at the door, which tells him there are visitors to lunch. "The ghost of convention rose to the surface, as a blush or a tear rises to the surface at the pressure of emotion; so the car touched his training. He must change." That's so characteristic in its delicate evanescence – there's not a solid word in there (except for the dread car). Everything floats, and yet in its floating is precise. The theme is characteristic Woolf too: the capture of the under-layers of consciousness, and how the fixity of social forms ("he must change" – his clothes and his demeanour, himself), imposes cruelly on their fluidity."

Virginia Woolf by Alexandra Harris – reviewed by Tessa Hadley in The Guardian, 10/21/11

Posted by: Eugene Wyatt
3/12/2012 9:17 pm

Spring Vogue Knitting Patterns, 1772 on sale for $2.99 each from today until March 16th.

Posted by: Eugene Wyatt
3/11/2012 9:00 am
Labels: Patterns

Titus, the Artists's Son 1657, Rembrandt Harmenszoon van Rijn 

The Wallace Collection in London, England from Art Knowledge News

Posted by: Eugene Wyatt
3/11/2012 8:05 am

"Here, for example, is Mrs. Dalloway, walking toward Bond Street in London and thinking about her inevitable demise:

Did it matter then, she asked herself, did it matter that she must inevitably cease completely; all this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely? but that somehow in the streets of London, on the ebb and flow of things, here, there, she survived, Peter survived, lived in each other, she being part, she was positive, of the trees at home; of the house there, ugly, rambling all to bits and pieces as it was; part of people she had never met; being laid out like a mist between the people she knew best, who lifted her on their branches as she had seen the trees lift the mist, but it spread ever so far, her life, herself.

Mrs. Dalloway 1925, Virginia Woolf

Is this a sentence? It doesn't have a beginning, middle, or end, and as you read it you can't chart its progress toward a designed close. Who says 'she was positive'? Is it Woolf, standing outside her character and pronouncing authoritatively on Mrs. Dalloway's inner state? The questions are unanswerable, for as Erich Auerbach observes (Mimesis, 1946), 'we are given not merely one person whose consciousness ... is rendered, but many persons, with frequent'—and, I would add, unannounced—'shifts from one to the other.' For a second, when 'Did it matter then" is followed by "she asked herself,' we seem to be in the company of a conventional narrator-novelist who reports the speech of her character. But then 'did it matter' is repeated, and it is clear that what we're hearing is a musing. The perspective now ruling is an interior one; even though the third-person pronoun 'she' carries the train of thought along, we sense that this is merely her form of self-reference. A sequence like 'she survived, Peter survived' shows how it is done. 'She survived' might be spoken by a narrator, but 'Peter survived' is obviously uttered by someone who shares an intimacy with him; we cannot believe that the observation is made at a distance, by a third person, but then again, 'lived in each other' seems to belong at once to Mrs. Dalloway and to her creator. As the sentence continues, Mrs. Dalloway shares an intimacy not only with Peter but with everything—a house, trees, people, mist, branches—all of which ebb and flow with her and through her. Everything enters her, and she enters everything. Near its end the sentence names the action it is imitating; it spreads; she spreads, 'ever so far, her life herself.' Formally, the sentence is fragmentary; no, it is fragments, held together barely by a soft 'but,' which is more like an 'and,' many participles, many ofs, all tumbling forward, all jumbled up, yet unified somehow by her consciousness, streaming, variegated, and always the same."

How To Write A Sentence 2011, Stanley Fish

Posted by: Eugene Wyatt
3/11/2012 8:00 am
Labels: Fish, Woolf

The catch pen holds sheep until shearing


Tom shearing in his "belly bouncer"


Mike shears the right flank of a ram lamb


A good view of the handpiece as Aaron finishes a blow


David and his son Emmett, at his first sheep shearing, with booties and a blanket that Kris knit from our Saxon Merino wool

You can see photos of shearing 2012 taken with the camera of an iPhone 4S that I posted on Twitter; click @CatskillMerino and scroll down.  I like the limitations of using the stripped down camera of a phone; the photos feel more immediate, less planned, some even feel more honest. Plus, having a crude zoom lens is good; you must move the camera to suitably frame the subject; the zoom inhibits the physicality and even the intimacy of the relationship between the photographer and the subject, not to mention the viewer.

The photos above were taken with a Nikon D700 mounted with a Nikon f2.8 24mm-70mm zoom lens. These images have more information, they have greater gradations of light and dark, and they capture more colors than those taken with the camera of an iPhone 4S.

Posted by: Eugene Wyatt
3/7/2012 8:36 pm
Labels: Shearing 2012

Saxon Merino Ewes

We always shear the first Monday in March but we can't shear wet sheep. Before shearing we never know what the weather will be from one day to the next—forecasts are always general—we always prepare the barns to shelter the sheep and that takes a week to do. More often than not it rains or snows in early March and we keep the sheep inside  and dry for several days until they're shorn.

Most of the year the sheep are outside; another exception is when the ewes and their lambs are brought into the barn after birth for several days.

Yesterday at noon we put the dry sheep inside just as it began to snow; they were crowded in the barn with all the feeders and water tubs that normally are outside.  This morning was misty— but no rain—we let them out into the yards; but when it started to mist heavily back into the barn they went. If it's not raining the sheep can stay out tomorrow, Saturday and Sunday too. They dry better outside particularly if there's a breeze. They like it and we like it too.

Posted by: Eugene Wyatt
3/1/2012 9:12 am
Labels: Shearing 2012

 

The Hill Between The Two Barns

We move the Saxon Merino ewes to the upper barn for shearing a week from today; Dominique leads them with the sound of what they love and follow—whole oats in a pail that she shakes—and Rebecca is behind the sheep with Poem tugging at the leash eager to scare a straggler back into the flock.

Posted by: Eugene Wyatt
2/27/2012 6:30 pm
Labels: Shearing 2012

"Ultimately, we need to understand that this isn't just a few bad corporations—it's Capitalism...Whether you're for revolution or reform, let's be honest about the system we're dealing with. Capitalism is unraveling, undermining even its own interests with its tireless demand for more growth, more profits, endless new markets with no protections for local industry, more corporate consolidation and monopoly power over both economics and politics."

Big Food Must Go: Why We Need to Radically Change the Way We Eat  By Christopher D. Cook, AlterNet.

Posted by: Eugene Wyatt
2/27/2012 6:00 pm
Labels: Big Food, Capitalism