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Cordwainer* Drama

7/9/2018

 
Picture
It  dawned on me just now,
while sewing the soles
​onto a new pair of running shoes,
Picture
that among the many reasons I make things, 
is that the very act of construction
is a kind of pathway
further into--
and also further away from
my daily life.
Picture
The 'into' part seems obvious.
Immediate  tactile engagement
with materials I love
and objects I use
helps me,
both literally and figuratively,
​to feel the ground as I walk.
Picture
Picture
This is particularly powerful,
when the soles of my handmade shoes 
are worn through--
Picture
and the quick and dirty replacements 
I whipped off in April-- 
Picture
​​and wore with glee in the springtime woods--
Picture
prove, in June--
Picture
to  be magnets for every sharp
quill-like
hitchhiking seed 
around.
Picture
This is where the external noticing comes in.
Using the things I've made,

can give shape to the days.
Drawing them 
gives me some perspective,

even, sometimes,
​subtly tweaking

the way I feel.
Picture




To tell the truth, I was less than happy
about the the state of  those shoes.
Grumpy about miles of overgrown trails,
sad about the loss of dead friends 
(one of whom used to do a lot of trail clearing on my behalf),
and in pain because those seeds are SHARP.
I felt at a complete loss.

But drawing it into my diary,
(both in the moment and later),
I remembered that it's not the fault of the plants
(just trying to propagate the world as we humans do),
or the shoes
(they'd been doing a great job for months),
but rather that I had the wrong clothing
for that moment,
and that with a little bit  (lot) of effort 
with needle, branch loppers, thimble and weed whacker,
it would all be just fine. 

If nothing else,
​I  at least could see a way to proceed.
Picture
Running hard yesterday....
After yanking and properly disposing of
the bulk of the barbed and painful seeds,
the grey felt shoes work fine once again--
at least for town runs--
and when they are on my feet.
Picture
But I'm not going to bring them to the woods for a while, 
so  a new pair was still in order --
something with no nap
for burrs.

 A piece of hemp canvas 
laminated to a scrap of cotton
seemed like a grand idea,
so away we went.
Picture

Unlike the grey felt,
(which sews like butter),
this stuff is tough.

But that is what I wanted, right?
​
And pre -punching the holes helped a lot.

Though not entirely.
Picture
Indeed it would be nice
if all this noticing

didn't involve callouses and blood --
(glovers needles are made, duh, to slip through skin),
but it sure makes what might otherwise be a mundane task 
a time of  edgy productivity --
(micro drama in every stitch),
with moments of great satisfaction.
Picture
Indeed, now that I've given my hands a break to write this,
it is probably time to finish stitching on those soles.
The new four selvedge students
are running off without me



*Cordwainer: The term cordwainer entered English as cordewaner(e), from the Anglo-Norman cordewaner (from Old French cordoanier, -ouanier, -uennier, etc.), and initially denoted a worker in cordwain or cordovan, the leather historically produced in Moorish Córdoba, Spain in the Middle Ages, as well as, more narrowly, a shoemaker.[6] The earliest attestation in English is a reference to “Randolf se cordewan[ere]”, ca. 1100.[1][6]According to the OED, the term is now considered obsolete except where it persists in the name of a trade-guild or company, or where otherwise employed by trade unions.
​(from Wikipedia)


So technically I am not a cordwainer.
 I don't belong to a trade-guild,
(at least not one that has anything to do wtih footwear
though I am a member of the Palouse Hills Weaver's Guild
and thus of the Association of Northwest Weaver's guilds), 
and if I use leather, it is local buckskin
(possibly from a deer shot by my aunt).
But eleven generations back,
John Swett (1575-1651)
who immigrated to Newbury, MA in 1630*
with his wife Sarah,
apparently was. 
So, close enough.
Though I bet he didn't get his leather from Córdoba, Spain either.

*Shoemakers, tanners, and other tradesmen arrived in Jamestown (Virginia) by 1610, and the secretary of Virginia recorded flourishing shoe and leather trades there by 1616. The first English shoemaker to arrive in America whose name has been preserved, was Christopher Nelme, who sailed from Bristol, England and reached Virginia in 1619. Nearly one year later, the first Pilgrim settlers landed in Massachusetts. The first shoemakers who followed the trade there arrived in 1629.
from The Honourable Cordwainer's Company website --"What is a Cordwainer"

** The dates and names of my relations are from the book Jockey Corners: Remembrances by Paul P. Swett, M.D., compiled and edited by Norris P. Swett M.D. and Steven C. Swett, Bragg Hill Press; Norwich, VT,  1997

***ALL shoes shown here are from patterns from Simple Shoemaking
​
Giuliana
7/10/2018 05:26:42 pm

I Love your blog. I read it whilst sipping my early morning coffee and it inspires me for the rest of the day. Very good luck with your "fringeless" workshop. I would so love to join in if the exchange rate wasn't so "killing", but never mind I will follow its fortunes with great interest. Keep writing Sarah, it's one of your gifts. Think about a memoir?

Sarah
7/11/2018 03:11:45 pm

Golly, thank you for those kind words about my words. Memoir?
How ever would one know quite where to start — and what might be interesting— and how to trust that I’d actually remember and not start to make things up (as I am wont to do....)?

Eileen
7/10/2018 05:54:06 pm

Now that is a history lesson! Love the information and how you dive into any little over grown path that interests you! Keep exploring Sarah!!

Isabel
7/10/2018 05:59:21 pm

Hi Sarah! This is your old friend Isabel. How could I not comment on your wonderful blog. Have been enjoying all your "tales" of yarn, making shoes, fringeless endeavors and drawings. You inspire me when I wonder whatever am I doing with my passion for textiles and making it all fit in! THANK YOU!

Sarah
7/11/2018 03:13:24 pm

Golly dear Isabel — when I start to wonder how it all fits together, I turn to the example of William Morris.
Ever curious, he was, and willing to follow an extremely circuitous creative path where art and craft and all the bits flowed, one into the next. or so it seems to me 100 + years on...

Patti Kirch
7/10/2018 09:40:52 pm

My grandpa Luigi was a cobbler from Italy and I like to sketch shoes. I love your stories and your sharp seed shoes are reminding me to find time to sketch!

Jodi link
7/11/2018 07:08:14 am

Fantastic. Not only do I adore the pictures, but I love the way you group your words. A work of art. ❤️

Lynnd
7/11/2018 11:38:35 am

How do you laminate cotton to hemp? Are those gum rubber or vibram soles? Wonder how strong and abrasion resistant linen would be for top of shoe.

Sarah
7/11/2018 03:19:35 pm

So many great questions!
Linen —I think it’d work well, but of course always depends on how thick the cloth is, how the yarn was spun etc.
Soles — these are natural rubber. I had a hard time deciding, actually, between the three materials I had on hand: a piece of thinner natural rubber, this thicker rubber, and a synthetic product called Vibram Cherry (in between the two). All have benefits and drawbacks, and I only have one shoes worth of each. Finally picked the thicker one despite the slight extra weight as the rocks in the canyon are mostly basalt, so sharp, AND I have a fantasy about wearing these in the winter, so extra warmth could be good (always wear pounds more clothes in the winter anyway. Just applied Otter Wax to the finished shoes for water resistance. Testing will ensue
Lamination — there is this stuff you can get at the fabric store — like interfacing only it is a sheet of thin glue. I used it a lot to make the pages of the book structure for “It’s Raining” said the Lady With The Alligator Purse, but haven’t touched it since. Seemed worth a try as it might keep both fabrics from fraying at the edges. All, always, an experiment and I will be sure to report back when I know more.

Maggie Hawk link
7/21/2018 01:50:34 pm

Hey Sarah,

I've been watching and rewatching, over and over and over, your ultra slow motion of how to weave your wonderful little 4 selvage tapestries. What I see is you pick up a double strand but the weft settles in on one strand. This is not right! WHAT am I not seeing?! Thank you so much for sharing like you do. I saw your recent exhibit at The Pacific Northwest Quilt and Fiber Art Museum in La Conner, Washington, and I fell in love. They had to kick me out so they could close for the night.
Again, thank you, thank you!

maggie

Sarah
7/27/2018 11:28:37 am

Hello Maggie--
It’s amazing isn’t it, how the two parallel warps seem to become one at the fell (where the weft is packed into place)? Each warp end is entirely compost of two strands though — that twist, or snug up together more closely after being woven.
Thank you so much for your lovely comments about the LaConner show. I was so fortunate to have my work there!
Best,
Sarah


Comments are closed.
    Picture

    ​Sarah C Swett 
    tells stories
    with
    ​ and about

     hand spun yarn. 


    Picture
    Click for info on
    my four selvedge
    warping class
    with
    ​ Rebecca Mezoff  
    fringeless


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