book by Bernadette Murphy
annotation by Melissa Greenwood
Bernadette Murphy in her first book Zen and the Art of Knitting uses clear and simple language that is simultaneously vivid, evocative, colorful, and, here’s the author in her— reflective—to make apt and often metaphorical connections between life and knitting without overreaching.
“Few things lend themselves so easily, so wisely to a metaphorical understanding of life as does knitting” Murphy says, adding that it “seems to be a metaphor for turning chaos into order” (31, 103). As she interviews knitters from all over the world, she finds some consistent patterns—namely, that knitters “associate their knitting experiences with the lessons they’ve learned about life” (152). Among those lessons: We construct the patterns of our lives as we would a sweater: “piece by piece, stitch by stitch” (31); we can “go back to the place before the mistake and correct it”, thereby “undo[ing] what we’ve done”, which is different, of course, from how things work in the real world (12, 31); “We are all made of the same materials, we are all joined in the knitted garment of life”—the old adage, cut from the same cloth comes to mind here (193); furthermore, “we are each stitches, necessary for a completed work” (193); we can “metaphorically weav[e] the disparate parts” of ourselves “back into a cohesive whole” (which certainly sounds cheaper than therapy) (15); we can, through our craft, build “elements of self-esteem that cannot easily be unraveled” (78); finally, we can reveal “a beautiful pattern” behind each of our distinct lives (154). These connections roll effortlessly off the author’s tongue (or more accurately, off her fingertips) and onto the page for our eyes and ears to soak up. And we know Murphy isn’t getting carried away with double meanings in verb choices like knit, weave, interweave, stitch, hook, and unravel because the folks she interviews make similar connections, too.
Knitting is “‘like praying with beads, stitch by stitch’” a Waldorf School handwork teacher and abbey oblate adds. She’s so quick to jump on the simile bandwagon, you’d think she weaves words—not blankets—for a living. (67)
A marriage counselor whom Murphy interviews is quick to use a simile to describe her knitting practice (not to be confused with her private practice): Knitting is “‘like eating a piece of pickled ginger after sushi to clear the palate’” she explains of knitting’s soul-cleansing effect (53). What an unlikely comparison, and yet—how apt!
Although I personally have the hand-eye coordination of a four-year-old and thus have never tried to knit anything in my life, I think the reason that Murphy and her interviewees manage these comparisons without coming across as overreaching is that they do so seemingly effortlessly—with the ease, one might argue, of knitting itself (once it becomes mindless, that is; once it takes on the Zen-like quality from which this book derives its very name). I don’t get the sense as a reader that Murphy kept a writer’s notepad by her nightstand and another miniature one in her purse in which to fastidiously record one-liners to sprinkle throughout her debut book. And I hardly think her interviewees had the time to rehearse answers over the course of their knitters’ tête-à-tête with the author. On the contrary, their answers flowed smoothly; they weren’t going for the next bud-um-BUM moment. For them, the comparisons were as natural as sitting on the back porch with a cup of tea, a “ball of wool and two pointy sticks” (30).
And that is exactly how I experienced the read: like I was catching up with a good friend I hadn’t seen in years (knitting herself), but it was as if no time had passed. I grew so comfortable around the knitter’s terminology, I almost felt like—to hell with my four-year-old hand-eye coordination! I can totally knit after reading this book. But then I remembered how riding a bike went after I hadn’t done that in fifteen years, and that’s something I actually once knew how to do. (Think: forgetting how to brake or turn and jumping off the thing in frustration, mid-peddle, faster than if I’d seen my own ghost.) So perhaps knitting isn’t in my immediate future. But that doesn’t mean I can’t appreciate a well-written, well-researched, well-thought out book on the matter. What makes Murphy so successful is her ability to use knitting as a vehicle to convey universal truths. Perhaps Tara Ison said it best on the back cover: “A wise, illuminating book for knitters and non-knitters alike.”
Just as I don’t have to be an alcoholic to appreciate a compelling memoir on addiction or a survivor of abuse to be drawn in by a powerful story on the subject matter, I also don’t need to be a knitter to know that I like to hear truisms about living and how to do it better. We all want to know how to correct a mis-stitch here, a fumble there. It’s as though Murphy is telling us, we can repair the world by repairing ourselves, and we can do that through the Zen-inducing effects of knitting. And even if we never take to knitting personally, we can bliss out while reading about how others are becoming less tightly-wound while unwinding a ball of yarn. We can read about how they are making connections from self-to-world: the friction of their metal sticks creating the inspirational charge—their knitters’ needles the conduit to universal truths.
As a writer, I am reminded that readers will care if you make them. And that is exactly what Murphy does in Zen: She sticks it to us. (I couldn’t resist.) It doesn’t matter that she writes about knitting. She could write about any topic that is dear to her be it cooking, motorcycling, mothering, or mentoring. That she chooses to write about knitting is irrelevant. What matters is how she’s able to use it as an entry ‘point’ if you will, to speak to the human condition—to weave her way into our collective hearts and minds.