I feel like it’s time for a maker update, since I’ve got so many projects on the go at the moment. Even though I don’t have a big goal this year to “make 100 things”, I can’t stop myself from planning and starting one project after another.
So, I’ve just finished an Embark Shawlette, made with some Malabrigo Rios that my step-daughter gave to me last year – that’s the picture you see up above in the featured image spot. That knit was so great, because I finished it over a weekend and it has a lovely shape and feel. This is going into the mail tomorrow to my friend Alanna – because she ooed and ahed over the yarn so much that I felt like she truly needed to own something made of it. I am going to make this again for myself – out of some Sweet George worsted yarn I snagged while in Vancouver last week.
A much longer and more complicated knit on my needles at the moment is this Leaf Lace Scarf which I’m knitting out of some bright Wollemeise that I received in a swap last year around this time:

I love this yarn, but it was hard to figure out what to do with it – a leaf lace feels right and although you can’t tell from the photo because of the scrunchiness of pre-blocked lace – it’s working up very nicely.

Also on the needles right now is the Escarpment cowl, knitted.with some Sugar Bush Motley, an alpaca and yarn blend made in Canada. I wasnt sure how this would knit up and am oh so pleased by the gradient. Thinking the other ball of this (in a different colourway) might get used as some weft in a rigid heddle project, though it knits so nicely!

And finally, here are all the pieces of a cardigan that now need seaming together. Ive been working on this since fall and need to get it done.
In sewing news I have two tops, a Weber tank and a Blackwood cardigan that i cut out before xmas and need sewing. And while in Vancouver I bought fabric for making pants so that will be my next foray. I haven’t sewn many pairs of pants (maybe 2) but it’s time I get more comfotable with their construction.
In general I am so unhappy with garment quality in the rack these days that I am motivated to make more or all of my clothing again. At Atex in Vancouver I spent $70 on enough fabric for three pairs of pants. Good quality denim, linen, and twill. Now I just need the patterns to go with and I’ll be making trousers for spring wear.
I’ve been taking advantage of my city things this past week, last night’s adventure being a trip with friends to the Museum of Anthropology to see the exhibition of Coast Salish blankets that is currently on display. The feature photo on this post are some modern reproductions of much earlier works which are fragile and under glass.
Since reading the book Salish Blankets: Robes of Protection and Transformation, Symbols of Wealth last year, I have come to realize that pretty much everything I have learned about Coast Salish art is wrong. Though to some degree I have been critical of the colonial relationship to indigenous artworks – how Haida art is often passed off as the art of all coastal peoples, how colonial interpretations of First Nations work limited it value as art, how settler people have never learned to see or appreciate the maker and the culture behind the artifacts hung on their walls – I have continued to hold a limited understanding of First Nations cultural and artworks from my bioregion.
For starters, the book and display of Salish blankets have opened my eyes to:
Tomorrow I will be returning to the MOA for a one day workshop on the techniques of Coast Salish weaving. This will snug up against what I have learned about the post-colonial knitting tradition which is inspired by the weaving repertoire but not as diverse owing to the fact that knitting was shaped much more by market forces, and less by internal cultural and artistic needs. I’m looking forward to more learning in this rich textile tradition, and continuing my unlearning of a limited vision for the history of this place.
This was the view from out front of my East Vancouver zendo last night, just before dark and the storm rolled in. It’s not exactly a picture of meditative peace, but it’s a neighbourhood we all recognize: hurried and sometimes ugly, captivating, ripe, and mostly transitory.
I’m working in the city, out of the downtown office building, all this week – which I planned for by scheduling many meetings, in addition to social outings with friends, and trips to the zendo to sit with my sangha. I like to joke that I must be the only person who leaves a quiet gulf island, to come and meditate in industrial East Van – but it really is the context that makes Mountain Rain such an unexpected pearl. I had a mind last night to go to all of the temples and churches in the city and take a picture of the view from the front door – to prove some kind of point about where we find our spiritual homes – but those who have traveled out in the world know that it’s rare to find a well-used temple out in a far flung rice field, or an fully packed church sitting on a lonely hilltop. Our places of gathering are our places of transit – and real estate is much cheaper near the trainyard besides.
I’ve returned to the meditation bench since the new year. Not that I wasn’t sitting before, but for the last three months or so – it’s been erratic. This timed with the fact that I spent November and December in and out of a depressive state, something which makes it hard to motivate myself to anything. Exhaustion makes sitting still, staring at a wall, even less appealing than it sounds.
But I’ve had some rest, and during that depressive period I reflected on the burnout state I was in and why that had come to pass – and so I’ve re-set my priorities over the last few weeks and I am hopeful that I can keep some perspective on what is actually important versus what I tell myself is important (trying to do everything I am asked to do – for example – is not possible, nor is it rewarded).
Ironically, it was delivering workshops on mindfulness at work that tipped the balance. My job is intensely demanding most days, and on top of that I’m the president of my union local of 550 members which is like having another full time job I don’t get paid for. I’m not sure how I thought I could add more workplace activities into my life (or even why I should), but I did last May and since then have done about eight deliveries of material that I wrote and revised for each group I delivered to. While the work was well received, it took a toll on my own mental health – I lost a lot of sleep, experienced the stress that comes from putting oneself out there over and over, and ultimately got pulled in too many directions to be really effective at anything. Add to that some disrespect from a couple of members of my union executive which has caused me difficulty in my union-management relationships – and it was a rather hard few months.
So I’m facing myself in 2018, and I’m back at a daily practice, to which I’ve decided to add a bit more formality and ritual. Last year I added a daily dedication of practice at the end of each sit, in addition to the robe chant at the beginning (since May I have been wearing my jukai robe – the rakusu I completed for my ceremony in March, which necessitates a chant before wearing). This year I am adding four bows before and after practice – one for each of the great vows*, in addition to a weekly recitation of my precept vows.
Since moving to Gabriola, the thing I have missed most is my zen practice community in Vancouver. When moving here, I had set an intention to go back frequently – which I did for the first six months – but because I filled my life with too many other things, that dropped off in the spring. In particular, I missed the November sesshin at Loon Lake this year – a seven day retreat which I had committed to doing, due to work conflicts and a particularly demanding workload. During this period, I became very worried about *ever* being out of touch because people pretty much screw my work up whenever I am not there. This sounds egotistical but it is not – it’s not because I am so good at my job this happens – it’s because my workload is so huge that almost no one else can parse what is going on with it when I’m not around to answer questions. That is at least the story I have been telling myself and so it’s been very hard to break away and go into silent retreat.
The disconnect from spiritual community and practice has been at least one factor in my difficulties of the fall – while overwork got me there, inattention to the details of my life needs – kept me there.
So back to bowing. While I can increase my attendance at retreats and the meditation centre somewhat, it is not practical to go to Vancouver every week to meet with teachers and dharma friends. And yes, there are people who meditate on Gabriola, but I have not found a home with those groups as they tend to be polyglot Buddhism/new age belief which holds little interest for me (I don’t believe that form is what gets us enlightened, but form is the container for practice). So I’m left on my own a great deal of the time – and that’s where formalizing practice and engaging in self-study to a more serious degree come in. Bowing is something that I both love and hate – the act of submission is freeing, while getting up and down off the floor is tiring – and thus it has both ritual and resistance at work.
The late Suzuki Roshi said – “Bowing is a very serious practice. You should be prepared to bow, even in your last moment. Even though it is impossible to get rid of our self-centered desires, we have to do it. Our true nature wants us to.” (More of what he said about bowing in that dharma talk can be found over at Tricycle magazine – or you can find it in Zen Mind, Beginner’s Mind.) For me bowing is like getting to the top of the breath – it is the place where no thinking happens, just doing – standing, then on the floor, then standing, then on the floor. Hands up, head down before the altar.
I once heard Norman Fischer talk about assigning someone 138 bows per day as a remedy for something the individual was stuck on. 138 bows! I remember thinking – well, if nothing else, that guy would have been in good physical shape from all that up and down – because really, a prostrated bow is just a burpee done in slow motion (and without the pushup). It’s like meditating and improving one’s core strength at the same time!
But since no one has told me to do 138 bows per day as some sort of spiritual strengthening exercise – I’m going with eight for now – and some visits to the zendo in my very near future.
* Some versions of the four great vows:
Mountain Rain version (the one I use):
Beings are numberless; I vow to save them
Delusions are inexhaustible; I vow to end them
Dharma gates are boundless; I vow to enter them
Buddha’s way is unsurpassable; I vow to become it
Original language:
Shu jo mu hen sei gan do
Bon no mu jin sei gan dan
Ho mon mu ryo sei gan gaku
Butsu do mu jo sei gan jo
Upaya version:
Creations are numberless, I vow to free them.
Delusions are inexhaustible, I vow to transform them.
Reality is boundless, I vow to perceive it.
The awakened way is unsurpassable, I vow to embody it.
Thich Naht Hahn:
However innumerable beings are, I vow to meet them with kindness and interest.
However inexhaustible the states of suffering are, I vow to touch them with patience and love.
However immeasurable the Dharmas are, I vow to explore them deeply.
However incomparable the mystery of interbeing, I vow to surrender to it freely.
In 2017 I set out to make 100 separate objects and here is the proof. Though not quite a hundred, I did get to 89 (depending on how one counts) represented in 63 photographs. Some photos contain 3 or more objects (like tea towels or dish cloths), some objects are counted in pairs (like a set of reed holders). No food items such as bread or canning were counted. Almost every item except for the personal clothing and a few experimental weaves were given away to friends and family.
This was a fantastic exercise in documenting every single make, and examining what production-making items (sewn bags, knit shawls) might look like (I’m not interested in selling, but curious about the process). I plan to document again in 2018, though I am not setting a target for number of items. My goals this year are different – and in particular I want to focus more on each item and creative process. Besides the 89 completed items, I do also have about eight close to completion projects that will be showing up on the blog soon!