blocked_10_final

JUMPING OFF THE BANNED BOOKS BANDWAGON • BLACK SHEEP • NUMBER KNITTING 

3.1415926535897932384626433832795028841971693993751058209749445923078164062862089986280348253421170679 

ISSUE 10 

NUMBERS IN KNITTING & CROCHET • SELBU MITTEN COMPETITION • DEAR MR. WEST 

1.61803398874989484820458683436563811772030917980576286213544862270526046281890

Unless otherwise indicated the information, 

articles, artwork, patterns and photography 

published in BLOCKED Magazine are subject 

to copyright ©2023 BLOCKED Magazine. 

All rights reserved. 

BLOCKED Magazine permits the online 

distribution of the magazine in its entirety. 

Distribution of any of the contents of this 

magazine for purposes of sale or resale 

is strictly prohibited. 

Editor 

Neil of Uknitted Kingdom 

For all enquiries: 

blockedmagazine@gmx.com 

Cover Photography 

@handmadebym.e.43 

Contributors: 

Annie of A Stitch in the Sky 

D. Marie Prokop 

Little Sis from @Twosistersandsomeyarn 

M. Dreary 

Uknitted Kingdom 

Patterns: 

Cézanne Pellet 

Patricia Taylor 

Tabitha of Murder Knits 

Uknitted Kingdom 

Proofers: 

Laura Neubauer 

Cézanne Pellett 

Denise Pettus 

Design and layouts: 

BS Studio

Dear Readers, 

It’s been a while! 

When one of our contributors had to take time away to recover from an operation I decided to 

take it as an opportunity for the whole team to take a couple of months off. Yes, I said team! Although 

many of our detractors assume I am a lone wolf, in my bear cave, writing poison-pen articles no one 

reads (I love a mixed metaphor, don’t you?), it is far from the case. 

Blocked has a team of unpaid, mostly unsung, writers, designers, proofers, and graphic designers, 

who may, or may not, work on every issue, but they are all valued and intrinsic to the success of 

Blocked. 

So, it is with sadness and gratitude that I have to announce The Laziest Knitter’s departure. Before 

rumours spread, Lazy and I have not fallen out, argued, or had creative differences. Far from it. Lazy 

just feels she has said all she had to say on knitting. At least for the foreseeable future. She may return, 

she might not. It’s entirely her choice and the door will always say WELCOME. Thank you Lazy for all 

your help, you have no idea how much you are appreciated. 

Speaking of team members, Blocked is always looking for contributors. Please send your articles, 

patterns, artwork, etc, to: blockedmagazine@gmail.com or blockedmagazine@gmx.com 

For this issue we have the theme of “Numbers.” Not all the pieces here within will necessarily relate 

to the theme. It’s just a guide to help with inspiration. 

Over the weekend I asked Annie (a British knitter I met online and now know in real life) what she 

thought about when asked about knitting and numbers. Her response is on page 26. As Annie 

implies, pretty much everything in knitting and crochet relates to numbers. I’m currently obsessed with 

the fact we have reached double figures! Issue 10. Who would have thought? 

As we approach our two year anniversary (Jan. 30, 2024) what themes/features would you like to 

see ongoing in Blocked? Are you able to help us create it? Let us know. 

Future issues will include the following themes: 

● Windmills of the mind (Oct/Nov) 

● Under the Ivy (Nov/Dec) 

● Murder Mystery (Dec/Jan) 

Themes can be interpreted as literally or figuratively as you like. 

Due to the impromptu break, the dates might vary. 

We’re including a new feature in this issue. Old newspaper articles related to knitting. The research 

for this has been fascinating. So much has changed, yet some things still remain the same. This issue 

focuses on a 1930s knitting grift. Sounds familiar doesn’t it? 

If you remember from issue one, I have been trying to find the copyright holders of a particular set 

of vintage patterns. There has been a development in regards to this and I will be revealing all in 

January. Let’s just say there may be some vintage patterns appearing in the near future. 

Anyway, you’ve waited long enough, please enjoy issue 10! 

Yours faithfully, 

Neil 

3

Almost 100 years ago the knitting grifts were alive and well. In 1935 many readers wrote to Sir 

Wyndham Childs at the newspaper "John Bull" about a scammer targeting poor people trying to 

make a little extra money working at home. Unfortunately, they learned the hard way to choose 

carefully who to give money to, and it would do us all good to remember this lesson today. 

KNIT... KNIT... KNIT... 

From all parts of the country letters 

of complaints are being made concerning 

a firm which goes by the 

name Wool Purchases (Birmingham), 

Ltd, and has registered offices at 

199A Broad Street, Birmingham. 

It is clear from the statements before 

me that this company is carrying 

on an extensive trade. Yet it’s 

methods are entirely discreditable, 

and inevitably lead to the victimization 

of honest, and trusting poor 

people. 

Therefore I propose to reveal the 

truth about Wool Purchases (Birmingham, 

Ltd.) and the person who is 

prime mover in the concern. 

Advertisements are inserted by the 

company at regular intervals in a 

widely spread chain of local newspapers 

to this effect: “Persons 

wanted to knit and crochet ladies’ 

and children’s garments – Wool Purchases, 

Ltd., 199A Broad Street, Birmingham.” 

Applicants to that advertisement 

receive a circular letter in the following 

terms: 

“We beg to state that we require 

babies and children’s knitted and 

crochet garments all the year round, 

payment for same being made according 

to work done and material 

used.” 

Attractive prices 

There follows then a list of 

the prices paid for various 

goods, which are quite attractive 

in their remuneration 

on face value, and the 

circular continues: 

“If you care to give the 

work a trial, on receipt of 

five shillings deposit we will 

send materials and instructions. 

This amount is refunded 

at any time you wish 

to discontinue the work, providing 

of course, that all materials, 

etc, have been 

returned and the work has 

been satisfactory.” 

It looks quite a simple and 

fair proposition; a means to 

secure extra money for 

household expenses by 

spare-time work. Actually it 

is just a bait to draw deposits 

from the unwary. 

For I find in large number 

of instances the promises 

made by Wool Purchases 

(Birmingham), Ltd., are quite worthless. 

Repeatedly the company – on some 

excuse or another – Refuses to pay 

it’s customers for work done. Neither 

are the deposits returned. In effect, 

what happens is that the company 

secures a varied stock of knitted 

garments for nothing. 

To show the manner in which the 

company operates I cannot do better 

than quote from a particularly pathetic 

letter which comes from a 

young married woman in South 

London: 

The Western Morning News and Daily Gazette. 

Monday, January 1, 1934 

4

Knit... Knit... Knit... Continued... 

“My husband has been out of work 

for a long time, and I have only lately 

returned home from hospital after 

having an abdominal operation, 

which has prevented me going out to 

work. We came across an advertisement 

for hand knitters for a firm in 

Birmingham, and we both thought 

that I could sit quietly at home and 

bring in a few shillings. So I wrote 

for particulars....” 

With a great deal of difficulty this 

correspondent of mine scraped together 

the five shillings demanded 

by Wool Purchases (Birmingham), 

Ltd. as deposit, and then received a 

parcel of wool and instructions to 

knit three bathing suits. 

This she did “I made tham as directed,” 

she states, “Sent them back 

and asked that I might have the 

money for them as we were badly in 

need of it. Incidentally, I might add 

that there was no price for bathing 

suits on the price list sent to me. 

“After a three weeks’ wait I received 

some rabbit wool for a jumper 

and a letter to say the bathing suits 

were satisfactory, but not a word 

about payment. Of course, I immediately 

wrote back reminding them of 

the money, whereupon I received 

another letter saying it was their custom 

to pay after receiving the second 

parcel.” 

So the jumper was knitted and despatched 

to Birmingham. Still no payment, 

only a letter declaring that the 

jumper had been soiled in the making 

and therefore useless. Finally this 

woman, who had worked so patiently 

and hopefully for Wool Purchases, 

Birmingham, Ltd. had this 

communication: 

“Dear Madam, 

“You can be perfectly sure the 

jumper is as we state. We are not stupid 

enough to make statements we 

cannot substantiate. There are five 

ounces of rabbit wool in it at 3s: 

Wool 16s 6d. 

Postages 1s. 0d. 

___________________ 

17s. 6d. 

“We have your 5s. deposit, and 

owe you net price too three bathing 

suits, 3s. 9d. If you would like the 

jumper returned, please remit 8s 9d. 

difference.” 

And that is the last the woman has 

heard from the company. 

I say that she has been defrauded 

out of her time and her money by 

this form of roguery. Her case is only 

typical. On one pretext or another, 

Wool Purchases (Birmingham) systematically 

withholds payments for 

work done. 

Enquiries made by a member of 

my staff show that similar complaints 

have arisen in scores of towns 

throughout the country. I have information 

of no fewer than 270 such 

complaints within a comparatively 

short period. 

Without question, the business carried 

on by Wool Purchases (Birmingham) 

Ltd., is a disgraceful imposition 

on the public. 

From the records at Somerset 

House, I notice that this private company 

was floated in 1932 and has a 

paid-up capital of £30 exactly. 

There are three women directors, 

who between them own the thirty 

paid-up shares, but the real management 

is in the hands of a Mrs. E. Gillan. 

She is an undischarged, 

bankrupt, and therefore cannot act as 

a director. Her daughter, however is 

one of the directors. 

Victims poor 

The “registered office” of the company 

is just a single room, which is 

used simply for the receipt of letters 

and is normally unoccupied. 

Mrs. Gillan may be discovered at a 

retail shop in Broad Street, Birmingham, 

where the goods made by her 

home-knitters are displayed for sale. 

Formerly this Mrs. Gillan worked 

from addresses in Glasgow and West 

Bromwich, and complaints centered 

about her activities both places. 

When in Scotland several years 

ago, and later, after she moved to 

headquarters at Hill Top, West Bromwich 

she was specialising in the 

same kind of offer to home workers. 

In those days she displayed–as she 

does now–remarkable ingenuity in 

making excuses to escape paying her 

dupes. 

Consistently she evades her responsibilities. 

She is a person with 

whom it is inadvisable to have any 

kind of dealings. 

It is to be hoped that this exposure 

will make it impossible for her to 

carry on her mischievous and dishonest 

business. 

Her victims are innumerable and 

they are all nearly all working-class 

people, who have sent money they 

can ill afford in the expectation of 

some small recompense for home industry. 

Evening Despatch. Friday, 13 December, 1935 

5

6 

CANDY 

CORN RAT 

By Cézanne Pellett 

YARN & MATERIALS 

Worsted weight acrylic. Yarn used in pictured rats is Big Twist Value 

(100% Acrylic 6 oz/170 g 380 yd/347 m) 

• Small - White approx. 6 yds 

- Varsity Orange approx. 7 yds 

- Varsity Yellow approx. 11 yds 

• Large - White approx. 15 yds 

- Varsity Orange approx. 24 yds 

- Varsity Yellow approx. 27 yds 

NEEDLES 

• US Size 4 (3.5 mm) needles 

EXTRAS 

• Poly-Fil 

• 12 mm round black safety eyes for large rat, 8 mm round black safety eyes for 

small rat. (NOTE: Do not use safety eyes if toy will go to a child under 3) OR small 

amount black yarn. 

• 12” Pipe Cleaner for posable tail (optional – NOTE: Do not use if toy will be going 

to a small child as it may poke through stitches.) 

GAUGE 

NOTE: gauge is not vital to this project, just make sure you use a small enough needle 

for your chosen yarn to get a good, dense fabric so the stuffing doesn’t show through 

the stitches. Changing yarn or needle size will change the size of the final product. 

• 20 sts x 34 rounds = 4”x4” 

MEASUREMENTS 

• Small - Length (nose to rump) 5” 

- Tail length 4-5” 

- Circumference (at widest point) 6 1 ⁄2” 

• Large - Length nose-to-rump 9 1 ⁄2” 

- Tail length 8-9” 

- Circumference (at widest point) 12” 

Continued on next page...

Candy Corn Rat...Continued 

DIRECTIONS 

Small Rat Pattern 

With orange cast on 3 stitches. Work a 3-stitch I-cord for 

2 rounds then switch to white yarn. 

Round 3: *M1, K1* (6 sts) 

Round 4: Knit 

Round 5: *K1, M1, K1* (9 sts) 

Round 6: Knit 

Round 7: *K1, M1, K2* (12 sts) 

Rounds 8-10: Knit 

Round 11: *K1, M1, K3* (15 sts) 

Rounds 12-14: Knit 

Round 15: *K1, M1, K4* (18 sts) 


Change to orange yarn. 

Round 19: *K1, M1, K5* (21 sts) 

Round 20: Sl1, k20 


Round 23: *K1, M1, K6* (24 sts) 


Round 27: *K1, M1, K7* (27 sts) 


Change to Yellow yarn. 

Round 31: *K1, M1, K8* (30 sts) 



Round 35: *K1, M1, K9* (33 sts) 


Insert safety eyes or embroider eyes onto front half of 

stitches, weave in ends, and attach ears at this point. 

Row 1: Purl all 

Row 2: Knit all 


Row 4: K1, s2kp, k1 (3 sts) 


Row 6: S2kp (1 st) 

Cut yarn and draw end through side of ear then move 

to inside and weave in. Repeat on other side. 

Body Decreases: 

Round 1: *K1, K2tog, K8* (30 sts) 

Round 2: Knit 


Round 4: Knit 


Round 6: K2tog 3X, K6, K2tog 3X (12 sts) 

Round 7: *K2tog* (6 sts) 


Tail: 

Transfer 3 remaining stitches to one DPN and work 3 

stitch I-cord until tail measures 4-5”, or as long as desired, 

then cut and draw end through sts and weave in 

end. 

Yarn Eyes: 

Using black yarn, duplicate stitch eyes at line of white 

and orange according to the Small Eyes Chart. 

Safety Eyes: 

Place safety eyes on the far left and right sides of front 

half of work, on the line between white and orange sections. 

Ears: 

Hold work so nose of rat is facing you. On the last orange 

round, directly back from eye and one stitch to 

the right, PU 5 sts through the right leg of each stitch. 

7

Candy Corn Rat...Continued 

DIRECTIONS 

Large Rat Pattern 

With orange cast on 3 stitches. Work a 3-stitch I-cord for 

2 rounds then switch to white yarn. 

Round 3: *M1, k1* (6 sts) 

Round 4: Knit 

Round 5: *M1, k1* (12 sts) 

Round 6: Knit 

Round 7: *K1, M1, K2* (16 sts) 


Round 13: *K1, M1, K3* (20 sts) 

Round 14-18: Knit 

Round 19: *K1, M1, K4* (24 sts) 


Round 25: *K1, M1, K5* (28 sts) 


Round 31: *K1, M1, K6* (32 sts) 

Round 32: Knit 

Change to orange yarn. 

Round 33: Knit 



Round 37: *K1, M1, K7* (36 sts) 


Round 43: *K1, M1, K8* (40 sts) 


Round 49: *K1, M1, K9* (44 sts) 


Round 55: *K1, M1, K10* (48 sts) 


Switch to yellow yarn. 

Round 61: *K1, M1, K11* (52 sts) 


Round 63-66: Knit 

Round 67: *K1, M1, K12* (56 sts) 


Insert safety eyes or embroider eyes onto front half of 

stitches, weave in ends, stuff nose, and attach ears at 

this point. 

Yarn Eyes: 

Using black yarn, duplicate stitch eyes at line of white 

and orange according to the Small Eyes Chart. 

Safety Eyes: 

Place safety eyes on the far left and right sides of front 

half of work, on the line between white and orange sections. 

Ears: 

Hold work so nose of rat is facing you. Count 15 rounds 

back from center of eye and right 4 sts then PU 7 sts 

through the right leg of each stitch. 


Row 2: Knit all 


Row 4: K2, s2kp, k2 (5 sts) 

Row 5: Purl 

Row 6: K1, s2kp, k1 (3 sts) 

Row 7: Purl 

Row 8: S2kp (1 st) 

Cut yarn and draw end down side of ear then move to 

inside of work and weave in. Repeat on other side. 

Body Decreases: 


Round 2: Knit 


Round 4: Knit 


Round 6: Knit 


Round 8: Knit 

Stuff remaining body. 

Round 9: K2tog 4X, K8, K2tog 4X (16 sts) 

Round 10: Knit 


Insert pipe cleaner (if using) into stuffing of back part of 

body and wrap yarn around with each round. 


Tail: 

Transfer 4 remaining stitches to one DPN and work 4 

stitch I-cord for 7-8”, or as long as desired. If using pipe 

cleaner, hold against stitches and draw yarn around at 

beginning of each I-cord round. Cut yarn and draw end 

through sts and weave in end. 

8

TO KNIT OR NOT TO KNIT. 

The Mid-Ulster Mail. Saturday. January 11. 1930 

The Musical Committee of the 

Royal Dublin Society have decided 

that in future the ladies who are 

seen knitting at the Recitals will be 

asked to stop or leave the hall, as 

the pleasure of music lovers is 

ruined by the irritant click of knitting 

needles and winding of wool. 

This so-called objectionable habit 

would be counted a virtue in 

Derry Workhouse where, the 

master says only one woman can 

knit, and she gets no time to knit 

for she is kept so busy darning. 

Why not instal a knitting-machine? 

Some of the non-knitters 

might be induced to manipulate it. 

But then Derry Workhouse is 

rather primitive. It was explained 

to the Board that before Christmas 

the inmates preferred to eat meat 

off the wooden table without 

plates, knives or forks. The 

wonder is they bother wearing 

socks or necessitated the Master to 

apply for six dozen pairs!! No 

mention is made of stockings but it 

is possible that even inside a workhouse 

the lady inmates would decline 

to wear the hand-knitted 

variety. Indeed it was 

reported that in an institution not 

far away, the women's dresses 

were tucked so as to leave the 

skirts the fashionable length. 

The National Union of English 

Teachers, at their last meeting in 

Canterbury, advocated the teaching 

of cooking and needlework to 

boys and light wood-work to girls, 

so knitting may not be altogether a 

lost art. 

If you enjoyed the vintage 

knitting articles on pages 4 and 9, 

please let us know and we’ll 

publish more. 

9

DISHIDENT #12 

by UKnitted Kingdom 

PATTERN DESCRIPTION 

Each issue of Blocked will contain a ‘secret’ pattern. 

The design will only be revealed as you knit. 

The instructions might uncover an image; a 

design, or a word/message. 

When using cotton these secret squares make 

excellent dishcloths. If you make 4 or 5 of each 

square in wool or acrylic they can be seamed 

together at the end of the year to make a small 

Afghan or lap blanket. 

ABBREVIATIONS 

• 1/1 RC: 1/1 Right Cross - On RS: Slip 1 st to cn and 

hold in back, k1, k1 from cn. On WS: Slip 1 st to cn and 

hold in back, p1, p1 from cn. 

• 1/1 LC: 1/1 Left Cross - On RS: Slip 1 st to cn and hold 

in front, k1, k1 from cn. On WS: Slip 1 st to cn and hold 

in front, p1, p1 from cn. 

• 1/1 LPC: 1/1 Left Purl Cross - On RS and WS: Slip 1 st 

to cn and hold in front, p1, k1 from cn. 

• 1/1 RPC: 1/1 Right Purl Cross - On RS and WS: Slip 1 st 

to cn and hold in back, k1, p1 from cn. 

• 1-to-3 inc: Increase 1 to 3 – On RS: k1, yo, k1 into same 

stitch. On WS: p1, yo, p1 into same stitch. (see YouTube 

tutorial) 

• cdd: Centered double decrease – Sl1, k2tog, pass 

slipped st over k2tog. 

• cn: Cable needle 

• dec 5-to-1: Decrease 5 to 1 - Pass 2 stiches from left 

needle to right needle as if to k2tog, slip the next stitch 

to right needle and pass 2 slipped stitches over the 

third stitch. Slip remaining stitch back to the left needle 

and slip next 2 stitches on left needle over it, then knit 

the stitch. (see YouTube tutorial) 

• k1tbl: Knit 1 through back loop. 

• m1: Make 1 

• p1tbl: Purl 1 through back loop. 

GAUGE & MATERIALS 

Each dishident uses approximately 

41 to 43g of worsted weight 100% cotton. 

Follow the yarn manufacturer’s 

recommended needle size. 

DIRECTIONS 

Cast on 45 sts 

Row 1[RS]: K45 

Row 2[WS]: K45 

Rows 3-6: K45 

Row 7: K4, p15, k1, p5, k1, p15, k4 

Row 8: K19, p1tbl, k5, p1tbl, k19 

Row 9: K4, p15, k1, p5, k1, p15, k4 

Row 10: K19, p1tbl, k5, p1tbl, k19 

Row 11: K4, p8, k1, p6, k1, p5, k1, p6, k1, p8, k4 

Row 12: K12, p1tbl, k5, 1/1 LPC, k5, 1/1 RPC, k5, p1tbl, k12 


Row 14: K12, p1tbl, k4, 1/1 LPC, k7, 1/1 RPC, k4, p1tbl, k12 


Row 16: K11, 1/1 LPC, k3, 1/1 LPC, k9, 1/1 RPC, k3, 1/1 RPC, k11 


Dishident Continued on next page... 

10

Dishident Continued... 

Row 18: K10, 1/1 LPC, k3, 1/1 LPC, k11, 1/1 RPC, k3, 1/1 RPC, k10 

Row 19: K4, p6, k1, p4, k1, p6, m1, k1, m1, p6, k1, p4, k1, p6, k4 (47 sts) 

Row 20: K10, p1tbl, k4, p1tbl, k5, p2, 1-to-3 inc purlwise, p2, k5, p1tbl, k4, p1tbl, k10 (49 st) 

Row 21: K4, p6, k1, p4, k1, p5, m1, k3, k1tbl, k3, m1, p5, k1, p4, k1, p6, k4 (51 st) 

Row 22: K10, 1/1 RPC, k3, 1/1 RPC, k4, p9, k4, 1/1 LPC, k3, 1/1 LPC, k10 

Row 23: K4, p7, k1, p4, k1, p4, k9, p4, k1, p4, k1, p7, k4 

Row 24: K11, 1/1 RPC, k3, 1/1 RPC, k3, p9, k3, 1/1 LPC, k3, 1/1 LPC, k11 

Row 25: K4, p8, 1/1 LPC, p3, k1, p3, k9, p3, k1, p3, 1/1 RPC, p8, k4 

Row 26: K13, 1/1 RPC, k2, 1/1 RPC, k2, p9, k2, 1/1 LPC, k2, 1/1 LPC, k13 

Row 27: K4, p10, 1/1 LPC, p2, k1, p2, k9, p2, k1, p2, 1/1 RPC, p10, k4 

Row 28: K15, 1/1 RPC, k1, 1/1 RPC, k1, k2tog, p5, ssk, k1, 1/1 LPC, k1, 1/1 LPC, k15 (49 sts) 

Row 29: K4, p12, 1/1 LPC, p1, k1, p1, k7, p1, k1, p1, 1/1 RPC, p12, k4 

Row 30: K17, 1/1 RPC 2X, k2tog, p3, ssk, 1/1 LPC 2X, k17 (47 sts) 

Row 31: K4, p14, 1/1 LPC, k7, 1/1 RPC, p14, k4 

Row 32: K19, 1/1 RC, p5, 1/1 LC, k19 

Row 33: K4, p16, 1/1 RC, cdd, 1/1 LC, p16, k4 (45 sts) 

Row 34: K19, 1/1 LPC, p1, 1-to-3 inc purlwise, p1, 1/1 RPC, k19 (47 sts) 

Row 35: K4, p14, 1/1 RPC 2X, k3, 1/1 LPC 2X, p14, k4 

Row 36: K17, 1/1 LPC, k1, p1, k1, p3, k1, p1, k1, 1/1 RPC, k17 

Row 37: K4, p12, 1/1 RPC, p1, 1/1 RPC, p1, k1, yo, k1, yo, k1, p1, 1/1 LPC, p1, 1/1 LPC, p12, k4 (49 sts) 

Row 38: K15, 1/1 LPC, k2, p1, k2, p5, k2, p1, k2, 1/1 RPC, k15 

Row 39: K4, p10, 1/1 RPC, p2, 1/1 RPC, p1, k1, dec 5-to-1, k1, p1, 1/1 LPC, p2, 1/1 LPC, p10, k4 (45 sts) 

Row 40: K13, 1/1 LPC, k3, p1, k2, p1, k1, p1, k2, p1, k3, 1/1 RPC, k13 

Row 41: K4, p8, 1/1 RPC, p3, 1/1 RPC, p1, 1/1 RPC, p1, 1/1 LPC, p1, 1/1 LPC, p3, 1/1 LPC, p8, k4 

Row 42: K12, p1, k4, p1, k2, p1, k3, p1, k2, p1, k4, p1, k12 

Row 43: K4, p7, 1/1 RPC, p3, 1/1 RPC, p9, 1/1 LPC, p3, 1/1 LPC, p7, k4 

Row 44: K11, p1, k4, p1, k11, p1, k4, p1, k11 

Row 45: K4, p6, 1/1 RPC, p3, 1/1 RPC, p11, 1/1 LPC, p3, 1/1 LPC, p6, k4 

Row 46: K10, p1, k4, p1, k13, p1, k4, p1, k10 

Row 47: K4, p6, p1tbl, p4, p1tbl, p13, p1tbl, p4, p1tbl, p6, k4 

Row 48: K10, p1, k4, p1, k13, p1, k4, p1, k10 

Row 49: K4, p6, 1/1 LPC, p3, 1/1 LPC, p11, 1/1 RPC, p3, 1/1 RPC, p6, k4 

Row 50: K11, p1, k4, p1, k11, p1, k4, p1, k11 

Row 51: K4, p7, p1tbl, p4, 1/1 LPC, p9, 1/1 RPC, p4, p1tbl, p7, k4 

Row 52: K11, p1, k5, p1, k9, p1, k5, p1, k11 

Row 53: K4, p13, 1/1 LPC, p7, 1/1 RPC, p13, k4 

Row 54: K18, p1, k7, p1, k18 

Row 55: K4, p14, p1tbl, p7, p1tbl, p14, k4 

Row 56: K45 

Row 57: K4, p37, k4 

Rows 58-62: K45 

TIPS 

If preferred, slip the first OR the last stitch of every row to create a 

neater edge. When purling a stitch immediately after knitting a 

stitch; pull the excess yarn out of the purl stitch before knitting or 

purling on. This helps to reduce loose/baggy knit stitches. 

NOTES 

Occasionally a dishident or secret square might not be 

suitable for children and ‘polite company’. Where this is 

the case it will be made clear. 

11

Jumping Off 

By M. Dreary 

THE BANNED BOOKS BANDWAGON 

As October approaches libraries and booksellers 

are rolling out their banned book promotions. Bookstore 

tables are being stacked high with “banned” 

books and libraries will soon be giving out their “I read 

banned books” buttons and bookmarks. Knitwear designers 

will release “banned book” patterns or patterns 

inspired by “banned” books. Yarn dyers will have 

“banned book” colorways and clubs, further drawing attention 

to the cause. All of this is in a lead up to 

“Banned Books Week,” which runs from October 1-7, 

2023. 

“Banned Books Week” is a big deal for the American 

Library Association (ALA), the oldest and largest library 

association in the world. “Banned Books Week” 

generally garners a lot of attention for the ALA and 

their Office for Intellectual Freedom. “Banned Books 

Week” is such a big deal for the ALA that they maintain 

a website dedicated solely to “Banned Books Week,” 

www.bannedbooksweek.org , at which they are ready 

to accept your donations. “This year the ALA handed 

out $1,000,000 to libraries to “fight” censorship.” 

(ALA, 2023) 

Many of us in the fiber arts community want to get 

behind “Banned Books Week” because we don’t believe 

in censorship, but I want to encourage you to dig 

a little more deeply into what “Banned Books Week” is 

all about, and better yet, what it is NOT about, before 

you jump on the “Banned Books” bandwagon. First, 

“banned” books aren’t truly banned and second, the 

ALA is not an unbiased entity that wants to provide 

equal access to all books. 

As a book lover, becoming a librarian was a natural 

career choice. I have a B.S. in Library and Information 

Services from the University of Maine, and I earned my 

Master’s Degree in Library Science from Texas Woman’s 

University. I worked in the public library sector for 

about 10 years before I decided to stay home with my 

children. I am passionate about libraries and access to 

information, so it seems counterintuitive to denigrate 

the ALA, but they are an institution that has lost its way. 

During my senior year of high school, just one 

month before graduation, something would happen 

that would test the mettle of librarians around the country 

and fuel my desire to go into librarianship. On April 

20, 1999, Eric Harris and Dylan Klebold entered into 

Columbine High School, in Littleton, Colorado, and 

killed 13 people. After the Columbine shooting, activists, 

politicians, and the community at large wanted 

someone/thing to blame; 

musician Marilyn Manson, 

the video game DOOM, 

and The Anarchist Cookbook 

by William Powell 

(1971) would all come 

under fire. 

The Anarchist Cookbook 

was no stranger to 

controversy as it had been linked 

to other crimes/terrorism in the 

years leading up to the Columbine 

shooting. (Dokoupil, 2013) It also 

frequently made the ALA’s banned 

book list. The book contains 

plans for how to 

make bombs, Molotov 

cocktails, and how to 

use other types of 

weaponry. 

Naturally, there 

were calls for libraries 

across the country to remove 

Powell’s book 

from their collections. At this time, many librarians 

spoke out against removing the book from their libraries, 

as they felt it infringed on patron’s right to read. 

I admired these brave librarians for not bowing to censors 

in a knee jerk reaction; I wanted to be part of a 

profession that valued free speech. While I am in no 

way promoting The Anarchist Cookbook, I respect 

adults’ right to make their own choices about what they 

read; “adult,” being the operative word in that statement. 

So, what does the ALA mean when they say 

“banned book?” The term “banned,” while compelling, 

is a misnomer. None of the books on the ALA’s list are 

actually banned from print, sale, or view in general. 

Rather, these are books that have been challenged, 

predominantly in compulsory school libraries; 58% of 

the books challenged in 2022 were part of school libraries 

or classroom curricula. (ALA, 2023) 

12

Banned Books Continued... 

Requests to remove books from a library go 

through a multi-step process. However, the first step 

typically starts with a complaint by a patron. A librarian 

will listen to the patron’s concern and will proceed 

through a few steps, depending on the type of library. 

The item may be removed immediately from the collection 

because it violates the library’s mission (i.e. an anti- 

Catholic book in a Catholic school library); if this is not 

the case, patrons are typically asked to fill out a form 

detailing their objection to the material. 

If a patron fails to complete the “challenge request” 

form, then the challenge process ends and the material 

will stay in the collection. Even if the patron doesn’t escalate 

the request to the level of filling out paperwork, a 

bored librarian can still fill out the ALA’s Challenge Reporting 

form. The ALA uses a deceptively simple form 

for reporting and recording challenges (ALA, 2023), so 

a challenge recorded in the ALA’s “banned books” statistics 

can be as simple as a verbal complaint that a 

book shouldn’t be in the children’s collection because it 

contains nudity. 

If a patron goes through the process of filling out a 

written request, a panel of library board members will 

review the request and then form a decision on 

whether or not to remove the title. Book removal 

requests and outcomes are reported to the ALA voluntarily, 

so the true accuracy of their statistics is unknown. 

(ALA, 2023) 

I think most of us will agree that a book about building 

bombs and making bullets isn’t appropriate for a 

school library; however, the waters tend to get a little 

murky when we start talking about sexual content. The 

ALA's current top 10 most challenged books are all 

geared towards teens/young adults, and are challenged 

based on explicit sexual content and/or sexual 

abuse. (ALA, 2023) The top 50 most “banned” books 

are nearly all books that are geared toward children 

and teens. (Martin, 2022) 

While I wholeheartedly agree that censorship is 

bad, I am also a firm believer in age appropriateness. 

The appropriateness lines are becoming ever more 

blurred and the ALA is completely tone deaf when it 

comes to the concerns of parents. (Kennedy, 2022) 

How vulgar or graphic does something written for children 

have to be to not receive the blessing of the ALA? 

The ALA disparages parent advocacy groups and 

lists them as the cause of the rise in book challenges, 

yet they offer no solutions to concerned parents. (ALA, 

2023) “Trigger warning.” “Explicit lyrics.” “This film contains 

content that may not be suitable for children.” 

Most of us have seen content warnings like these on 

films, music, and even YouTube videos, but when it 

comes to books it is still the Wild West. My child can’t 

purchase a copy of Texas Chainsaw Massacre at the 

local Wal-Mart, but she can check out books with 

graphic depictions of sex acts from a school library. 

I have chosen not to include excerpts from the most 

controversial titles, but if you would like to know what a 

lot of parents find so objectionable you may simply 

Google: “explicit passages in ‘All Boys Aren’t Blue’.” 

WARNING: NSFW 

The American Library Association is not an unbiased 

organization. They do have a very liberal progressive 

agenda. (Kennedy, 2022) When there was a lot of uproar 

earlier this year over celebrated children’s author, 

Roald Dahl’s, work being censored to remove “offensive” 

language (Diaz, 2023), there was no great outcry 

from the American Library Association (ALA). They also 

weren’t particularly worried when the Seuss estate decided 

to withdraw books from print because they were 

deemed “insensitive.” (Villagomez, 2021) 

Obviously, if books are being censored for reasons 

that the ALA agrees with, then there is no cause for 

alarm. (Andrew, 2021) While the ALA thinks graphic 

sexual content is suitable for children, and doesn’t merit 

a content warning or parent permission, Kaitlin Frick, in 

her blog post for The Association for Library Service to 

Children, writes that library staff should attach racism 

discussion guides to racially “problematic” classic 

books, like Little House on the Prairie. (Frick, 2020) “She 

also suggests librarians encourage parents to check out 

anti-racist books or more inclusive titles along with a 

classic book.” (Andrew, 

2021) 

You might be further 

dismayed to learn why 

there are, likely, no “conservative” 

books on the 

banned books list, even 

though we’ve been living 

through one of, arguably, 

the most divisive political 

and social climates of the 

past 50 years. The reason, 

quite simply, is gatekeeping. 

Johnny the Walrus by Matt Walsh was, undoubtedly, 

a very controversial book released in 2022 (Migdon, 

2021); the book sold nearly 100,000 copies in the first 

two months of its release. Yet, it did not appear on the 

ALA’s banned book list, why not? Maybe everyone just 

thought the book was great, and there wasn’t a single 

challenge…doubtful. A catalog search of the Chicago 

Public Library returns 0 results for Johnny the Walrus 

(they have 4 copies of The Anarchist Cookbook). I live 

13

Banned Books Continued... 

in a conservative area of the southern United States, 

and guess what; my local library system also has 0 

copies of Johnny the Walrus. Yes, that is anecdotal evidence, 

so take it for its worth. 

Librarians (and especially directors and school 

boards) have supreme power over what is in the library 

collection, so if they don’t want certain types of books 

in the collection, they won’t be in the collection. Just 

this week, a school district in Canada removed all 

books that were published before 2008 from its school 

library, under the guise of equity and inclusion. (Brockbank, 

King, 2023) When a patron comes into the library 

and makes a book request, some librarians will happily 

take the request even if they know the book is not 

going to be ordered (patrons will eventually forget 

about it or get tired of asking). Other librarians may 

offer excuses about budget cuts in order to pacify an 

eager patron. Trust me, this happens all the time. 

Simply put, if they don’t want the book, you aren’t getting 

the book. 

In short, fiber friends, as October nears and everyone 

starts to share pictures of their WIPs emblazoned 

with the “I Read Banned Books” tagline, I encourage 

you to think more critically about whether the American 

Library Association is an organization you want to draw 

attention to and/or support. Personally, I will choose to 

just read dangerously and knit something spooky. 

Afterword: 

Author, William Powell, spent 40 years after the publication 

of The Anarchist Cookbook disavowing the 

book and trying to get it removed from print. (Dokoupil, 

2013) However, The Anarchist Cookbook is still in print, 

still in many libraries, and did not make the list of 50 

Most Banned Books in 2022. 

Citations: 

American Library Association. (2023, August 25). Top 13 most challenged books of 2022. Advocacy, Legislation & Issues. 

https://www.ala.org/advocacy/bbooks/frequentlychallengedbooks/top10 

American Library Association. (n.d.). About the American Library Association. About ALA. https://www.ala.org/aboutala/ 

American Library Association: Office of Intellectual Freedom. (n.d.). Banned Books Week. Banned books week. https://bannedbooksweek.org/about/ 

American Library Association. (2023, February 24). challenge reporting. American Library Association. 

http://www.ala.org/tools/challengesupport/report (Accessed September 14, 2023) 

American Library Association (2023, Junes 22). american library association to distribute $1 million to support fight against censorship. 

American Library Association. (Accessed September 14, 2023) 

http://www.ala.org/news/press-releases/2023/06/american-library-association-distribute-1-million-support-fight-against 

American Library Association. (2023, March 20). 2022 book ban data. American Library Association. 

http://www.ala.org/advocacy/bbooks/book-ban-data (Accessed September 14, 2023) 

Andrew, S. (2021, March 3). Libraries oppose censorship. so they’re getting creative when it comes to offensive kids’ books. CNN. 

https://www.cnn.com/2021/03/03/us/offensive-childrens-books-librarians-wellness-trnd/index.html 

Brockbank, N., & King, A. (2023, September 13). “EmPty Shelves with absolutely no books”: 

Students, Parents Question School Board’s library weeding process | CBC NewsNi. CBCnews. 

https://www.cbc.ca/news/canada/toronto/peel-school-board-library-book-weeding-1.6964332 

Dokoupil, T. (2013, December 17). After latest shooting, Murder Manual author calls for book to be taken “immediately” out of print. NBCNews.com. 

https://www.nbcnews.com/news/us-news/after-latest-shooting-murder-manual-author-calls-book-be-taken-flna2d11758543 

Frick, K. (2020, June 15). The problem with Peter Pan: Racism in the classics. ALSC Blog. 

https://www.alsc.ala.org/blog/2020/06/problem-with-classic-literature/ 

Kennedy, D. (2022, September 10). Librarians go radical as new woke policies take over: Experts. New York Post. 

https://nypost.com/2022/09/10/librarians-go-radical-as-new-woke-policies-take-over-experts/ 

Martin, J. (2022, November 17). The 50 most banned books in America. CBS News. 

https://www.cbsnews.com/pictures/the-50-most-banned-books-in-america/51/ 

Migdon, B. (2021, December 9). Amazon bestseller compares being trans to pretending to be a walrus. The Hill. 

https://thehill.com/changing-america/respect/diversity-inclusion/585135-amazon-bestseller-compares-being-trans-to/ 

Villagomez, J. (2021, March 8). Chicago Public Library removing 6 dr. Seuss books from the shelves while it determines long-term options. 

Chicago Tribune. 

https://www.chicagotribune.com/news/breaking/ct-dr-seuss-chicago-public-library-20210308-gibelvfs7fhrbpwlbitxdyalbm-story.html 

Waters, C. (2019, November 13). “woke” librarians take their politics to another level. The American Conservative. 

https://www.theamericanconservative.com/woke-librarians-take-their-politics-to-another-level/ 

14

GOLDEN 

RATIO COWL 

DESCRIPTION 

A modular constructed mitered-square cowl 

By Uknitted Kingdom 

NEEDLES 

• 4.5 mm for the squares 

• 3.5 mm for the top and bottom edges 

Option 1 Schematics 

YARN 

Yarn for option 1 

200 g (4 balls) West Yorkshire Spinners Elements DK (60% 

TENCEL Lyocell / 40% Falkland Islands Wool - 50g / 1.75oz 

122m/122yd) 

• Color 1 – Summer Haze 1107 50g 122m (133yd) 

• Color 2 – Fresh Water 1106 50g 122m (133yd) 

• Color 3 – Moonlight 1101 50g 122m (133yd) 

• Color 4 – Pebble Shore 1139 50 g 122m (133yd) 

Use leftover yarn to crochet the optional spiral. In this example 

I used #1145 Watermelon. 

Yarn for option 2 

3 balls Drops Brushed Alpaca Silk Mist (77% Alpaca, 23% Silk 

0.9 oz/25g 153 yds/140 m) #14 Morning Mist, held double 

throughout the body of the cowl, one at a time, with each of 

the following colors of Holst Garn Coast fingering (55% 

Lambswool, 45% Cotton 50g/1.75oz 350m/383yd) 

• Color 1 – Dove .3 oz/10g 70m/77yd 

• Color 2 – Skylight .3 oz/10g 70m/77yd 

• Color 3 – Nimbus .3 oz/10g 70m/77yd 

• Color 4 – Marlin .3 oz/10g 70m/77yd 

• Color 5 – Lead 1 oz/30g 210m/230yd 

or 

NOTIONS 

• Stitch marker 

• Tapestry needle 

• 4.5 mm Crochet hook . 

ABBREVIATIONS 

CDDp – Centered double decrease, purled: Slip 1 knitwise 2X. 

Sl these 2 sts back to left needle, insert right needle from left 

to right into their back loops and slip together to right needle. 

P1 and pass the 2 slipped sts over. 

SC - Single Crochet (US version) 

HDC – Half Double Crochet (US version) 

15

Golden Ratio Continued... 

Directions for Square 1 

Using color 1, a 4.5 mm crochet hook, and a 4.5 mm knitting 

needle, cast on 21 stitches using the crochet cast on 

method. 

Row 1: Sl1 wyib, k8, CDDp, k8, p1 (dec’d 2, 19 sts rem) 

Row 2: (Sl1 wyib, k8) 2X, p1 

Row 3: Sl1, k7, CDDp, k7, p1 (dec’d 2, 17 sts rem) 

Row 4: (Sl1, k7) 2X, p1 


Row 6: (Sl1, k6) 2X, p1 


Row 8: (Sl1, k5) 2X, p1 


Row 10: (Sl1, k4) 2X, p1 


Row 12: (Sl1, k3) 2X, p1 


Row 14: (Sl1, k2) 2X, p1 


Row 16: (Sl1, k1) 2X, p1 

Row 17: Sl1, CDDp, p1 (dec’d 2, 3 sts rem) 

Row 18: Sl2, p1 (Note: sl2 should be slipped individually, 

NOT together) 

Row 19: CDDp (dec’d 2, 1 st rem) 

Bind off and cut yarn, weave in end. 



needle, cast on 10 stitches using the crochet cast on 

method. 

With the 10 stitches on the needle and using the same 

yarn as you cast on with, pick up a stitch through the center 

of the last CDD of square 1. Pick up another 10 stitches from 

the slip stitch edge for 21 stitches in total. Stitch 12 (directly 

following the center stitch is tricky to pick up as the slip 

stitch edge lies directly behind the central double decrease. 

Repeat the directions for square 1. 


Using color 3, a 4.5mm crochet hook, and a 4.5mm knitting 


method. 

With the 20 stitches on the needle and using the same 


of the last CDD of square 1. Pick up another 20 stitches from 






Repeat these 2 rows decreasing in the same manner as 

the previous squares. 




method. 





16 




Row 2: (Sl1, k28) 2X, p1 


previous squares. 




method. 




the slip stitch edge (101 stitches in total). Stitch 52 (directly 






previous squares. 

If knitting option 1, stop here and knit squares 1 to 5 

again, alternating the colors already used as follows: 

Square 1: Color 3 





Option 1: top and bottom edges and seaming 

With 3.5 mm needles, and color 4, pick up and knit every 

stitch along the top edge of the front section. In garter stitch 

knit 14 rows (7 ridges). Loosely bind off. 

Repeat for the bottom edge and again for the top and 

bottom of the back section. 

Using the schematic as a guide, turn one of the sections 

around. 

With the right sides facing each other and wrong sides on 

the outside, join the edges of squares 3 and 4 of section 1 to 

squares 4 and 3 of section 2 using a single crochet (US 

terms) join through the outside leg of each stitch. This will 

leave the bulky part of the seam on the wrong side. 

Then join the edge of square 6 of section 1 to square 6 of 

section 2 using a SC, join through the inside leg of each 

stitch. This will leave the bulky part of the seam on the wrong 

side and a visible line of stitches that will be crocheted into 

later. 

Turn the cowl so the right side is facing outwards. 

Using a 4.5mm crochet hook and your spare yarn, beginning 

in the first CDD of square 1, HDC into every CDD in a 

spiral. On the back seam HDC through both legs created 

from the seam. 

Continue HDCs until you reach the first CDD of the other 

square 1. 

Weave both ends of the spare yarn through to the wrong 

side and secure. Wash and block. 

Wash and block.

Golden Ratio Continued... 

COWL OPTION 2 

Knit squares 1 to 5 as above plus square 6: 

Square 1:Color 1 





Square 6:Remnants of colors 4, 3, 2, and 1 (in that order). 


C0 80 stitches, pick up center stitch, pick up 80 stitches. 

Row 1:Sl1 wyib, k78, CDDp, k78, p1(dec’d 2, 159) 

Row 2:(Sl1wyib, k78)2X, p1 

Repeat these 2 rows decreasing in the same manner as previous 

squares. 

Option 2: top and bottom edges and seaming 

With 3.5 mm needles, and color 5 held double (don’t used the 

alpaca for the edges), pick up and knit every stitch along the 

top edge. In garter stitch knit 14 rows (7 ridges). Loosely cast 

off. Repeat for the bottom edge.With the right sides showing, 

mattress stitch the edge of squares 4 and 5 to the edge of 

square 6. Wash and block. 

GOLDEN RATIO BLANKET 

Knit the first 6 squares in a yarn weight and color(s) of your 

choice. Use a hook and needles appropriate for the weight of 

yarn. 


CO 890 stitches. Pick up center stitch, pick up 890 stitches, 

1781 stitches total. 


Row 2: (Sl1 wyib, k888) 2X, p1 


squares. 

In theory, the blanket can be added to ad infinitum. It’s unlikely 

you will want to go beyond this size. However, if you do, 

the CO numbers would be as follows: 

Square 12: 1440 

Square 13: 2330 

Square 14: 3770 

Square 15: 6100 

Square 16: 9870 (if you get this far you deserve a medal and 

a free carpal tunnel operation!) 

To add a border, pick up and knit every stitch along one side 

of the blanket. 

In garter stitch knit 14 rows (7 ridges). Bind off loosely. 

Repeat this along each edge in turn. 

Using a yarn of your choice, and a crochet hook appropriate 

for the yarn weight, HDC along the CDD lines from the center 

of the blanket outwards. Weave in the 2 ends. 

Wash and block. 

Option 2 Schematics 


C0 130 stitches, pick up center stitch, pick up 130 stitches, 


Row 1: Sl1 wyib, k128, CDDp, k128, p1 (dec’d 2, 259 sts) 

Row 2: (Sl1 wyib, k128) 2X, p1 


squares. 


C0 210 stitches, pick up center stitch, pick up 210 stitches, 



Row 2: (Sl1 wyib, k208) 2X, p1 


squares. 





Row 2: (Sl1 wyib, k338) 2X, k338, p1 


squares. 

Directions for Square 10 


1101 stitches total. 

Row 1: Sl1 wyib, k548, CDDp, k548, p1 (dec’d 2, 1099 sts rem) 

Row 2: (Sl1 wyib, k548) 2X, p1 


squares. 

17

Black Sheep 


In September 2023 the world’s most expensive handknitted 

sweater sold at Sotheby’s in New York, to an unknown 

bidder, for an incredible $1.14 million. 

The estimated auction price expected was a ‘mere’ $50k 

to $80k. 

To warrant this value one might be forgiven for expecting 

the sweater to have been spun and knitted using the 

Golden Fleece from the ‘Jason and the Argonauts’ myth. 

In reality, the sweater was owned and worn (only twice in 

public) by the late Diana, Princess of Wales (b. 1961 d. 

1997). 

Traditionally, members of the British Royal Family, especially 

women, are expected to, “never complain, never explain,” 

and have arguably always had their freedom to 

speak curtailed for fear of offending dignitaries, politicians, 

and/or their subjects. Possibly, as a result, many of the 

Royal ladies have used clothing and accessories as a 

means to do the talking for them, affording them plausible 

deniability. One only has to research the late Queen Elizabeth 

II’s ‘handbag codes’ to see the extent of this. 

Diana, Princess of Wales, was well known for sending 

messages via her clothing. Her “revenge dress” being the 

most famous example. 

https://en.wikipedia.org/wiki/Revenge_dress 

Another equally notorious clothing message was Diana’s 

“black sheep” sweater. Diana first wore this sweater in public 

in 1981 just one month before her marriage to the 

(then) Prince, Charles Windsor. 

The sweater was purchased from ‘Warm and Wonderful’ 

https://warmandwonderful.com/ and had been designed 

by Sally Muir and Joanna Osborne. The design was a simple 

crew neck sweater with adapted drop-sleeves, in red, 

with white sheep with black eyes, and one lone black 

sheep. The hand knit 

sweaters were sold until 

1994. 

At the time of first wearing, 

the British and world media 

were obsessed with Lady 

Diana Spencer, her upcoming 

marriage to the heir to 

the British throne, her hair, 

her clothes, her car, her 

friends, her job, all were scrutinised, 

opined upon, and regurgitated 

to the world with 

a side plate of hysteria and 

obsession. 

To the media, the 

message Diana 

was sending was 

clear and, in retrospect, 

spookily prophetic. 

The sweater symbolised Diana’s feelings of being 

an outsider, the figurative black sheep of the Royal Family. 

In public, at least, Diana only wore the sweater once 

more, two years later, in 1983. This time the media claimed 

it was to further cement her feelings of isolation from the 

Family. Much of this was made in the 2020 fourth season of 

“The Crown,” where Emma Corrin wore a replica. 

Possibly in tandem with The Crown episode(s), Warm 

and Wonderful reissued the renamed, “Diana Edition 

Sheep Sweater” design in 2020 and it is currently on sale 

for £270 GBP. 

At the time of filming The Crown’s ‘black sheep’ episode(s) 

the location of 

Diana’s own sweater was unknown. 

However, in a fortuitous 

twist, in March 2023 

the sweater was found in the 

attic of the original designers. 

Along with it were 

two letters from Buckingham 

Palace. 

In the first letter, dated 

1983, Diana had requested 

the sweater be mended or 

replaced after it had become damaged. A new sweater 

was sent to her and a second letter thanking the designers 

was sent. 

It was this new sweater that Diana wore in 1983; therefore 

each version of the sweater was only aired in public 

once. The original damaged sweater languished, forgotten, 

in the attic for over four decades. 

It is this damaged, original hand-knit which sold, alongside 

the two verifying letters, for $1.4 million. The whereabouts 

of the second sweater is currently unknown. 

It’s interesting to ponder on how this sweater would be 

interpreted now, if Catherine, the current Princess of 

Wales, was to wear it. 

In modern times the notion of the ‘black sheep’ has 

been labelled by some as ‘racist.’ In Britain, in 1986, activists 

attempted and failed to ban the 1744 nursery rhyme 

“Baa Baa Black Sheep.” The original rhyme (below) was interpreted 

as being racist and a celebration of colonialism 

and transatlantic slavery. 

18

Black Sheep Continued... 

Bah, Bah, a black Sheep, 

Have you any Wool? 

Yes merry have I, 

Three bags full, 

One for my Master, 

One for my Dame, 

One for my little boy 

That lives in the lane. 

(Opie, I. & Opie, P. (1997) [1951]. The Oxford Dictionary 

of Nursery Rhymes (2nd ed.). Oxford University Press. 

p. 88. ISBN 0-19-860088-7.) 

It may well be because of this controversy, that Diana’s 

black sheep sweater was never seen again until long after 

her death. 

In 1999, activists in Birmingham called for the banning 

of the rhyme, and in 2006, in Oxfordshire a further attempt 

was made. Although there are British nurseries and 

schools which insist on singing “pink sheep,” “green 

sheep,” “rainbow sheep,” “white sheep,” “happy sheep,” 

etc, it is not, and has never been, an official diktat by local 

or national government. 

In Melbourne, Australia, in 2014 a similar unsuccessful 

campaign to ban the rhyme was held. No doubt, there 

will be other attempts in the future. 

It’s interesting that, to my knowledge, Diana Princess of 

Wales was never accused of racism for wearing the 

sweater. 

I wonder if, as I type, an eternally offended Craftsnarker 

is currently banging out a post condemning the free pattern 

(available below) for racism, or for the intersection of 

being racist whilst not being size inclusive! 

In the meantime, why not knit your own black sheep 

sweater? The design is available for free at the link below 

(use the sheep graphs on a different size-inclusive 

sweater design if your size isn’t available): 

Afterall, we blocked and cancelled knitters are considered, 

by some, the black sheep of the knitting world. 

Clickable Pattern Link 

https://web.archive.org/web/20151126170154/http://www.p-hop.co.uk/wp-content/uploads/2012/03/Diana-Black-Sheep-Sweater-download.pdf 

19

Knitting Patterns, Hand-Dyed Yarns, 

Tools, Notions & More! 

www.knittymcpurly.com 

Hand-dyed yarns, Opal yarns, patterns, tools, and notions. 

https://www.etsy.com/de/shop/AnnaKnitterYarns 

New Zealand yarn store. 

Ships worldwide. 

www.skeinz.com 

Knitting Patterns 

https://www.ravelry.com/designers/liz-clothier 

Anne Pinkava 


www.lovecrafts.com/en-us/user/maker/fdba7e1e-93b6-4b6f-9f82-06ef18d0ec8c 


https://galilee-life.com/vendor/deplorable-knitter/ 

20

Amigurumi/Crochet Patterns 

http://www.yankeerose.etsy.com/ 

Wise Owl Knits 

Knitting Patterns and Tutorials 

www.wiseowlknits.com 

Karen Juliano 

Blogger 

& Knitter 

Fabrics, Sewing Patterns, 

and Tutorials 

https://littleragamuffin.com/ 

Knitting Patterns: 

https://www.lovecrafts.com/en-us/user/maker/647c869e-a568-4b05-8fb4-b8f868600ec4 

Knitting Patterns and Tutorials 

https://www.ravelry.com/stores/birdie-beanie 

Love Stitched 

https://galilee-life.com/vendor/love-stitched/ 

21

REVIEW OF 


‘Number knitting, The new all-ways-stretch method’ 

22 

I’m a self-confessed “process knitter.” 

The techniques and intricacies of knitting 

and crochet hold far more interest 

for me than a finished object. It is why I 

have dozens of works in progress (WIPs) 

and why, once I understand a new technique 

used in a pattern, I often lose interest 

in continuing. If the project is a 

large sweater, or a blanket, it sometimes 

morphs into a symbol of shame, a reminder 

of my failure to see the job 

through to the end. 

The phrase “A Jack of all trades is a 

master of none, but oftentimes better 

than a master of one,” definitely explains 

those of us with magpie-brains coveting 

knowledge and collecting 

techniques. Ooo, there’s a shiny 

new skill I need to learn. Be right 

back… 

I hold an envious respect for 

those who are more single-minded 

and can apply their skills to one 

project for years, decades, or even a 

lifetime. 

In the knitting and crochet world 

there are many YouTubers committed 

to long-term projects, such 

as: 

● Roxanne Richardson knitting a 

sweater from every decade from 

1890. 

● Engineering Knits knitting and 

crocheting from Weldons’ Practical 

Needlework series 

● Vintage Crochet following the 

original (often vague and confusing) 

instructions for a Victorian pattern 

before revealing what it should have 

looked like. 

● Nathan Taylor, The Sockmatician, 

who has worked tirelessly on 

his double brioche and triple-knit 

projects. 

When I heard about Kelly Vaughn 

(Knitswag on social media) and her 

long-erm project to re-publish Virginia 

Woods Bellamy’s “Number 

knitting, The new all-ways-stretch 

method” (1952), I was fixated for several 

reasons: 

● Despite the difficulty I have sticking 

with a project, the one pattern I return 

to again and again is the mitered 

square. Each square holds my attention 

from beginning to end and both of my 

favorite techniques are used throughout 

(central double decrease (CDD) and 

picking up and knitting stitches (PUK)). 

Virginia’s book holds the original mitresquare 

method. Although she never 

refers to the squares as ‘mitres’, nor 

does she use CDDs, there’s no mistaking 

them for anything else. 

● The book is hard to find and incredibly 

expensive. Only 5,000 copies 

were printed in 1952 and they have 

since become collector’s items; sometimes 

eliciting prices of over $500 for a 

hardcover original. Even the electronic 

version is expensive. There are two 

electronic versions ($74.99 and $39.99 

– more on this to follow). What becomes 

rare becomes wanted. 

● After reading the 1972 reprint 

editions of Mary Thomas’ Knitting Book 

(1938), and Mary Thomas’ Book of Knitting 

Patterns (1943), I have been far 

more interested in the knitting of the 

past than the knitting of the present. 

Virginia’s book hits the sweet spot of 

time between Mary Thomas, James 

Norbury, and Elizabeth Zimmermann. 

● Although 70+ years since publication, 

Virginia’s approach, techniques, 

and knowledge appear refreshingly 

new. I think I can say with confidence 

that you will never before have encountered 

patterns written and 

presented/charted the way Virginia 

does in “Number Knitting.” There is so 

much to learn from this book and yet, at 

first glance, one might be forgiven for 

missing its secrets. It’s old, yet new, 

dated, yet exciting, and Kelly Vaughn is 

unlocking the dust-covered jewellery 

box and sharing the diamonds. 

I can imagine at this point you might 


Number Knitting Continued... 

be thinking, “mitred squares, so what?” Well, Virginia’s 

“All New All-Ways-Stretch Method” was so unique in 

1948 that Virginia succeeded in patenting the process 

and patenting the teaching of the method. 

Before explaining the method 

it’s worth painting a historical 

background. Virginia had lived 

through The Great Depression, 

World War I, and World War II. 

Like many of our grandparents’ 

and great-grandparents’ generations, 

survivors of those times of 

stress and scarcity tended to 

squirrel away food and money, 

and tried to make food, material, 

and fuel stretch as far as possible. 

After surviving so many periods of 

poverty, who could say when the 

next war or financial crash might 

occur? 

So it was with knitting and 

wool. Virginia’s method used less 

wool than other methods of the 

time. She had growing children 

to clothe and either couldn’t or 

wouldn’t spend a small fortune 

on wool. Virginia also had a dislike/distrust 

of yarn stores/producers 

with their rudeness, 

haughtiness, and monopolisation 

of which wools could be knitted 

using which patterns. Therefore, 

her method allowed knitters to 

make warm, fashionable (for the 

time) items of knitwear using less 

yarn. 

In terms of being fashionable, 

you’re unlikely to find many patterns 

within the book which you 

could follow, knit, and wear as 

presented. The patterns are absolutely 

of their time. However, 

the book is a great example of 

skill building, with a definite 

beginner level, building to very 

complex pieces. Once the 

reader understands the basic 

principles of Virginia’s method 

they can, as Virginia intended, 

be applied to the readers’ own 

designs, including modern 

contemporary designs. 

Kelly has researched fashions of the era in order to 

ascertain how certain items should be worn. For example, 

in the 1950s, shawls and headscarves were oft 

worn with the point facing downward on the 

face, thus originated the term, “widow’s 

peak” (earliest known reference to this was in 

1509, and was very widespread during the 

1800s). [Wilton, David. Wordorigins.org]. To 

our modern fashion sense this might not be 

as obvious as it still would have been in the 

1950s. 

Kelly’s journey to find out adjacent information 

is engaging and very informative. 

Kelly asks questions and poses theories 

rather than asserting her findings as facts. In 

this way Kelly has built a picture of Virginia’s 

life, works, environment, friends, and to some 

extent, her motivations, which might only be 

mentioned briefly in the book, if at all. 

The Method 

Virginia’s method involves seven basic 

knitted shapes (see plate 1, page 24). Today 

these shapes might not seem extraordinary. 

However, in 1948, they, and how they were 

used, was unique and original enough that 

the United States Patent Office agreed to patent 

the process. 

In column 7 and 8 of the US Patent 

2,435,068 Virginia makes the claim: 

“8. A knitted fabric comprising joint 

knitted units having greater resistance to 

stretching along certain lines than the knitted 

structure as a whole along those lines, and 

said lines of the units of the knitted structure 

being arranged to render resistance to 

stretching substantially the same in a plurality 

of directions.” 

This claim is the basis of her “The New- 

All-Ways-Stretch Method.” In effect, the 

modular nature of her designs are extremely 

stretchy overall when worn, yet the 

individual modules quickly return to their 

original shape when resting. The reason for 

this, is that the direction of knitting 

changes within the module, or from one 

module to another. Some parts of the module 

or design will stretch vertically, others, 

horizontally, with a stabilising join between 

modules. This enables stretch in every di- 

Continued on next page... 

23


rection for the garment/item, and the stabilising edges 

of picked up stitches draws the stitches 

back together again. 

Another unusual aspect of Virginia’s 

method is her use of gauge-shifting. 

The gauge recommended can vary incredibly 

within a garment or item. For 

example, in her Winged Blouse (page 

206) the modules are knitted in varying 

needle sizes to change the fit of the 

item in certain areas. This enables the 

patterns to remain simple in presentation 

and avoids complicated mathematical 

grading. 

In general, Virginia’s gauge use is extremely 

loose. As a tight knitter, I find 

some of her gauges jaw dropping. For 

example, the Lanier Circlet: Evening 

Hood (page 150) is knitted with a gauge 

of 2 stitches to the inch, using a fine 

grade yarn! 

Virginia’s novel approach doesn’t 

end there. Her charts/diagrams are, in my opinion, genius. 

Although many of her innovations have been copied 

and facsimiled until her virtual watermark/signature 

has been eroded, this is one aspect of her work that is 

still unique to her. 

In the chart/diagram for the ‘Patchwork Blues 

Afghan’ Virginia provides all the information needed to 

create the blanket. Each square of the graph paper represents 

9 stitches x 9 ridges in garter stitch. The gauge is 

3 stitches per inch. So, each square (of the paper) equals 

3”. The finished piece will measure approximately 60” 

long and 27” wide. The box number is a crucial part of 

the understanding of Virginia’s patterns. Without this 

number the patterns are next to impossible to understand. 

The numbers on the colored sections indicate the 

order and direction the knitter should work in. This in itself 

is impressive. The modules of each pattern in the 

book are numbered in an order that eradicates (or significantly 

reduces) the need to break the yarn. In this particular 

example it probably wasn’t necessary as Virginia 

uses four different shades of blue, yet she still maintained 

that principle throughout. 

Before publishing the book Virginia ran mail-order 

classes using the techniques she developed. Kelly has 

been trying to track down one of the mail order courses 

with no luck (so far). The book is, in and of itself, a full 

course in learning to knit, not just Virginia’s methods. I 

suspect experienced knitters may miss important information, 

or misunderstand parts of the book, by thumbing 

ahead to the parts they feel 

are aimed at the more experienced. 

However, a word of caution, 

no matter how experienced 

we are as knitters, we are all beginners 

when it comes to Virginia’s 

unique approach. 

As you can probably tell, this 

knitting book is amongst my alltime 

favourites. If you enjoy the 

process of knitting, aren’t looking 

for a modern, perfect sweater pattern 

in row by row directions, then 

it might become one of your favourites 

too. If you enjoy modular 

knitting and ‘Cosy Memory’ mitresquare 

blankets, then I highly recommend 

you contact Kelly for 

your own pdf copy. It’s telling that 

the original modular blanket patterns 

herein are still more varied 

in placement patterning than any of the modern versions. 

(For example, see ‘The Mulbury Bush Afghan’ 

placement suggestions: page 103). 

This leads me to what I originally considered to be a 

little contentious; the price. 

As mentioned, the hard copy books are so rare they 

are generally sold well in excess of $500 per copy. There 

are library copies around the USA and one copy in the 

UK. These are probably going to be difficult to obtain 

and, due to rarity, might be available for reference only, 

and not to be removed from the library. 

There are two electronic versions available to buy. 

The first version is a pdf at $74.99 from Kelly’s own 

Knitswag site: Number Knitting: The New All-Way 

Stretch Method, Digital Scan of The O – KnitSwag 

The other is a Kindle ebook at $39.99 From Amazon: 

Amazon.com: Number Knitting: The New All Ways 

Stretch Method eBook : Bellamy, Virginia Woods: Kindle 

Store 

At almost half the price you would think the 

Kindle/Amazon copy the obvious choice. However, the 

Amazon version has some quite strange formatting, you 

can’t print from it, and many of the photographs are 

blurred. Whereas the Knitswag version is printable, has 

colorised charts, clickable annotations, and is generally 

of far superior quality. 

Initially I struggled with Kelly’s justification for charging 

$74.99 until I learned just how much work she clearly 

put into creating the pdf. It isn’t as simple as just scan- 

Continued on next page... 

24


ning pages. Kelly has been systematically updating the 

charts from hand drawn to much clearer, cleaner software 

generated images. I think, once you have a copy 

of the book, Kelly makes these charts available (you will 

need the book to understand them though). 

There are 74 patterns in the Number Knitting book. 

You won’t like or knit them all, but when all things are 

considered, $1 per pattern isn’t too much of a stretch. 

Additionally, Kelly regularly offers extremely generous 

discounts (25% and 50%) for those willing to test 

knit some updated patterns from the book or join in 

with her Number Knitting knit-a-longs. 

Kelly hosts her knitalongs during weekly Sunday 

YouTube lives. Her YouTube channel is fun, engaging, 

self-effacing, informative, and is on my ‘never miss’ list 

(although I usually have to catch up later due to time 

zone differences). 

In closing, I’m unsure if Kelly will ever republish the 

book (with updated charts/diagrams) as, from watching 

her YouTube, she claims she has much more to learn 

from the book. I understand this. The knitting books of 

old (Mary Thomas, Elizabeth Zimmerman, etc) often 

squeezed the most valuable gems of information into a 

sea of type. You have to wade through the words diligently 

to find them all. 

The ‘Golden Ratio’ cowl and blanket patterns on 

page 15 (although originally mentioned on page 27 of 

issue 4) are my loose homage to Virginia’s work. 

Blocked Issue 4 (yumpu.com) 

Sources: https://patentimages.storage.googleapis.com/0a/0d/bf/b4b216fb0a0369/US2435068.pdf 

25

0x10 

1 by 1 

By Annie of A Stitch in the Sky 

Numbers in Knitting & Crochet 

The inexperienced may not realize how many 

numbers are involved in our craft. From the age we 

learned to knit or crochet to the amount of unfinished 

projects we have, numbers are everywhere. 

A lot of people learn how to knit before they are 

age 10 and others are older. I was around 7 when I 

learned. I knitted two items for my brownie badge of 

which I had quite a few. I knitted a cape from polythene 

at art college when I was 19 and used our craft 

again when I was 22. 

Five years later, I started to knit again to help me 

give up smoking. It will soon be 30 years that I have 

always had projects on the needles. 

When we start a project we need to 

use needles or hooks with the right 

number engraved. Then we need the correct 

number of stitches and rows to make 

a 10 by 10 cm. square. We may need to 

use larger or smaller needles to get the right 

gauge. We also need the right thickness of yarn. 

Maybe 12 wraps per inch. 

Our chosen pattern may ask us to measure 

ourselves and then explain whether 

there is positive or negative ease. We will 

need to measure ourselves and then add or 

subtract inches or centimetres to decide 

which size to make. 

We may need to do 1 by 1 rib or 2 by 2 rib for 5 

cm. or 2 inches. We may need to knit until we have 30 

or 40 cm. before we start an arm hole. If we were knitting 

fair isle every row involves counting. 

Some of us have shorter arms than others and 

need to calculate how many rows to work. I have a 

few methods that help when counting large numbers. 

When I cast on, I place a marker after 50 stitches, if 

I’m counting rows I’ll place a marker after I’ve counted 

50. 

In dressmaking, there are two inches in width between 

sizes so designers have a lot of calculating to 

do to make patterns suitable for many sizes. When it 

comes to blankets, size can be whatever you would 

like, but if it is a crocheted blanket, the motifs have to 

have the correct amount of stitches on each round for 

them to lie flat. 

One of the most fun items I knitted was a pi shawl. 

The pi method is used to calculate how many increases 

are needed to make a flat circle. When all this 

measuring and calculating is finished, there are still 

more numbers. 

We have a number of pattern books and magazines. 

Some of us have a stash that you can count. 

Some of us will need to retire before we can do so. I 

have most of my magazines and books in two cupboards 

and have my wool in various places in three 

different rooms of my house. 

Then there are UFOs to take 

into consideration. I think I have 

between 5 and 10 and 

then I have a list of things 

I’d like to make. If you use 

Ravelry you may have a 

list of things that you’ve 

made. You might also 

have a list of things that you would like to make. 

You may have also listed all of your yarn. 

Sometimes when I’m in between projects, I 

have a bit of a sort out and look at patterns I’d like 

to make. I try to work out which of my stash yarns will 

make them, if they will work to gauge, are suitable 

and if I have enough yarn to complete the item. 

Sometimes a calculation is necessary - a ball of double 

knitting might have 125m. on it and you may have 

8 balls. This may be enough to make the sweater or 

cardigan you desire or it may not - which sometimes 

sends me batty. 

To be a monogamous knitter with no stash would 

be a lot simpler but there would still be numbers involved. 

So if you think you’re rubbish with numbers but 

have successfully completed knitted and crochet 

projects then maybe you’re better with numbers than 

you think. 

40cm 

12wpi 

50 

Here’s to 30 more years of knitting! 

26

WELCOME BABY HAT 

BY PATRICIA TAYLOR 

I began knitting and crocheting baby items for charity back in the mid-80s. Over the years, I have found that my favourite 

thing to make has been baby hats. They are quick to knit or crochet, you can have fun with different styles and patterns, and 

(best of all) you only have to make one instead of a pair! I’m happy to team up with Anna of https://www.annaknitter.com/ to 

add my hat pattern to her Welcome Baby Socks as we grow our Welcome Baby Collection. 

For more information about the Welcome Baby Socks and the pro-life organization in Germany called Aktion Lebensrecht 

für Alle e.V. (translated: A right to live for everyone) see pages 4 and 5 of issue 3: 

https://www.yumpu.com/en/document/read/66852428/blocked-3-final 

Send your Welcome Baby knits to: Aktion Lebensrecht für Alle e. V. 

MATERIALS 

• Yarn: DK Weight 

Lion Brand Ice Cream (100% Acrylic 3.5 oz/100 g 394 yd/360 m) 

Caron Cupcakes (100% Acrylic 3 oz/85 g 244 yd/223 m) 

Mandala Baby (100% Acrylic 5.3 oz/150 g 590 yd/540 m) 

• US Size 5 (3.75 mm) 16” circular, DPNs, or long circular for magic loop 

• Gauge in 1x1 rib 

30 sts x 34 rnds = 4”x4” 

Sizes: 

• Newborn 

Approx 60-75 yds 

Circumference 13-14” 

Folded Height 5” 

Total Height 6” 

• Preemie 


Circumference 10-12” 

Folded Height 3.5” 


PATTERN 

Cast on 66 (54, 42) sts and join in the round. 

Work K1, P1 ribbing for 12 (10, 8) rounds. 

• Teenie Preemie 


Circumference 7-10” 

Folded Height 2.75” 


Kitzenmarkt 20-22 

86150 Augsburg 

GERMANY 

Please mark your shipment as a gift 

so we don’t have to pay customs. 

BODY 

Round 1: *K3, p3* rep around 


Repeat rounds 1 and 2 for a total of 16 (12, 8) times (32, 24, 16 total rounds) 

Decreases: (Switch to dpns when there are too few stitches for circular needles if necessary) 

Round 1: *K3, p2tog, p1* rep around (55, 45, 35 sts rem) 

Round 2: *K1, p1, k1, p2* rep around 

Round 3: *K3, p2tog* rep around (44, 36, 28 sts rem) 




Round 7: *K2togTBL* rep around (11, 9, 7 sts rem) 

Teenie Preemie stop here 

Round 8: *K2togTBL* 5(4) times, k1 (6, 5 sts rem) 

Cut yarn, leaving a 6” tail and use a yarn needle to thread end through remaining stitches. Weave in all ends. 

When weaving in cast-on tail, make sure to leave the tail end on the right side of your knitting, so the tail is not 

seen when the brim is folded up. 

27

Dear Mr. West 

& fellow knitters, 

You don’t know me. I’m just a peon in the knitting 

world. I’ve only been knitting for 10 years or so, have 

a silly little podcast with my sister, and a great group 

of knitting friends found in the strangest of circumstances. 

I was woefully unaware of who you were until recent 

years. I am forever behind on trends, as easily 

judged by the simple style of jeans and concert band 

t-shirts I’ve been rocking for roughly 30 years. However, 

I have a lovely group of knitting friends who 

absolutely LOVE your work. So, due to their constant 

pressure encouragement, I can now say, I have a 

love/hate relationship with your work. 

Dear Sir, do not consider this remotely a judgment 

of your amazing, lovely, fun personality. You are 

an absolute breath of fresh air, and your tutorial videos 

are amazing. I am forever using your piece of 

advice to “make it work” if you find yourself with an 

extra stitch or two. Thanks to you I can now do an i- 

cord cast on, and a few other tricks! 

But kind sir, I have a question. 

Why. Are. There. So. Many. Holes? 

I said it. I did. I have tried about four of your patterns 

(which I know is a drop in the bucket of your 

work, people do not come for me!) I notice a trend of 

quite large lacework holes in parts of the patterns. 

Large enough for your finger to poke through, or if 

you have such proclivities, a nipple slip! I do understand 

lacework has its place. I love me a good yarnover 

pattern for a small hole. But some of these holes 

are a tad excessive. A small child’s hand could fit 

through some of these. Some are so large 

they might be a portal to another 

dimension. How do you wear these 

without ripping your work? I 

presume others possess 

some form of grace that I do 

not, because I have visions 

of walking through a 

room in a rush, catching 

my shawl on a 

doorknob and as I’m slowly 

strangled to death, in my 

dying breath, I screech 

“Curse you Stephen 

West and your holes!” 

*end scene* 

Mr. West, I can honestly say that is my one and 

only complaint thus far about your patterns. Now, I 

know some folks are turned off by the vibrant and 

sometimes clashing colors you may use. That’s a 

“them” problem, not a “you” problem, because if you 

as a knitter do not know that you can CHOOSE YOUR 

OWN COLORS, well, then you have bigger fish to fry. 

So, I can honestly say, “Thank you Mr. West.” 

Thanks to my friends relentless badgering, daring, 

and spiteful pressure encouragement, I now actually 

do enjoy your patterns. I’ve learned to ignore color 

choices, perhaps even only choosing 1-2 colors when 

you may have 73. I’ve learned that your holes are 

easily ignored and modified, and the result will still 

be gorgeous. I’ve learned that when you have 3,920 

stitches on a final row, you better use stitch markers. 

I’ve also learned to use small stitch markers so that 

they don’t move around by said yarnovers that make 

said holes, lest you have holes that don’t line up with 

other holes, and now you’re even more mad about 

holes. I’ve learned that while many folks LOVE a good 

mystery KAL, I do not. I will patiently wait until you 

make multiple versions of your crazy but amazing 

idea so I can see how everyone else did it, and then, 

as you suggest, make it work for me. 

Almost every knitter knows who you are, even 

those who live under a rock like me. And one thing I 

think everyone should learn from you is not to be 

afraid. Don’t be afraid to try new things, change up 

plans, modify, adjust, choose a different path, and 

forge your own path. You won’t make everyone 

happy; you aren’t tacos and a margarita. 

So, while I will indeed continue to whine, 

complain, and argue with my friends about 

your designs, I will still try them. 

I will keep knitting, and I will 

make it work. 

Maybe just maybe, if we all had 

a little more Stephen West in us, 

life would be a little more fun. 

©Yo-Yo 

Thanks for the designs, 

sir! Even the 

holey ones. 

~~Little Sis 

28

29

MURDER TAKES 

THE BUS BLANKET 

BY MURDER KNITS 

DESCRIPTION 

The perfect blanket to knit while solving a crime! 

No gauge needed. 

Use any weight yarn. 

Use any needle size. 

Perfect for scraps and odd skeins. 

DIRECTIONS 

CO 5 sts 

Row 1 (WS): Knit 

Row 2 (RS): K3, yo, k2 

Row 3: K3, yo, k3 

Row 4: K3, yo, knit to end 

Row 5: K3, yo, purl to last 3 sts, k3 

Repeat rows 4 and 5 until blanket is desired width. On next RS row, work row 6. 

Row 6: K2, k2tog, yo, ssk, knit to end 

Row 7: K2, k2tog, yo, p2tog, purl to last 3 sts, k3 

Repeat rows 6 and 7 until 5 sts remain. 

BO 

Weave in ends and block as needed. 

Check out some fun MALs ! 

Check out the Selbu Mitten Competition on page 32 

30

Bloggers 

& Vloggers 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

Adventures With Yarn - https://www.youtube.com/channel/UCbFHj9k5Uxc44g1pnlgiQjg 

For all the latest drama in the fibre world – Fun, quirky, and full of energy. 

Anna Knitter - https://www.youtube.com/channel/UCkE2h6s400fRkasl6zyX_jg 

A podcast about knitting and crocheting with glimpses of a roman-catholic life. 

Blocked Magazine - https://www.youtube.com/channel/UCAY880IYHF8gJ8b-UdEWAxQ 

For all the latest drama in the fibre world – including what didn’t make it into the magazine! 

Deprogrammed - https://www.youtube.com/c/KeriSmithDeprogrammed/featured 

Interviews intended to better understand and make sense of her old belief system, Social Justice ideology. Including those in the crafting community. 

Herd knitunity - https://herdknitunity.locals.com/ 

Shepherd and ‘woolfluencer’, a sheep to sweater kinda gal. 

Knitty McPurly - https://www.youtube.com/channel/UCyIInmPUQGqoohNgUj0Zmow 

A virtual saint! 

Little Ragamuffin - https://www.youtube.com/channel/UCaogzXKmOJ9FO8fsjurrEcw/videos 

Sewing tutorials of both slow paced and quick speed styles, fun random sewing oddities, Ragamuffin news, and problematic interviews & conversations. 

Murder Knits - https://www.youtube.com/channel/UCbrSeXmJuT0_BglI_pzi1jg 

If your children watch, they'll become serial killers! 

Politically Incorrect Knitters - https://www.youtube.com/channel/UCm8CME6h72cFfQ7ZBNGCj5w 

Topical, informative, and fun! 

Skeinz Diaries - https://www.youtube.com/channel/UCswGNOSxnHlPZsQMCC2YHxQ 

Take off your ‘gummies’, put your feet up and prepare for a ‘tiki tour’ of yarny goodness! 

High Fiber Diet - https://www.youtube.com/channel/UCzQ4cCawQzD6RDfwLhlZ0hQ/featured 

Thick skinned with no “F’s Given!” 

Two Sisters & Some Yarn - https://www.youtube.com/c/TwoSistersAndSomeYarn 

Two sisters and some yarn – is exactly what it says on the tin! 

Wise Owl Knits - https://www.youtube.com/channel/UCg8N6NhDdKf44_HigLiP4Ug 

Knitting Tutorials 

ShaunaStitches - https://www.youtube.com/channel/UCCOfV6wkBgB6288iVQ1V9Ww/videos 

Knitting, spinning, crochet, quilting, and many other crafts are shown and discussed. 

AStitchInTheSky - https://www.youtube.com/channel/UCCxq6HphzSbjU2lb7t8c6Ww/videos 

Knitting, sewing and all the things in between! 

Texas Peach Knits - https://m.youtube.com/channel/UC1zKQy-8XU8stQfmIzqe92w 

Knitting, crochet, sewing and all the things in between! 

Short Story Long - https://karensshortstorylong.blogspot.com/search/label/Knitting 

Knitting, photography, gardening, quilting, life. 

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Shootin’ the Sh1t on yarn, chicken, orthodoxy and life 

31

Selbu Mitten Competition 


Ever wanted to design your own 

pair of fingering weight Selbu-style 

mittens but didn’t know where to 

start? Well, now is your chance! 

Blocked is holding two competitions between 

now and the end of the year. 

The first competition is to design an original 

fair isle, cable, or gansey style pattern onto the graph 

templates on pages 33-35. 

To do this you can either print off the template 

and hand-color the design, or, use design software 

such as stitchfiddle, stitch master, or just plain Excel 

using the same or similar stitch counts. However you 

create your design please ensure any photos/graphs 

are clear and show each individual cell/square/color. 

You may adapt the design (stitch count, rib style, 

etc), but the design must still be a Selbu style mitten. 

Please do not send designs for gloves or fingerless 

mitts. 

Family members and non-knitters are eligible to 

enter designs. However, the design must be physically 

possible to knit. If designing a fair isle pattern, 

please don’t use more than two colors per round or 

have huge floats. 

Both the left and right mittens must be designed, 

whether they match or not. 

All submissions will be presented (with names and 

identifying features removed) to the Blocked patrons 

who will then vote for the winner. 

● Competition 1. Design only 

● Start date: Now! 

● End date: Nov. 30, 2023 

● Submit designs and clear photos/graphs to 

blockedmagazine@gmail.com. Please put ‘Mitten 1’ in 

the subject line. 

● Prize: $25 voucher (Amazon or yarn dyer tbc). 

To enter the second competition, you 

will need to have submitted a design within the deadline 

above. You can knit your own design, or a family 

member’s design. You only need to knit one of the 

mittens, unless both mittens in the pair are different. 

In that case both mittens must be knitted. 

Use any fingering weight, sock weight, or 4-ply 

yarns. 

Please submit clear photos of your knitted 

mitten(s). The finished piece will be judged by Liz 

Clothier of @lizclothierdesigns. 

● Competition 2. Design and finished knitted 

mitten 

● Start date: Now! 

● End date: Dec 31 2023 

● Submit designs and clear photos/graphs to 

blockedmagazine@gmail.com. Please put ‘Mitten 2’ in 

the subject line. 

● Prize: $25 voucher (Amazon or yarn dyer tbc). 

X-rated and 18+ designs may be submitted. However, 

when publishing the images in the magazine 

these will be via a link where readers can choose to 

look at them or not. All other entries will be freely 

available for readers to view. 

By entering this competition you agree to give 

Blocked Magazine permission to publish your competition 

design(s)/pattern(s), redraft those 

designs/patterns(s), and publish relevant photographs/graphs 

in future issues of Blocked Magazine. 

You will share copyright of your own designs with 

Blocked Magazine and this agreement does not prohibit 

you from reproducing, republishing, selling, or 

giving away your own mitten design(s). 

32

Left Mitten 

33

Right Mitten 

34 


SELBU STYLE MITTEN 

MATERIALS 

Yarn: approx. 2 x 50g Fingering weight yarns in contrasting 

colors. If your design is multi-colored, please be sure to only use 

2 colors per round. 


NEEDLES & SIZES 

One set double-pointed needles, or other needle(s) for working 

a small circumference in the round. 

Change needle size if necessary to obtain correct gauge. 

Small: US size 1/2.25 mm 

Gauge 32 sts = 4”/10 cm; Mitten circumference 7”/18 cm 

Med: US size 2/2.75 mm 

28 sts = 4”/10 cm; Mitten circumference 8”/20.5 cm 

Large: US size 3/3.25 mm 

26 sts = 4”/10 cm; Mitten circumference 9”/23.5 cm 

PATTERN 

Cast on 52 and join in the round. 

Follow the chart from the bottom upwards and always right 

to left. The grey squares indicate “no stitch” so they do not get 

included in your stitch count. 

Round 50: Follow the chart to where the red line indicates the 

thumb will be. Either put these 12 stitches onto waste yarn or a 

stich holder or knit the 12 stitches with waste yarn in a contrast 

color. This will be unpicked later to knit the thumb. 

Round 118: Pass yarn through the final 8 stitches and cinch 

firmly. Cut yarn leaving a 6” tail and weave in all ends. 

This is a blank template for a pair of Selbu Style mittens. When worn the ribbed cuff is 

turned inwards and isn’t seen. Where the cuff turns inwards the decreases and yarn-overs 

made on round 16 create a picot style decorative edge. 

Thumb 1 Thumb 2 

35

The Red Knot, vol. 3 of the Days of the Guardian Trilogy by D. Marie Prokop 

CHAPTER FIFTEEN – 

The Golden Spiral 

Penuel greeted Jack. The boy didn’t speak. Penuel 

had never heard the young man’s voice. He sighed. The 

Guardian entrusted him with a mission. He would do his 

best. 

“Jack, it’s time.” 

As Jack looked up, a question filled his eyes. “Time 

for what?” they seemed to say. 

Penuel offered him a warm and welcoming smile. “It’s 

time to explore truth, yes? Come with me.” 

Jack followed Penuel out into the garden. They 

paused as Penuel bent over and picked up a standard 

brown seashell. He held it out for Jack to examine. 

“Who owns this seashell?” Penuel asked him. Jack 

looked puzzled by the strange question. 

“Ah, you’ve taken a vow of silence. Let’s try this, no? 

I’ll ask you questions, and you just nod yes or shake no? 

Okay?” 

Jack nodded. 

Penuel began. “Do I own this seashell?” 

Jack shrugged, but then shook his head no. 

Penuel smiled. “I agree. This seashell isn’t mine. If it 

was mine, you would assume I created it, yes?” 

Jack nodded this time, following Penuel’s reasoning. 

“Okay, here’s the next question—is this seashell 

yours?” 

Jack again replied no. 

Penuel nodded. “Correct, young man. So, it’s not 

mine and it’s not yours. Whose is it then, I wonder?” 

Jack was silent but pointed his finger to the blue sky. 

“What? Does that mean God?” 

Jack shrugged and nodded. 

“Not sure God exists? I have wrestled with that myself. 

Well, let’s suppose God made this seashell. But he’s 

not here. I found it, so I can do with it 

whatever I please, no? I have free will.” 

Penuel cast the seashell to the ground. They both 

stared down, watching the chipped seashell ramble 

along the walkway. The broken shell finally spun in place 

and came to rest. Penuel retrieved it. He pointed to the 

conical section on the seashell. “Do you see this shape?” 

Jack nodded. 

“This is a nautilus, a common shape in nature, also 

called a golden spiral. The nautilus is everywhere in the 

universe, forming not only this tiny seashell but also the 

shape of a galaxy. Must be 

coincidence, no? Fate?” 

Penuel strolled over to a 

raised box filled with sand. He picked up a rake 

with tines that were close together on one end and grew 

gradually wider toward the opposite end. He used the 

funny-looking rake to draw a spiral in the sand. 

“Looks familiar, yes?” Penuel asked Jack. Jack nodded. 

The spiral mirrored the seashell, the nautilus shape. 

“Let us count the number of spirals. You can count, 

yes?” 

Jack’s holo-education ended two years ago. He 

hadn’t had to think about mathematics for a while. 

Luckily, Jack could count. Many of his friends back in Sector 

One could not. Jack wondered if Penuel had ever 

been a math teacher in whatever country he was from. 

His accent was unique. 

“Thirteen, yes? That’s bad luck, no? Silly superstitious 

nonsense. Nature maybe likes some numbers more than 

others, no? Take the number thirteen. There’s a mathematical 

phenomenon found all throughout the universe 

called the Fibonacci sequence. Each number of the 

sequence is the sum of the two previous numbers. I’ll 

show you.” 

Penuel used his finger to write numbers and calculations 

in the sand. 

“0, 1, 1, 2, 3, 5, 8, 13 . . . Yes?” 

Jack followed Penuel’s explanation, nodding slowly. 

He wondered where this was going. 

Penuel continued, “This sequence makes sense, but 

it’s mysterious, too. It’s found in science, mathematics, 

and art. But why? No one knows! The Fibonacci 

sequence is fate, destiny... or rather, an inexplicable design. 

We can do what we want with the shell. I can throw 

it to the ground and break it, no? This is free will. I can 

destroy or cherish what God has designed.” 

A mature understanding crossed Jack’s young face. 

The teenager had experienced much in his short life. Penuel 

felt empathy for him. He continued his lesson, wanting 

this spiritual examination to deliver hope. 

“Free will can cause much pain, no? It’s frustrating. 

Are you angry at the Guardian for asking you to take on 

this burden, for letting you look like a traitor?” 

Jack picked up the seashell. The intricate, yet simple 

36

Red Knot Continued... 

beauty glowed, despite the fracture. He tucked the broken 

shell into his pocket. 

“I trust her,” he whispered. 

Penuel smiled inquisitively and patted the boy’s head. 

They walked on the path toward the ocean accompanied 

by the faint sound of waves crashing in the distance. 

“No one believes you, Jack, yes? But you told the truth. 

The Guardian commanded you to deliver the serum to the 

E.C.C.O. agent. It was all part of her plan. Thank you for 

being obedient and maintaining your silence. You are special, 

like the golden spiral.” 

“I heard her voice. Like a dream—b-but real. No one will 

ever believe me,” Jack croaked, his voice hoarse from lack 

of use. 

“Ah, maybe not yet. The Guardian cherishes free will. 

It’s admirable, and in some ways, incomprehensible, yes? 

Like God, she lets us choose. I think she enjoys the tension, 

no?” Penuel and Jack were now walking along the 

beach. 

“Maybe.” 

“Can you tell me about what happened, Jack?” 

Jack cleared his throat. It seemed he couldn’t stop talking 

now that he’d started again. “It was strange. I was 

alone in my cabin when I heard a voice, but no one was 

there. It was like when Ainsling cloaked us. We were all invisible, 

but we heard each other.” 

Penuel stroked his chin, awed by the tale. Jack met his 

eyes. “The voice said to walk down the hall. It told me 

every turn to make and which doors to enter. When it 

whispered the combination of the lock, I opened it and 

took one bottle of serum from the case, as instructed. It 

was all so easy. I trusted the voice completely.” 

“Did she mention your sister, Sara?” 

“Yes. The first thing she said was, “I’m the Guardian. 

Your sister is safe. Will you help me?’” 

“That felt good, yes?” 

“Yes.” Jack fell silent. 

“There is more, yes?” 

“Well, I never told anyone about this. But the Guardian 

knew all about my first mission. One of the people we 

were sent to rescue died. I always blamed myself. She was 

so close—I should have saved her. But the Guardian assured 

me Maria’s death wasn’t my fault. No one else knew 

how guilty I felt about it. She said she understood like 

she’d experienced the same thing once. When she asked 

me not to tell the others that she spoke to me, I promised I 

wouldn’t.” 

“The Guardian believes in you. She understands your 

pain.” 

“I think that’s true. I don’t know how to explain it. But 

after talking with her, I felt free. I wanted to do what she 

asked. I haven’t spoken since then ‘til now.” 

“You were no longer alone, yes?” 

“Yes.” 

“Ah, I’m glad. The Guardian trusted you and you 

proved yourself a faithful servant.” 

“Was what I did that great? I mean, they all think I’m a 

traitor. Maybe I should have told them about hearing the 

Guardian’s voice?” 

“No, Jack, you did the right thing—you did what the 

Guardian asked. You kept your promise. I’m sure it wasn’t 

easy, yes? Not everyone is ready to hear her voice. You 

were ready. Liang will be ready soon. And the Guardian 

will speak again,” the man smiled wistfully. 

“Can I have some water?” Jack asked, his voice still 

warbled. Penuel handed him a bottle of water from his 

knapsack and chuckled as Jack took a few sips and then 

poured the rest of it over his head, like a self-baptism. Jack 

shook his head like a dog, sending water everywhere. 

The morning wind picked up. Soon it blew strong, lifting 

Jack’s damp hair straight up. The boy scanned the sky 

for storm clouds, but something in the ocean distracted 

him. 

He pointed. 

“Penuel—look—a ship!” 

Penuel followed Jack’s finger and joined him in staring 

at a spot of brown bouncing on the ocean’s horizon. Penuel 

sighed. 

“At last. They’re coming.” 

Jack raised an eyebrow at Penuel. He asked the obvious. 

“Who’s coming?” 

Penuel gulped the salty ocean air and replied, “Come, 

we must inform Elizabeth. The island is about to fill with 

people. There’s a lot to do! You are a hard worker, yes?” 

“I’m free. Put me to work.” 

The young man inspired Penuel, like a breath of fresh 

air. He inwardly thanked God that the Guardian asked him 

to speak with Jack on her behalf. He had wrestled with the 

dichotomy of free will and fate long enough. Talking with 

this faithful child ground every bit of his doubt to sand. 

They turned back toward the cottage to find Elizabeth. 

They found her perched at the top of the stairs as they 

reached the end of their climb. She exchanged a meaningful 

look with Penuel, their dark eyes exchanging both 

concern and hope. Jack couldn’t restrain his excitement. 

He spoke out coarsely but exuberantly, “We saw a ship!” 

Elizabeth’s eyebrows rose at hearing Jack’s rough 

voice. 

“Thank you, Jack,” she said, smiling. She turned to Penuel. 

“May I speak to you in private for a moment?” 

Jack excused himself and watched from a window inside 

the cottage as Penuel and Elizabeth had an animated 

conversation. 

He wrapped his hand around the seashell in his 

pocket. 

37

SQUARE SHAPED 

SHAWLS 


In the first of a new series of “recipes” we’ll be 

showing you how to create basic shawl shapes. 

These will not necessarily include row by row instructions, 

but brief directions about where to increase 

and decrease to obtain a particular shape. 

Use any yarn with needles appropriate for the 

drape you prefer. 

Increases and decreases: 

Use whichever increase and decrease methods 

you prefer. 

For a symmetrical appearance use mirrored increases 

and decreases. 

Generally, you will be able to move the placement 

of any increase or decrease to the left or to the 

right by a couple of stitches and still achieve the 

same shape. Many designers choose to use increases 

and decreases on the inside of a simple or patterned 

selvedge, or garter or I-cord edging. For example, 

you may choose to knit 3 stitches in garter before 

making your right-hand increase or decrease, and 3 

stitches in garter after making left hand increase or 

decrease. 

Using yarn overs creates a 

decorative increase. However, if 

you want the decreases to match 

you will have to use a yarn over 

preceded or followed by a decrease. 

Any of these recipes could be 

used to create a blanket, either 

smaller squares joined together, 

or one large square. 

The simplest of all methods is 

the basic garter stitch square. 

For a square without any 

increases or decreases: 

Cast on the desired number 

of stitches and knit in garter stitch 

until the length matches the 

width. 

For a square shaped diagonally: 

Cast on 1 stitch. 

Increase at the beginning of every row in garter 

stitch until the desired width is reached. 

Bind off when the square is the required size. 

Decrease at the end of each row in garter stitch 

until you have only one stitch left. 

These 2 recipes form the center of traditional hap 

designs. 

For a mitered square: 

Cast on an odd number of stitches. This will be 

the bottom two edges of your diagonally shaped 

square. 

Make a central double decrease using the center 

3 stitches on every other row, continue in garter stitch 

until the last 3 stitches and tie off with a central double 

decrease. 

An example of this square is shown in more detail 

in the “Golden Ratio Cowl” on page 15. 

Or Cast on an even number of 

stitches. Place a marker in the center of 

the stitches. 

On every row of garter stitch, knit 

until two stitches before the marker. 

Make a single decrease, SM, knit to the 

end of row. 

When you are left with the final 2 

stitches, knit them together to bind off. 

Or: 

Cast on 1 stitch. Increase by 2 stitches 

(3 sts in total). Place a marker on either 

side of the center stitch. 

RS rows: Knit to marker, increase, slip 

marker, k1, slip marker, increase, knit to 

end of row 

WS rows: Knit 

Bind off when the square is the required 

size. 

For center-out squares: 

Center-out squares are knitting inthe-round, 

and therefore well suited to 

stockinette stitch patterns. 

38

CO 8 stitches. Join in the round. 

Round 1: (K1, increase 1) 4X (16 sts) 

Round 2: Knit (dividing 4 sts onto each DPN) 

Round 3: (K1, increase, knit to end 

of DPN) 4X (24 sts) 

Round 4: Knit 

Repeat rounds 3 and 4 until your 

square is the required size. If you 

need to switch to a circular needle 

place 4 markers to indicate where the 

stitches were on the DPNs. Bind off. 

For outside-in square: 

Outside-in squares are also 

knitted in the round, and therefore 

well suited to stockinette patterns. 

Cast on any number of stitches divisible 

by 4. Join in the round. 

Place 4 markers evenly spaced 

around. For example, if you cast on 

400 stitches, place a marker every 

100 stitches. 

Round 1: (K1, decrease 1, knit to 

marker, slip marker) 4X 

Round 2: Knit. 

(You will need to switch from a circular 

needle to DPNs when the 

stitches become sparse.) 

Repeat rounds 1 and 2 until you 

have 8 stitches remaining. Decrease 

x4 and cinch the remaining 4 stitches 

together. 

markers in the first round, take 12 away from your 

total stitch number. Divide this number by 4. This 

number equals Z. 

Round 1: (KZ, place marker, knit 

3, place marker) 4X 

Round 2: (Knit to marker, slip 

marker, central double 

decrease, slip marker) 4X 

Round 3: Knit 

(You will need to switch from a circular 

needle to DPNs when the 

stitches become sparse.) 

Repeat rounds 2 and 3 until you 

have 4 stitches remaining. Cinch 

these stitches together to bind off. 

Next issue: Triangular shawls 

Alternatively: 

Cast on any number of stitches divisible 

by 4 plus 12 (example, 412 

sts). Join in the round. 

To calculate the number of 

stitches needed between 8 stitch 

39

NEEDS YOU! 

© 2022 Conley Olson, @NantucketStudios 

WE’RE LOOKING FOR: 

• Test Knitters/Crocheters 

• Podcasters/Vloggers 

• Designers 

• Writers 

• Artists 

If you are interested in 

being a contributor 

email: blockedmagazine@gmx.com 

Themes for issue submissions: 

Issue 11 (Oct/Nov): Windmills of the Mind 

Issue 12 (Dec/Jan): Under the Ivy 

Issue 13 (Jan/Feb): Murder/Mystery 

These themes can be interpreted literally, figuratively, or in any way the titles make you feel. 

For example, a designer could take ‘Under the Ivy’ literally and have intarsia ivy on a shawl or 

think more laterally to see what the word ‘ivy’ evokes from them. 

Patron Checkout | Patreon 

www.patreon.com/join/BlockedMagazine 

Although Blocked is free to read, it isn’t free to produce. Without the generosity of patrons, 

Blocked would not be possible. There are overheads that need to be met including subscriptions for software, 

the magazine online platform, a future website, and time. 

If you have enjoyed this issue, please consider becoming a patron. 

Patrons receive the magazine a week before general release, see exclusive content, 

get to vote on future content, and may receive exclusive offers. 

More details available on the Patreon site linked above.

Acknowledgments 

BLOCKED has been made 

possible by the generosity and 

goodwill of far too many people to 

name individually. 

Thank you to all the designers, 

writers, photographers, artists, 

patrons, advertisers and, of 

course you the reader.

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