BLOCKED_15

A STITCH IN THE SKY • THE GOOD, THE BAD, AND THE UGLY CATS SHAWL • SHARK WEEK 2024 

KNIT YOUR BIT • THE ZIGGY SHAWL REVIEW • KNITTING FICTION • THE COTTON FAMINE

TEAM BLOCKED 

Editor in Chief 

Neil James 

For all enquiries: 

blockedmagazine@gmx.com 

Layouts, Graphics, and Ads 

BS Designs 

Copy Editor 

Cézanne Pellett 

Unless otherwise indicated the information, articles, artwork, 

patterns and photography published in BLOCKED Magazine 

are subject to copyright ©2024 BLOCKED Magazine. 

Editorial Assistants 

All rights reserved. 

Cover Model 

Denise Pettus, Karen Juliano, and Annie Robinson 

Laura Neubauer 

Tech Editors 

Cézanne Pellett and Annie Robinson 

Cover Photography 

Emseepixels 

www.instagram.com/emseepop/ 

emseepixels.co.uk/ 

www.youtube.com/@emseepop5042 

Content Writers 

Amy D, Cézanne Pellett, Jo-Bob, 

Katie Gerwein, Anne Pinkava, and 

Uknitted Kingdom 

Pattern Designers 

Mockingbirdsrealm, 

Uknitted Kingdom

Dear Readers, 

Since the last issue, I overcame my 

dislike of driving farther than one hour in 

any direction and, like Shackleton, 

bravely ventured over moor and dale 

into deepest darkest Teesside to visit 

Annie in Hartlepool. 

Annie (a Stitch in the Sky) is the 

super-model on this issue’s cover. 

Sporting her mohair Ugly Cats Cape, 

she posed and leaped along Hartlepool 

beach whilst her talented daughter, 

Emily, took photos. I didn’t actually need 

to be there, but I wanted to see and 

touch this magnificent shawl/cape in 

person. 

It was a fabulous weekend. The 

weather was flawless. The hottest weekend ever (if you believe the 

Climate Change Cult) with a sea breeze just perfect for those “wind 

tunnel” tousled hair shots. 

Annie’s dogs, Lottie and Roxy, were equally as adept at 

super-modeling and, I’m sure, behind the scenes, there was 

some professional jealousy between them. 

It was difficult to choose which photos to feature as they were all 

so good. Those we haven’t used this issue will probably appear on 

Instagram or on a YouTube episode at some point in the near future. 

We’ve left out the dishidents from this issue (and probably the 

next issue too) as we want the dishident number to match the 

magazine issue number. They will return with issue 17. 

The cross-stitch patterns I’ve designed for this issue are two of a 

set. The designs have been a top-secret project that only Cézanne 

and Therese of KnitNite have known about. This issue is apt to release the first two as the full set 

depict the knitting heroes of Blocked and the theme of this issue is “Heroes.” The other cross 

stitch will be released in future issues. Enjoy! 

Neil 

Editor-in-Chief 

3

y Jo Bob – Commentator, Knit Nite Podcast 

Pattern Review: 

THE ZIGGY SHAWL 

by Joji Locatelli 

Her husband later joined 

her in another dyeing endeavor, 

producing roving 

dyed in bright colors, while 

Joji began dabbling in publishing 

knitwear designs. Her 

first published pattern on 

Ravelry was the Garter Stitch 

Baby Cardigan in 2008. This 

cute little boxy crossover cardigan 

with two buttons is designed 

in 4 ply fingering yarn. 

In February 2016, I first heard of Joji Locatelli during 

Episode 2 of The Grocery Girls Podcast. They showcased 

her 3 Color Cashmere Cowl (published on Ravelry 

in 2015). I've since obtained the pattern, and allocated 

yarn, but am yet to knit it. 

In October 2016, on the Fruity Knitting Podcast, Andrea 

interviewed Joji, describing her as a “Gorgeous mixture of 

intelligence and style, and elegance, and humility.” During 

the interview, Joji displayed some of her garments 

and I liked her minimalist style with feminine detail. 

Hailing from Buenos Aires, Argentina, Joji spent years 

studying medicine and graduated from university in 2003 

to begin her internship as a doctor. She soon realized that 

she didn't enjoy working as a doctor and tried her hand as 

a knitting teacher and a yarn dyer of bright, colorful 

skeins. The skeins were sold at her favorite yarn store 

where she eventually secured a position on staff for four 

years. 

In August 2012, the Boxy 

Sweater (inspired by a storebought 

fashion sweater), with its wide body and skinny 

sleeved design, knit in Madelinetosh Tosh Merino Light, 

became a huge success with knitters worldwide. It is possibly 

the most popular sweater designed by Joji and she 

has developed many new design iterations inspired from 

the original Boxy Sweater. 

The Hipster shawl was published in January 2018 and 

gathered a following of shawl knitters showing their projects 

on podcasts that I viewed. 

I began following Joji’s podcast on YouTube of Knitting 

Journals debuting in February 2018. I especially enjoy the 

podcasts when Joji’s mom, Virginia, joins her. Their 

mother/daughter relationship is full of warmth and laughter. 

It is impressive that Joji openly shares her working 

processes and progress of new knitwear ideas and test 

knits; with honest opinions of the yarns used. 

4 

Continued on next page...

Ziggy Continued... 

In 2019, Joji published Odyssey, a free shawl knit pattern. 

I made and gifted one to a friend who adored the 

shawl which encouraged me to purchase and make 

more Joji Locatelli designs. 

The Washed Out Shawl is an asymmetrical shawl with 

a super long tapered cast on end, which I really disliked 

so I gifted it. I also gifted the Storm Shawl. The Party on 

my Needles Shawl was super pretty, knit in mini skeins 

of contrast colors, and difficult to part with, but again, it 

was gifted. The Super Simple Summer Sweater was 

another successful knit that I gifted to a friend in Japan 

who loves it. 

For this issue, I dug out another Joji shawl pattern I 

purchased in 2019 but had yet to knit for myself. The 

Ziggy Shawl was published in a neutral-colored yarn as 

a single-color shawl and I decided to color it up. For my 

version, I've used one ball of the Australian yarn company 

White Gum Wool’s 4-ply fingering, 100% Ethical 

Superfine Merino in the color Sedge for the lace sections. 

I used 2 balls of the French created, Belgian 

made, Plassard Algasoie Imprimée (Plassard’s Printed 

Seaweed), 70% Alpaca/30% Silk Lace in Color no. 64 for 

the garter stitch sections. I used lace yarn single 

stranded even though the pattern calls for 4-ply fingering 

weight yarn. As described, this pattern design is 

very simple to make with alternating bands of lace and 

garter stitch. It is a two-skein shawl knit on US size 6 

(4mm) needles. 

The directions are very well written, with a chart option 

for the lace, glossary explanations, a YouTube link 

for clarity, and abbreviations. There is a stitch count 

tally for the set-up section, the first and second lace 

sections, and the first garter band. The lace pattern is 

easily memoizable across the row after the first few repeats 

and the garter stitch bands are mindless and possibly 

less enjoyable than the lace. The picot bind-off 

finishes the shawl with a simple, elegant edging. 

Joji currently has 327 designs published on Ravelry. 

Some of her designs are free digital downloads. She 

designs pullovers and tunics, shawls and wraps, cardigans, 

socks, cowls, and hats. You also can find her patterns 

on her website, www.jojiknits.com. 

Joji is also published in 30 books and magazines, including 

her decade long collaboration with Finnish designer 

Veera Välimäki, with their Interpretations 

Collections. You can access some of the older printed 

versions and newer digital publications at 

www.jojiandveera.com. 

Each year Joji hosts a fall knitalong. Thousands of 

knitters from all over the world get together to join this 

free event. 

Joji & Co. is another collaborative project of Joji 

and her fellow Argentine Artisan friends, producing 

handmade accessories of leather, yarn, and jewelry 

(www.jojiandco.com). How I wish Santa would bring me 

a leather project bag from Joji! 

You can learn more about Joji Locatelli and her knitting 

journey from her Keynote Address for Vogue Knitting 

Live 2023, “The Story of a Knitter,” on YouTube. 

https://youtu.be/LUaJ9c7iLt8?si=w0Q_L7S_DWwVT2j0 

Personally, I am a fan of Joji’s style of pattern writing 

and her design projects. I agree with Andrea from Fruity 

Knitting; I think Joji Locatelli is a gorgeous mixture of 

intelligence, style, elegance, and humility. 

My next Joji knit has to be the 3 Color Cashmere 

Cowl that I coveted back in 2016. I think it's still a timeless, 

simple, elegant design. 

My shawl wingspan ended up being six feet long 

without blocking so I did wash and simply shape the 

shawl for blocking the lace without stretching the shawl 

any larger. I think this shawl design lends itself to being 

knit in any gauge yarn and looks great in one colorway 

or many. Do you like my use of alpaca/silk lace for the 

garter section? I can tell you this Ziggy Shawl feels like 

it's floating upon my shoulders! 

5

6

SHARK 

WEEK 

2 

0 

2 

4 

Hello! Hello! Welcome to the second year of the 

PIK (Politically Incorrect Knitters) SHARK WEEK CHAL- 

LENGE! This year's theme is Raiders of the Lost Shark 

and runs from July 7th to the 14th. 

THE RULES ARE AS FOLLOWS: 

The Shark Week challenge is that you must begin 

and finish a project in the eight days of Shark Week, 

between July 7-14 (beginning and ending at midnight 

EST). If you don't finish in time, you have to RIP IT ALL 

OUT. 

Extra points are awarded for being on theme in 

project, yarn, bag, or by taking a picture of your project 

with something shark/adventure archaeology related 

in the background. 

You will have to take a picture of your finished project, 

or your ripped out yarn at the end of the week. 

Everyone, win or lose, is entered for prizes, and everybody 

gets Shark Week stickers, along with stickers 

of the logos of participating podcasts. 

The points system for prize entries is as follows: 

-3 points for any knit or crochet project 

-1 point for on theme project 

-1 point for on theme yarn 

-1 point for on theme bag or stitch markers 

-Up to 5 points for photos with Shark Week/Adventure 

Archeology items or shows in the background. 

--To enter, follow the Google form 

https://linktr.ee/Blockedmagazine 

For any questions, please email at: 

politicallyincorrectknitters@gmail.com 

-Thank you all for joining us, and thank you all for 

watching! Tune in for Shark Week Programing from our 

sponsors: Blocked Mag, Knit Nite, Shauna Stitches, 

Mystery Mouse Yarn, Texas Peach Knits, Wise Owl Knits, 

A Stitch in the Sky, Two Sisters and Some Yarn, Deprogrammed 

with Keri Smith, Carrow Brown, Mama Nevin. 

Thank you to all the affiliates and sponsors! 

7

POLITICALLY INCORRECT 

KNITTERS 

DESIGN SIZE 

60 stitches wide x 39 stitches high (approx. 3.75” x 2.44”) 

CROSS STITCH 

By Neil James 

MATERIALS 

14 Count Cross Stitch Fabric / Aida 94 x 55 stitches (approx. 5.75” x 4.44”) 

Cross Stitch needle 

Embroidery Hoop (optional) 

Scissors 

NOTES 

The stitches used throughout both pieces are typical full cross stitches. 

EXCEPT for sixteen x ¼ stitches (these are used for the eyes). 

Fig. 1 - Shows a typical full stitch on the left and a ½ stitch on the right 

(not actual colors in this pattern). 

Fig. 2 - Shows a typical full stitch on the left and ¼ stitches on the right 

(not actual colors in this pattern). 

Back-stitch sections: 

Fig. 3 - DK: 

For the eyebrows, nose, and mouth, use 2 strands of DMC 310 “Black”. 

Fig. 4 - Anne: 

For the glasses, nose, and mouth, use use 2 strands of DMC 310 “Black”. 

8

9

By Uknitted Kingdom 

THE GOOD, THE BAD, 

and The Ugly Cats Shawl 

During one such livestream, over a year after publication, 

the Ugly Cats Shawl became the topic of a heated 

conversation. 

10 

Longtime readers and viewers will know about my three 

beautifully ugly cats, Northstar, Inka, and Oli. The story of 

their lack of attractiveness has become legendary (in my 

mind anyway!). 

Gavriella Treminio aka @HelloGavriella, a particularly 

bland crafter with a penchant for online trolling, sent me a 

bizarre message, “All your cats are ugly.” 

Always one to turn insults against me into something 

useful, I named my first shawl design “The Ugly Cats 

Shawl.” 

Tabitha of Murderknits agreed to test knit the shawl but 

after knitting the first wedge or two, she said there was a 

problem. It was too big and was using much more yarn 

than the pattern stated. I went through the pattern instructions 

and could not find anything amiss. It ended up 

as a running joke and for quite some time, it was explained 

away as my being a super-tight knitter and Tabitha 

being an ultra-loose knitter. 

The shawl was published in Issue 5 of Blocked, and I was 

surprised it did not receive much feedback. Readers 

seemed to like it, but no one was knitting it. Time and 

tide wait for no knitter, so it became forgotten only to 

raise its ugly head occasionally during YouTube livestreams. 

Where I had used approximately 5g to 6g of yarn per 

wedge it became apparent others (who had started the 

shawl) had been using closer to 50g per wedge! I couldn’t 

understand it. I had bought a finite amount of yarn. I knew 

how much I had used. I had even knitted a hat from the 

leftovers of a 100g ball of black Opal sock yarn. All of us 

were arguing from a place of knowing we were right. I had 

only used that smaller amount of yarn and they had used 

much more yarn. But what was going wrong? It couldn’t 

be the gauge. My shawl was approximately 6/7 feet from 

wingtip to wingtip while Tabitha’s was on its way to being 

12 feet wide. 

This weighed heavily on me. I had a sleepless night or 

two. Again, I checked the pattern and couldn’t see any errors. 

I had written it in such a way that the knitter only ever 

had to count ten or 11 stitches at a time. How can these 

other knitters not know how to count to ten? 

Then, at 4 a.m. and in the middle of a stressful night’s 

“sleep” the answer came to me. It was so obvious. Too 

obvious. It was the stitch count. The pattern still worked; it 

was just too big. 

Of course it was the count. I got up and cast on the 

stitches. I did my usual trick of placing a marker every 50 

or 100 stitches. I probably put the needles down after 

casting on, and when I returned, I just assumed the 

markers denoted 100 stitches. I then counted 50 stitches 

as 100 stitches, twice! The cast on was 100 stitches too 

many. It all fell into place. 

By this time Annie aka @astitchinthesky had started the 

original, huge shawl. In mohair. I felt sick. I knew a mohair 


The Good, The Bad, Continued... 

a much more user-friendly manner. Where I once was writing, 

designing, drawing, proofing, and doing the layouts 

alone, we, the team, now share this between us. 

The updated pattern “The Ugly Cats Shawl v2.” (now in 

3 sizes) is included in this issue. Alongside the knitting 

pattern I’ve also written a Tunisian crochet version. The 

crochet version is smaller but can easily be made larger 

using a multiple of 10 +1 (101, 111, 121, 131, etc.). 

For the Tunisian crochet shawl, I decided to use some 

“problematic” yarn I had been gifted. The yarn was the 

Black Panther mini skein set from Adella of LolaBean Yarn 

Co. The yarn was dyed to represent characters from the 

Marvel movie, The Black Panther (originally created by 

Stan Lee and Jack Kirby). 

After purchasing the set, one of LolaBean Yarn Co’s customers 

was treated so badly by Adella that she did not 

want the yarn in her home a second longer. The yarn sat in 

a bag under my desk for about a year. 

I chose this yarn because I knew it was about the right 

amount of yarn for the shawl and, as the shawl was a prototype, 

I didn’t 

want to ruin yarn 

that I cared about 

if the pattern didn’t 

work. 

shawl of that size would be almost impossible to rip 

back. I offered to replace the yarn, but she was happy 

to continue. She wanted the biggest shawl in the 

world! Likewise, Tabitha decided to “spite knit” the 

larger size (don’t worry it’s all in fun!) probably to make 

me sweat as her considerable yarn stash shrinks visibly 

each livestream. 

I redrafted the pattern. Since first designing the shawl 

my pattern writing skills have improved significantly. 

Where once I tended to write Zimmermann-esque paragraphs, 

I now write more succinct pithy instructions. The 

welcome additions of Blocked tech editors (Cézanne and 

Annie) and a pattern reviewer (Jo-Bob) have definitely 

helped to tighten and structure the magazine’s patterns in 

In the packet 

the yarn looked 

very nice. However, 

when I 

opened the 

skeins, I could see 

half of the yarn 

set had resist 

marks where the 

ties were, and 

where the ties 

had been during the dyeing process. It was obviously not 

an intentional resist. It looked BAD. By the time I had crocheted 

three wedges of the shawl I had regrets in using 

the yarn. The undyed patches were visible. 

Rather than rip back, I chose to continue. Yes, the yarn 

would look terrible, but my design wouldn’t. I would use 

this as an opportunity to review LolaBean Yarn Co’s yarn in 

a way where I could present the evidence. 

Continued on next page... 

11


As I continued, I noticed the yarn felt different to other 

hand dyed yarns. It didn’t have the luster or the plumpness 

I’m accustomed to. The black sections in particular, felt 

rough and wanted to grip to itself. I’m no expert but I believe 

this can be caused by either dyeing the yarn in scalding 

water, or by plunging the hot yarn into cold water to try 

The package arrived in a simple zip-bag made from a 

form of plastic leather (pleather?). There was a slight smell 

to the “pleather” but nothing unpleasant. Apart from one 

end of the zip, where it wasn’t sewn to close the opening, it 

appeared well constructed. Inside, the hooks were slotted 

into a sturdy, removable, piece of pleather. The hooks 

gleamed. 

Each hook is highly polished, smooth to the touch, light 

to hold, and has an indent for the thumb to rest whilst 

using. This latter feature is something I have never seen on 

a Tunisian hook before and I was worried (unnecessarily) 

that it would catch the yarn. 

The hook points and the hook lips are both extremely 

sharp – sharper than any hook I’ve used before. I love this 

about the hooks. For me, the sharper the needle/hook, the 

better. The hooks shepherded that yarn like a wise sheepdog 

herding ewes! 

to cool it down quickly rather than letting it cool slowly and 

naturally. I can’t say exactly how she did it, but Adella’s yarn 

was slightly felted. 

Adella has some nice ideas, some of the colors were 

nice... where she had actually covered the yarn. In places 

the reds and the purples were well saturated, but not at the 

resist points. Her blacks, although truly black, were felted. 

The cables (in three sizes) are sturdy and have no memory, 

so they don’t curl or bend. Where they attach to the hooks, 

they swivel. The benefit of this has become apparent after 

two weeks of regular use. Where other hooks/cables pull 

against me as I use them, these twist so there is no resistance 

to cause hand/wrist pain. 

Although the screw-in cable join is very tight and needs to 

be threaded carefully, it is so tight and smooth it is barely 

noticeable when in use. The stoppers for the end of the 

cord are made of metal. They’re of much higher quality 

In time, with more experience, Adella might become a 

reasonable dyer. Currently, I would say she needs to go 

back to the basics of yarn dyeing. Forget trying to be fancy 

and clever, focus on good, even coverage, and treat the 

yarn with more care. For the time being, at least, I would 

not recommend using LolaBean Yarn Co products. 

To make the shawl, I used some new Tunisian hooks 

bought after some reticence. Toni Lipsey of TL Yarn Crafts 

had recently reviewed an obscure set of hooks from Ali Express. 

She spoke very highly of them, so I put my distrust of 

sites like Temu and Ali Express to one side and ordered. 

The nickel-plated aluminum interchangeable Tunisian crochet 

hook set from QZLKNIT was £49.31 (inc VAT). I had a 

slightly anxious 3 week wait whilst they arrived from China 

(Yes! I know! But hooks!). 

12 



than others I have used, such as Knitpro/Knitter’s Pride. 

There are some stitch markers that come in different 

shapes but those are not something I would consider 

when choosing hooks to buy. They do the job, what more 

can I say about them? 

My previous interchangeable Tunisian hooks have been 

the Knitpro/Knitter’s Pride Symphonie set and the Ginger 

set. In my view, these are great hooks, even if they’re almost 

indistinguishable in terms of use and feel. However, 

after using the QZLKNIT hooks, I have switched my allegiances. 

The QZLKNIT hooks are now my hook of choice. 

There is nothing I would change about them in terms of 

functionality. They’re fast, sleek, beautiful to look at, and 

a cut above anything I’ve used before. If you like your 

hooks sharp, then these might be for you. 

As with any other Tunisian set, the only thing missing is 

an attachment to join one hook to another for Tunisian 

crochet in the round. Although it’s simple enough to join 

two hooks via a cable, this isn’t the best option for small 

scale projects like mitts and hats. 

In an ideal world, the hooks would come in a folder 

more like the Ginger hooks, however, I prefer great hooks 

and an OK folder over a great folder and OK hooks. 

When I can afford it, I intend to buy a second set because 

I can’t bear to lose a hook and not be able to find a 

replacement. With the sets growing popularity the price 

might begin to rise. Get in before they sell out or become 

out of budget. 

*If you look closely you will see where LolaBeanYarnCo’s dye bled. 

THE PATTERN FOR THE TUNISIAN CROCHET VERSION OF THE SHAWL 

WILL BE AVAILABLE IN ISSUE 16. 

13

AN INTERVIEW WITH 

By Uknittedkingdom 

ANNIE FROM A STITCH IN THE SKY 

The front cover model for this issue is Annie of 

@stitchinthesky. She is modelling “The Ugly Cats 

Shawl,” designed by yours truly. 

Annie knitted the shawl in mohair which took her four 

months knitting monogamously! For the story behind 

the shawl see page 10, and the pattern is available on 

page 17. 

For those who haven’t met Annie on her own 

YouTube channel: 

https://www.youtube.com/@astitchinthesky4212 

or as a guest on KnitNite 

https://www.youtube.com/@knitnite 

I asked her some questions to help you get 

acquainted. 

Neil (N): Annie, tell us a little about yourself. 

Annie (A): I’m a self-employed seamstress living in the 

North East of England. I love my family, garden and to 

walk the dogs on our beach. I’m there every day and it 

almost feels like it’s mine. I’m always busy doing something 

but my house is still cosily slightly cluttered. My 

yarn and pattern stash is pretty extensive and I need to 

retire right now so I can make full use of it. 

N: Other than knitting, what crafts do you enjoy, and 

how long have you been practising the “woolly arts?” 

A: My favourite yarn is Berroco Andean Mist, a very 

soft lightweight, warm, luxury yarn. The fibres are suri 

alpaca and silk. My favourite pattern is Zweig by Caitlin 

Hunter. It’s an enjoyable knit with interest, style and 

wearability. I intend to make another. I don’t have any 

favourite needles. They must be circular and metal, 

wood or plastic depending on the yarn I’m using. 

Maybe I should try more. As for hooks, anything with a 

soft grip. 

N: On the cover you’re wearing a T-shirt with a slogan. 

What can you tell us about that? 

A: The dictionary definition of woman should not 

offend anyone. Unfortunately, some people don’t agree. 

Kellie J. Keen first used this as a billboard near the 

Labour Party conference in Liverpool. Her point was that 

woman is exclusive and doesn’t include men. Doctor 

Adrian Harrop from Newcastle was incensed by its 

presence as he believes it to be an insult to men who 

say they are women. The poster was removed but was a 

successful way to raise the issue resulting in a hilarious 

TV spat between the two. 

N: The theme of this issue is “Heroes.” Do you have a 

knitting hero and/or anyone you consider a hero? Why? 

A: I enjoy spinning on my Ashford joy but don’t spend 

enough time doing so. Every now and then I feel I’d 

rather crochet, especially if I’m wanting to make a blanket. 

I love sewing but rarely sew for myself. I like patchwork 

quilting, colour combinations are endlessly 

pleasing to create. My fabric stash is inspirationally 

large. It must be around 50 years since I learned to knit/ 

crochet. I used those skills during my college and uni 

years, and when I gave up smoking at 24 made sure to 

keep my hands busy with knitting projects. 

N: Please tell us: Your favourite yarn, your favourite 

pattern, you favourite needles/hook, and share why if 

you can. 

14 


Interview with Annie Continued... 

A: My knitting hero is definitely my nanny. She was my 

father’s mother and insisted on being the one to teach 

me how to knit and crochet. Elsie had endless patience 

when I went to stay with her and fixed every dropped 

stitch or mistake until I got the hang of it. Nanny was 

happy to knit matching Aran jumpers for the whole 

family. I remember her taking our measurements and 

knitting so quickly she clicked. Most of my family didn’t 

fully appreciate her talents. I still have some items she 

made, and she passed away around 30 years ago. I’ll be 

showing them on my YouTube channel at some point. 

There are a few people who I consider heroic today. 

People who speak the truth mostly, because so many 

others fail. Integrity is important to me. 

N: If you could have one superpower, what would it 

be, and why? 

A: I’d like to be able to cure people of cancer because 

it is unjust and indiscriminate. It sounds like a good 

idea, but the logistics would be a nightmare. 

N: After knitting The Ugly Cats Shawl, which new pattern 

has caught your eye? 

A: Nothing new yet, but I have a few items to finish. I 

may knit some of the Blocked Magazines dishidents as 

I’ve not made any of them yet. Can you tell me which is 

the rudest? 

N: What is your favourite yarny unpopular opinion. 

A: It’s ok to have a massive stash, lots of ufos, and 

some fibres that aren’t natural. Maybe my love of mohair 

lace is unpopular too. 

N: If money was no object what would your ideal crafting 

location be? 

A: Probably just my own garden with my pets. The 

money would mean I wouldn’t have to work and would 

get lots more knitting time. 

15

UGLY CATS SHAWL 

V2 

By Uknittedkingdom 

The Ugly Cats Shawl is a fingering-weight shawl pattern. Knit counterclockwise 

in a semi-circle, changing colors to create 3 claw motifs. The pattern’s title was 

inspired by an amusing Instagram insult, “All your cats are ugly!” 

YARN 

Small: 

MC approx. 400y/60g fingering weight neutral color 

CC approx. 880y/220g fingering weight in single contrasting 

color or approx. 9 x 25g minis 

Medium: MC approx. 580y/145g fingering weight neutral color 

CC approx. 1040y/260g fingering weight in single contrasting 


Large: MC approx. 920y/230g fingering weight neutral color 

CC approx. 2400y/300g lace weight in contrasting 


Sizes: 

Small (Medium, Large) 28” x 72”/71cm x 183cm (37” x 86”/94cm x 218cm, 46” x 

100”/117cm x 254cm) 

Gauge: 24 sts x 44 rows = 4” x 4”/10cm x 10cm 

Needles: US Size 2.5 (3 mm) or size needed to obtain gauge. 

SECTION 1 

I-cord 

In MC knit a 3-stitch I-cord of 191, (235, 290) rows. 

Row 1: Skip 1 st. With 3 stitches still on the needle PUK 176 (220, 275) 

Section 1 notes: 

Each wedge begins with a decrease at the outside edge and an increase (PUK) at 

the neck edge. 

Wedge 1 (Set up for Wedge 2) 

Continue in MC 

Row 2: GSR, k10, PM, k to last 3, sl3 wyif. 

Row 3: Knit to marker, turn to WS, RM. 

Row 4: GSR, k10, PM, k to last 3, sl3 wyif. 

Repeat rows 3 and 4 until there are no stitches left. 

Wedge 2 

Switch to CC. 

Row 1 (RS): K3, k2tog, k across to the end of row including each GSR “double 

stitch.” 

At the end of the row PUK 1 st from the I-cord tail. 

Row 2 (WS): GSR, k10, PM, knit to last 3 sts, sl3 wyif. 

Row 3: K to marker, RM, turn work. 

Row 4: GSR, k10, PM, knit to last 3 sts, sl3 wyif. 

Repeat rows 3 and 4, until you have no stitches left, ending with a WS row. 

Wedge 3 

Repeat Wedge 2 in CC. 


17

Ugly Cat Shawl Continued... 

Wedge 4 Continue in CC. 

Row 1 (RS): K3, k2tog, k to end of row, including each GSR “double 

stitch.” At end of row, PUK 1 st from I-cord tail. 


Row 3: K to marker. RM, turn work. 


Repeat rows 3 and 4, knitting shorter rows each time until you have 

worked 6 GSR sections (not including the first one on the I-cord). Knit 

to end of row sl3 wyif. 

Next Row (RS): Switch to MC. K to marker. RM, turn work. 

Next Row (WS): GSR, k10, PM, knit to last 3 sts, sl3 wyif. 

Repeat rows 3, and 4, knitting shorter rows each time until you have 

no stitches left, ending with a WS row. 

Wedge 5 Repeat Wedge 2 in CC. 

Wedge 6 

Repeat Wedge 4 in CC changing to MC as instructed. 


Wedge 8 

Repeat Wedge 4 in CC changing to MC as instructed. 



SECTION 2 

Section 2 notes: Each wedge begins with a decrease at the outside 

edge but does not increase (PUK) at the neck edge. 

Wedge 11 Using MC 

Row 1 (RS): K3, k2tog, k across to the end of row including each GSR 

“double stitch.” 


Row 3: K to marker, RM, turn work. 


Repeat rows 3 and 4, until you have no stitches left, ending with a WS 

row. 



Wedge 14 Using CC 

Row 1 (RS): K3, k2tog, k to end of row, including each GSR “double 

stitch.” 


Row 3: K to marker. RM, turn work. 


Repeat rows 3 and 4, knitting shorter rows each time until you have 

worked 6 GSR sections (not including the first one on the I-cord). Knit 

to end of row sl3 wyif. 

18 



Next Row (RS): Switch to MC. K to marker. RM, turn 

work. 

Next Row (WS): GSR, k10, PM, knit to last 3 sts, sl3 wyif. 

Repeat rows 3, and 4, knitting shorter rows each time 

until you have no stitches left, ending with a WS row. 

Wedge 15 


Wedge 16 

Repeat Wedge 14 in CC, changing to MC as instructed. 

Middle Point 

Continuing in MC knit all the MC stitches, knitting the 

GSR double-stitches tbl as if each was 1 stitch. When 

you reach the last MC stitch, continue knitting until you 

reach the next CC double stitch. Turn. GSR, knit to last 3 

stitches, sl3 wyif. 

SECTION 3 

Notes: each wedge ends with an increase at the outside 

edge but does not increase (PUK) or decrease at the 

neck edge. 

Wedge 17 

Using MC 

Row 1: K3, k11, turn. 

Row 2: GSR, k to last 3 sts, sl3 wyif. 

Row 3: K to GSR double-stitch, k1tbl, k11, turn. 


Repeat rows 3 and 4 until the “spike” is the same height 

as all the spikes prior to the longer central spike. Knit 

back to the outer edge. 

Change to CC. 

Repeat rows 3 and 4 until you run out of stitches. Turn. 

K to last 3 sts, m1, sl3 wyif. 

Wedge 18 

Using CC 

Row 1: K3, k11, turn. 






Wedge 19 

Repeat Wedge 17 in MC, changing to CC as instructed. 

Wedge 20 


Wedge 21 


Wedge 22 


SECTION 4 

Section 4 Notes: each wedge has an increase at the 

outside edge and a decrease (k2tog) at the neck edge. 

Wedge 23 

Using CC 

Row 1: K3, k2tog, k9, turn. 






Wedge 24 


Wedge 25 

Using MC 

Row 1: K3, k2tog, k9, turn. 




Repeat rows 3 and 4 until the “spike” is the same height 

as all the spikes prior to the longer central spike. Knit 

back to the outer edge. 

Change to CC. 



Wedge 26 


Wedge 27 

Repeat Wedge 25 in MC, switching to CC as instructed. 

Wedge 28 


Wedge 29 

Repeat Wedge 25 in MC, switching to CC as instructed. 

Wedge 30 


Wedge 31 


Wedge 32 



19


I-CORD BIND OFF 

Step 1: K3, sl 3 sts back to ln (this creates a corner). 

Step 2: K2, k2tbl, sl 3 stitches back onto the ln. 

Step 3: K2, k2tbl. 

Repeat Steps 1-3 until there are only 3 live sts on 

needle. 

Step 4: K2, sl last st onto rn. PU 1 st from garter st 

edge of Section 3. 

Step 5: Insert ln into backs of the PU’d st and sl’d st. K 

tog tbl. 

Step 6: Sl 3 sts back to ln and rep until there are no sts 

left to pick up. 

Step 7: Join two I-cord edges together using Kitchener’s 

stitch. 

Note: You may have to unravel some of the original I- 

cord before doing this to make join match. 

Weave in any remaining ends, wash and block. 

ABBREVIATIONS 

GSR (German Short Row): Pull up on working yarn 

to create a “double stitch.” For a good tutorial, visit 

Nimble Needles. 

https://youtu.be/i_F8A5Lyz88?si=7xFq4mqGkTwNqid9 

k: Knit. 

k2tog: Knit 2 together. 

ln: Left needle 

m1 (Make 1): Pick up bar between stitches from front 

to back then knit bar tbl. 

PM: Place marker. 

PU(‘d): Pick up/Picked up 

PUK: Pick up and knit 

rep: Repeat 

RM: Remove marker 

rn: Right needle 

RS: Right Side. 

Sl(‘d): Slip/Slipped 

tbl: Knit through back loop. 

tog: Together 

WS: Wrong Side. 

wyif: With yarn in front. 

20

Down 

1. Everyman hero of the book The Hobbit, who leaves his common life 

to go on an adventure that turns him into a hero who does many great 

things. 

2. A morally righteous hero in a work of fiction possessing superhuman 

abilities or supernatural powers who uses them to fight evil. 

3. often a girl’s first hero is her ______. 

4. Someone who has served in the armed forces. 

5. Bruce wayne’s superhero identity. 

7. The leading character, hero, or heroine of a drama or other literary 

work. 

12. widely considered to be the first comic book superhero, first appearing 

in 1936. 

13. A group of teenagers with attitude, who often wear colorful spandex 

and work as a team to overcome evil. 

14. “with enough _______, you can do without a reputation.” – Margaret 

Mitchell 

16. D-Day was the name given to the 6 June 1944 invasion of the 

beaches at ________ in northern France by troops from the Allied countries 

during world war II. 

18. A type of protagonist who lacks the traditional qualities associated 

with a hero, like courage, idealism, and an endless well of helpfulness. 

Typically have good intentions, but their methods may be unconventional 

and not in a good way. 

AcroSS 

6. In classical mythology, a person with preternatural courage and abilities, 

often the child of a god, and who achieves semi-divine status. 

8. A hero sandwich in new Jersey and Philadelphia. 

9. The highest and most prestigious decoration of the British honors 

system, awarded for valor “in the presence of the enemy” to members 

of the British Armed Forces and may be awarded posthumously. 

10. wwI soldier who started out as a conscientious objector but went 

on to become one of the most decorated US soldiers of the war, including 

the Medal of Honor. 

11. Secret identity of Superman. 

15. Historic funerary monument dedicated to deceased U.S. service 

members whose remains have not been identified, located in Arlington 

national cemetery in Virginia, United States. 

17. war memorial on whitehall in London, England, first unveiled in 

1920 which has since come to represent the commonwealth casualties 

from wwI, wwII, and subsequent conflicts. 

19. X-Men character with a genetic mutation called an X-Gene that 

causes their bodies to develop abilities that regular humans are unable 

to. 

20. The creator of Marvel comics and widely celebrated as a major icon 

in the world of comic books and superheroes. 

21

Book Review by Katie Gerwein 

Yarny Fiction 

BY DEBBIE MACOMBER, 

ANN HOOD, AND GIL MCNEIL 

Note: As a result of a suggestion from Tabitha of Murder 

Knits, Blocked is including book reviews of fiction books 

based on knitting. 

There are several authors writing contemporary fiction 

centered around knitters and yarn shops, including several 

murder mystery series. The following is a quick review 

of Debbie Macomber’s books and two fiction books I have 

enjoyed based on yarn stores, The Knitting Circle by Ann 

Hood and Needles and Pearls by Gil McNeil. 

Macomber is a prolific writer and has numerous fiction 

books, Christian literature books, and knitting pattern 

books published. Hallmark has produced a series of 

movies based on her Cedar Cove book series. I read 

some of her Blossom Street books, based around a yarn 

shop on Blossom Street, years ago. None of these books 

fall into what I would call lasting literature. They fall into 

what I call the “beach reading fiction” category. They are 

enjoyable, non-offensive, and quite predictable in terms 

of the characters and plots. 

Each character’s story is developed throughout the 

book. Without giving too much away, the book shows 

how a craft such as knitting, with repetitive muscle movement, 

can create the opportunity for our human brains to 

slow down. In slowing down, we can find some moments 

of sanity or, if not sanity, then hope. Also, the story demonstrates 

how community can be supportive during the 

worst times of our lives. While it is sad to recount the 

tragedies the characters experienced, the writing is good. 

I found the plot compelling, and I wanted to read each 

new chapter. 

The Knitting Circle was published by W.W. Norton & 

Company, in 2008. It is available via Amazon here. New 

and used hardback copies are selling from $1.99 to 

$11.62, some have shipping costs, others do not. Paperback 

new and used copies sell for $1.49 to $14.95, again, 

some have added shipping costs and others do not. The 

Kindle eBook sells for $9.99. It is available in audio 

through Audible for $10.89. All prices are current as of 19 

June 2024. 

22 

For this review, I re-read Ann Hood’s The Knitting Circle 

over the past two weeks, and now remember how well 

written the book is. It is a fictional account of Hood’s reallife 

tragedy and how being introduced to knitting and a 

circle of fellow knitters assisted her in processing through 

the grief emanating from her tragedy. 

Sadly, Hood lost a young child suddenly. 

Her novel traces the character, 

Mary’s, grief process in the time following 

the sudden death of her only 

child. Hood’s ability to express Mary’s 

grief is compelling and realistic. She 

includes other characters in the book 

who have experienced losses as well. 

The characters meet each other 

through a local knitting store at a 

weekly knit night. 

I have read three books by Ann Hood since 2019, all of 

which were terrific: The Obituary Writer, The Book That 

Matters Most, and The Italian Wife. I am predisposed to 

Hood’s writing style, her ability to develop characters, and 

tell a story in a compelling manner. 

If you don’t want to read about the 

grief of a mother losing her only precious 

child, I recently read another 

well written fiction, Needles and 

Pearls by Gil McNeil, based on a 

knitting shop and its current owner. 

This story follows the main character, 

Jo Mackenzie, the year after her husband 

dies. The main character relocated 

her two young boys from 

London to a small town to run her 


Book Review Continued... 

grandmother’s yarn shop. Jo juggles raising her boys, who 

have lost their father, an unexpected pregnancy, fitting into 

the local PTA (Parent Teachers Association), and earning a 

living from running a local yarn store. The story line evolves 

to include additional interesting characters and events. 

I found the book compelling, and I enjoyed the author’s 

writing style, the story line, and the characters. I recommend 

this book as well. While Jo is dealing with the 

death of her husband, the book remains humorous and 

does not delve into the depth of grief we saw in The Knitting 

Circle. I enjoyed this book enough that I likely will track 

down McNeil’s The Beach Street Knitting Society and Yarn 

Club that precedes the publication of Needles and Pearls. 

Needles and Pearls was published by Hachette Books, in 

2010. New and used hardback and paperback copies, as 

well as the eBook version, are available via Amazon here. 

Hardback copies range from $41.42 to $62.98; all also have 

a $3.99 shipping charge. Paperback copies range from 

$1.35 to $15.34, some have shipping costs, others do not. 

The Kindle eBook version is $8.63. All prices are current as 

of 19 June 2024. 

If you enjoy reading contemporary fiction and enjoy knitting, 

there are lots of available options. I encourage you to 

give Ann Hood’s The Knitting Circle a try and, for a lighter 

read, Gil McNeil’s Needles and Pearls a try. And if you are 

looking for light, beach reading, Debbie Macomber is 

another place to start. Wishing everyone enjoyable knitting 

and reading! 

23

24 

As we’re taking a dishident break for a couple of issues (to align the dishie number with the issue number) 

here’s the blank template for you to knit a plain dishie and/or for you to design your own. Send your dishie 

designs to blockedmagazine@gmail.com for a chance to see it in a future issue.

Podcasts! 

https://www.youtube.com/@TwoSistersAndSomeYarn 

https://www.youtube.com/@knitnite/featured 

https://www.youtube.com/@politicallyincorrectknitters 

SUBSCRIBE TO OUR 

CHANNEL! 

https://youtube.com/@blockedmagazine2859?si=-0u_JNUgDq7SHVcE 

25

A STITCH IN THE SKY By 

DESIGN SIZE 

42 stitches wide x 35 stitches high (approx. 2.75” x 2.31”) 

MATERIALS 

14 Count Cross Stitch Fabric (approx. 4.75” x 4.5”) 

Cross Stitch needle 

Embroidery Hoop (optional) 

Scissors 

NOTES 

The stitches used throughout both pieces are typical full cross 

stitches. EXCEPT for two x ½ stitches (these are used for outer 

corners of the glasses). 

Fig. 1: Shows a typical full stitch on the left and a ½ stitch on 

the right (not actual colors in this pattern). 

Back-stitch sections: 

Fig. 2: For the glasses, use 2 strands of DMC 208 “Very Dark 

Lavendar”. 

For the nose, use 2 strands of DMC 310 “Black”. 

For the mouth and lips, use 2 strands of DMC 349 “Dark Coral”. 

Neil James 

CROSS STITCH 

26

27

y Amy Dutsch 

KNIT YOUR BIT 

HOW CRAFTING HEROES HELP WAR HEROES 

Most people have heard the phrase “Knit Your Bit” at 

some point, especially anyone who’s been a fiber artist. 

“Knit Your Bit” (KYB) was an idea that originated in WWI 1 , 

as a way to support our soldiers at war. According to the 

American Red Cross archives, “At the outset of World War 

I, Major Grayson M.P. Murphy, Red Cross commissioner to 

France, and the other U.S Army officers made an urgent 

appeal encouraging the homefront to knit mufflers, socks 

and wristlets for our soldiers and sailors.” 2 Women did not 

serve in the military at this time, so this was a way to serve 

their soldiers and country, and thus, “Knit Your Bit” was 

born. The tradition continued in WWII and still remains to 

this day, primarily through the Knit Your Bit program 

through the National WWII Museum. 

The National WWII Museum 3 is local to me, located in 

New Orleans, LA (USA) and is considered one of the top 

museums in the country. It was designated by Congress as 

the official WWII museum for the United States and is located 

on a six-acre campus in downtown New Orleans. 

The museum is regularly updating and expanding the 

campus. It is a beautiful museum, and if you ever have the 

opportunity to visit it, I would highly suggest that you do. 

Teachers and parents will find a plethora of information on 

the website to help educate children about WWII. One 

could easily spend days exploring everything the museum 

has to offer, including interactive 4-D experiences 4 , thousands 

of artifacts, a Victory Garden, dining at a soda shop 

that makes you feel like you stepped back in time, and 

BB’s Stage Door Canteen with events such as performances 

by the Victory Belles, a vocal trio who perform 

music from the 40’s, just like USO performers of the day. It 

truly is a remarkable museum with something for everyone. 

I have visited twice and wanted to visit again prior to 

writing this article but time and finances didn’t allow it. 

Those wanting to visit should know there are special times 

during the year when it’s less expensive for Louisiana residents, 

military and others. Keep an eye on their website 

for up-to-date information. 

The KYB program through the National WWII Museum 

was founded in 2006 and since its launch, has “reached 

more than 10,000 knitters and crocheters in all 50 states. 

Through their efforts, the Museum has distributed more 

than 50,000 scarves to veterans’ centers, hospitals, and 

service organizations across the country.”{sic} 

Various patterns can be found on the museum website, 

and there is a Facebook Group 5 , which has not been very 

active in recent years, but is still worth a visit if you are interested. 

Knitters and crocheters have always been known to help 

their fellow man, and many of us donate our finished 

items to a variety of causes. KYB is a wonderful testament 

to the power of crafters. Men, women, and children, 

joined together to knit and crochet (predominantly knit 

during WWI, due to the American Red Cross’ requirements) 

to create items for our soldiers. Today, people continue 

this tradition through a variety of programs 

including Hats for Sailors 6 , Operation Gratitude 7 , and 

more listed at the end of this article. 

It goes without saying that the men and women who 

serve their country both in war and times of peace, are 

true heroes. However, it’s not just the enlisted who pay the 

price for their service, and programs like KYB are a wonderful 

way for crafters to support the military, their families, 

and country. 

You may not be eating an MRE on the battlefield, or 

missing your child’s birth due to being deployed, but you 

too can be a yarn hero, and craft items with love and respect 

to support both active duty and veterans. 

So, perhaps today, it’s time for YOU to Knit YOUR Bit? 


28 

1. https://www.theworldwar.org/learn/about-wwi/knitting-nation 

2. https://redcrosschat.org/2012/10/25/from-the-archives/ 

3. https://www.nationalww2museum.org/ 

4. https://www.nationalww2museum.org/visit/museum-campus-guide/solomon-victory-theater/beyond-all-boundaries 

5. https://www.facebook.com/groups/35427872496/?sorting_setting=RECENT_ACTIVITY 

6. http://www.hatsforsailors.com/ 

7. https://www.operationgratitude.com/volunteer/handmade-with-love/

Photo Source: https://www.nationalww2museum.org/war/articles/volunteering-knit-your-bit 

While there have been events at the museum to collect and disperse the items, the museum is not a 

collection point for the items at this time. If you want to donate items, the museum suggests you contact 

Operation Gratitude. They offer several ways to contribute, including sewing, crafts, cards and 

packages, etc. 

Additional organizations to send items to: 

Soldier’s Angels - https://soldiersangels.org/ 

Hugs for Soldiers - https://www.hugsforsoldiers.org/ 

Operation Care and Comfort - https://occ-usa.org/10-ways-to-help/ 

Support Our Soldiers - https://supportoursoldier.com/ 

Operation Shoebox - https://operationshoebox.com/ 

American Hero Quilts - https://americanheroquilts.com/ 

29

By Mockingbirdsrealm 

CROSS STITCH Sealioning and Platypussing 

Colorwork Knitting Charts 

Each issue we’ll have original colorwork chart repeats which can be used in your projects. Ensure your project 

has a stitch count divisible by the number of columns in the chart. Repeat the chart as many times as required. 

You can also use these charts to create your own Cross Stitch Projects! Feel free to use these motifs in your own 

designs. However, should you publish the pattern, or the knitted piece, please credit @mockingbirdsrealm. 

30

By Mockingbirdsrealm 

EVERY DAY HEROES 

CROSS STITCH 

31

y Neil James 

How tHe Heroes of MancHester and 

LancasHire “won” tHe aMerican civiL war 

Have you ever wondered why, when US and UK dignitaries 

make joint press conferences they invariably talk 

about “Our special relationship?” It is very easy to assume 

our nations’ “special relationship” began in WWII, but that 

wouldn’t be accurate. 

Our relationship began as anything but special. 

a villein in England, but not a slave.” 2 (Note: A villein was 

usually an English peasant legally tied to the land owned 

by a lord of the manor. In all but name, a slave!) 

In 1706, Holt again ruled that “No man could 

have property in another.” 3 Yet, he allowed for 

“Quare captivum suum cepit” (a captured prisoner 

action). 

One thread that seamed us together but then 

ripped us apart was freedom. America wanted 

freedom from Britain, and Britain wanted freedom 

for slaves, all slaves. 

Slavery in England 

England has always had a strange and somewhat 

contradictory view on slavery. 

As far back as 1569 slavery was deemed prohibited, 

if not actually unlawful. A man, Cartwright, 

was reported for savagely beating 

another man. This would have been classed as a criminal 

assault unless the perpetrator had good cause. Cartwright’s 

defense was that his Russian victim was his slave and therefore 

his assumption was he could beat him. The court is 

said to have ruled “that England was too pure an air for a 

slave to breathe in,” 1 meaning if you can breathe the air of 

England, you cannot be a slave. Cartwright’s slave was released 

and, from that day to this, in theory if not practice, 

no one on English soil could ever be considered a slave. As 

with all rules, there were loopholes and ways to circumvent. 

The ruling didn’t apply when offshore and if a slave was 

transported to, or through, England, that slave could be 

forced to “sign” (usually a mark rather than an actual signature) 

to say they were a servant and not a slave. 

In 1696, another case was brought (Harvey v Chamberlain) 

whereby it was argued that African foreigners could be 

treated as “goods” and be traded and transported as such. 

Chief Justice Holt ruled against this and stated, “As soon 

as a negro comes to England, he is free; one may be 

32 

Photo Credit @dylanjbroughton 

Due to this ambiguity in the law, many English 

Lords and wealthy businessmen had no 

qualms about coercing serfdom and servitude 

upon any Englishman, just so long as they 

avoided calling their indentured servants 

“slaves.” They also had no issue with trading in 

foreign-born slaves. When open slave markets 

were held in Liverpool and London, a blindeye 

was turned. It was also normal for a mill 

worker, for example, to be tied to his or her 

master for life. 

In 1771, a case which arguably set the scene for the 

American War of Independence, was heard where a black 

slave, James Somerset, was being held in chains aboard a 

ship on the Thames, awaiting transportation to Jamaica. 

Lord Mansfield ruled, reluctantly, that Somerset had Habeas 

Corpus and freed him. He knew this had the potential 

to cause a diplomatic and financial crisis but concluded 

that slavery was so “odious” that it could only be introduced 

via statute law, but no such law currently existed in 

England. 4 

This ruling had significant repercussions on both sides of 

the Atlantic, as it was felt that this meant England had 

made slavery unequivocally illegal. Slaves in the American 

colonies unsuccessfully tried to invoke this English law to 

gain their freedom. It has been argued that this was one of 

the more pertinent reasons behind the American War of Independence. 

If America remained an English colony, and 

slavery was illegal in England, then slavery would be illegal 

in all her territories. 

1. https://en.wikipedia.org/wiki/Slavery_at_common_law#cite_note-11 

2. Brewer, Holly (November 2021). "Creating a Common Law of Slavery for England and its New World Empire". Law and History Review. 39 (4): 

765–834. doi:10.1017/S0738248021000407. hdl:1903/30510. ISSN 0738-2480. S2CID 246998257. 

3. Smith v Gould 2 Salk 666 (1706); Ray 1274 

4. https://en.wikipedia.org/wiki/Somerset_v_Stewart 


Heros of Manchester Continued... 

The hostility between the American Colonies and Britain 

escalated over the following four years until America 

declared war in 1775. 

From the moment the American Colonies 

rebelled against the British and 

won the War of Independence (On July 

4th, 1776, as if you didn’t know!), Great 

Britain and the USA were already bitter 

enemies. 

Lest the Americans get too smug 

during their 4th of July celebrations, it’s 

worth pointing out that the USA has 

launched two wars against the British. 

In 1812, the USA declared war against Britain again. 

One of the USA’s intentions was to annex the British territory 

now known as Canada. If Britain had not won, Canada, 

or at least large parts thereof, would now be part 

of the USA. We can argue the merits of this another day. 

The USA:UK scorecard remains 1:1 and long may it remain 

so. 

Even after the USA rebuilt their burned down White 

House (sorry about that!) and trade between the two 

countries resumed, our friendship did not. 

Cotton 

Cotton was one of the most important and valuable 

imports to Britain. Cotton was picked in the Americas 

and then shipped from various ports to Liverpool docks. 

From there, the raw cotton was unloaded and transported 

via canal to Manchester (aka “Cottonopolis” 5 ) 

and the many “dark satanic mills” 6 across Lancashire. 

Within these mills, men, women, and children worked 

6 days per week, from 6 AM to 6 PM, frequently longer, 

in dangerous and often deadly conditions. 7 

If the machinery didn’t crush or maim you, the dust and 

fibers would give you lung diseases, and the noise would 

permanently damage your hearing. Workers were severely 

beaten and/or fined for the smallest infraction and 

paid a pittance for their trouble. 8 

One could argue that the lives of the workers in the 

cotton mills were as bad as those of the slaves who 

picked the cotton. Both worked at least 12 to 14 

hours per day. Both could expect to be severely 

beaten or abused regularly, and sometimes even 

sexually assaulted. Both were allocated accommodation 

that was guaranteed to be overcrowded 

and unsanitary. Neither were free to 

leave their jobs of their own choice. The only real 

difference was that mill workers were legally allowed 

to marry, but they also had to pay for their 

food, clothing, and accommodation from their 

own meager pay, or just go without. So, who 

would you say really had it better? 

The American Civil War 

During the first year of the American Civil War, it was 

unclear, at least to Britain and France, who would win. 

Both recognized the Confederacy, giving them rights in 

international relations. Britain went so far as allowing 

Confederate warships to be built secretly on her shores. 

Something for which they were later forced to pay damages 

of $15,500,000 US. 

The Confederacy sent representatives to Britain to influence 

the public and to gain military support. The general 

consensus, certainly amongst the ruling classes, was 

to support The Confederacy. 

In yet another example of Britain’s contradictory view 

on slavery, Prime Minister Palmerston, and the future 

Prime Minister William Gladstone, both of whom 

claimed to be anti-slavery, supported the Southern Confederacy. 

Marx said of this, “They are the same fellows who wearied 

the world with their anti-slave trade philanthropism. 

But – cotton, cotton.” 9 

The British ruling class had a vested interest in the outcome 

of the war and the lucrative trade in cotton was 

enough to soothe the consciences of the rich and powerful. 

5. https://en.wikipedia.org/wiki/Cottonopolis 

6. https://en.wikipedia.org/wiki/And_did_those_feet_in_ancient_time 

7. https://youtu.be/fpvD6rzp4ms?si=gjwPfF3RljZaxEBY 

8. https://www.bbc.co.uk/bitesize/guides/zkxrxyc/revision/2#:~:text=Health%20%2D%20cotton%20thread%20had%20to,by%20machines%20damaged%20workers'%20hearing. 

9. https://www.workersliberty.org/files/2020-11/WorkersAgainstSlaveryComplete.pdf (Page 6) 


33


In December 1861 the US Navy intercepted a British 

ship carrying two leading Confederate diplomats. British 

Parliament and the press were outraged and demanded 

war. Britain and Canada prepared to fight alongside the 

Confederacy. At the eleventh-hour, war with Britain was 

avoided when the US released the Confederate diplomats. 

The outcome of the Civil War might have been 

very different had Britain joined the fray. 

The Lancashire Mill Workers 

During the war, the supply of cotton began to dry up 

as the US blockaded the Confederate ships carrying cotton 

to Liverpool. Unemployment in Lancashire went from 

almost zero to 50%. Those who remained working in the 

cotton trade had their wages cut and their hours extended. 

Millions of people in Manchester and Lancashire 

were forced into poverty and homelessness. 

The mill owners tried to blame it all on the US and 

claimed a Confederate win would bring back jobs and 

homes, while the Confederacy hoped for a revolution of 

English workers against the US. One leading Confederate 

boasted in the Times, “We have only to stop shipment 

of cotton for three months and a revolution will 

occur in England. Hundreds of thousands of your 

workers will starve without our cotton, and they will demand 

you break the blockade.” 10 

Both the Confederates and the British elites were convinced 

that the workers of Lancashire would put their 

bellies before all else. They arrogantly assumed that the 

millworkers also supported a Confederacy win. Hell no! 

The working-class poor of Manchester and Lancashire 

took anti-slavery seriously. They were slaves themselves 

in all but name. Although the American Civil War was not 

wholly about slavery, at least to the Mancunians and Lancastrians 

in England, it was. 

Towards the end of 1862 hundreds (some say at least 

350) of workers’ rallies were held across Lancashire, spurring 

support for the North and Abraham Lincoln. Thousands 

attended each one. At one such rally, William 

Jackson, an ex-slave of Confederate President Jefferson 

Davis, was in attendance. He was cheered and the 

people demanded he speak. 

The Manchester Guardian, which had openly supported 

the Confederacy, was appalled. They printed a 

condemnation of the rallies and demanded that no 

further rallies of this sort be held. 

In typical Manchester style, the workers retaliated by 

holding another rally in the Free Trade Hall. This rally was 

so well attended that there was an overflow of 2,000 

people. 

In a letter sent to Abraham Lincoln on 31 December 

1862, the workers of Manchester offered him their support 

and the hand of friendship. Bypassing the British 

Government, they made it clear that the working people 

were with him. They stressed their wish to end slavery, 

not only in America, but everywhere. Part of the letter 

stated: 

“[T]he erasure of that foul blot upon civilization and 

Christianity – chattel slavery – during your Presidency will 

cause the name of Abraham Lincoln to be honored and 

revered by posterity. We are certain that such a glorious 

consummation will cement Great Britain to the United 

States in close and enduring regards.” 11 

Lincoln replied. In his letter dated 19 January 1863 he 

said, “I cannot but regard your decisive utterances upon 

the question as an instance of sublime Christian heroism 

which has not been surpassed in any age or in any country.” 

12 In closing he wrote, “whatever else may happen, 

whatever misfortune may befall your country or my own, 

the peace and friendship which now exist between the 

two nations will be, as it shall be my desire to make 

them, perpetual.” 13 Lincoln then sent three ships laden 

with supplies to help the people of Manchester and Lancashire. 

It is these letters between the workers of Manchester 

and Abraham Lincoln which ended decades of enmity 

between our two nations. 

10. https://www.workersliberty.org/files/2020-11/WorkersAgainstSlaveryComplete.pdf Page 8 

11. https://www.encyclopedia.com/history/dictionaries-thesauruses-pictures-and-press-releases/address-president-lincoln-working-men-manchester-england-31-december-1862 

12. https://acws.co.uk/archives-misc-lincoln_letter 

13. https://acws.co.uk/archives-misc-lincoln_letter 

34 



When Lincoln was assassinated, the British people 

mourned. 

It is remembered, “To the working people of Britain, 

the loss was personal and extreme. Huge crowds gathered 

in meetings of tribute and heard Lincoln’s praises in 

deep silence.” 14 

To this day there is a statue of Abraham Lincoln in Lincoln 

Square, Manchester 15 and it isn’t unusual to encounter 

photos or images of Lincoln in pubs around the 

city center. Sadly, most Mancunians have not been 

taught about this and have no idea why the statue exists 

or even who he was. 

The Consequences of the Cotton Famine 

The consequences of the workers support for Lincoln 

and the US is often overlooked. The people starved. Furniture 

had to be burned to keep warm during the 

winters. Any valuables were pawned and were never able 

to be claimed back. Beggars went door to door to beg 

from people who were also starving. Committees were 

set up in towns where the most in need could beg for relief. 

However, there were just too many in need. Rich 

businessmen, sympathetic to the workers, created 

“folly” building projects such as Rochdale’s “Cotton 

Famine Road” 16 to give some of the starving a temporary 

job. 

Hearing of the plight to the North, the London Boot 

Black Boys, who were equally as poor, collected their 

wages to send to the people of Lancashire. News spread 

and donations were sent to Lancashire from Queen Victoria 

and even from overseas. Agents from the Federal 

states came to Lancashire to offer jobs or a place in the 

US Army to any Lancashire mill workers willing to emigrate 

to America. 

Within the confines of this magazine, I cannot begin to 

share the thousands of individual stories of those affected. 

However, Home-Life of the Lancashire Factory 

Folk During the Cotton Famine by Edwin Waugh (2003) 

is a contemporary account of Waugh journeying around 

Lancashire observing and interviewing people in the 

towns and villages. It’s a good book, but be forewarned, 

when Waugh quotes the Lancastrians, he writes their 

words phonetically in an effort to preserve the dialect. It’s 

a brilliant piece of social history. Top tip: when reading 

the dialects, read out loud. It helps. 

I will share this one story from Chapter 10 as it relates 

to knitting: 

“I am very much troubled with my eyes; my sight is failing 

fast. If I drop a stitch when I’m knitting, I can’t see to 

take it up again. If I could buy a pair of spectacles, they 

would help me a good dale (sic); but I cannot afford till 

times are better.” I could not help thinking how many 

kind souls there are in the world who would be glad to 

give the old woman a pair of spectacles, if they knew 

her.” 17 

Modern Repercussions 

There was one city of workers who did not support the 

US. Liverpool. It was in Liverpool that the Confederate 

war ships were built and launched. Almost every worker 

of Liverpool was reliant on the trade with the Confederacy. 

Indeed, so strong were these connections that it has 

been quoted that at one time “more Confederate flags 

fluttered above Liverpool than over Richmond,” which 

was the Confederate capitol in Virginia. 18 

When the Manchester and Lancashire workers refused 

to support the Confederacy, it meant Liverpool starved 

as well. Thus began a feud between Liverpool and Manchester 

which continues today. 19 Most have no idea 

where the feud originated and attribute it to a football rivalry. 

Although Liverpudlians and Mancunians will still 

claim to dislike each other, many of us have friends and 

family from both cities. At best, the feud is friendly 

“banter,” at worst it can be described as prejudicial hatred. 

From a personal perspective, I only know about the 

Cotton Famine because of my grandmother, Dorothy. 

14. Abraham Lincoln and the Working Classes of Britain, Pole JR. https://www.abebooks.co.uk/Abraham-Lincoln-Working-Classes-Britain-Pole/31283254493/bd 

15. https://ilovemanchester.com/why-manchester-abraham-lincoln-statue-square 

16. https://www.visitrochdale.com/things-to-do/cotton-famine-road-p596891 

17. Home-Life of the Lancashire Factory Folk during the Cotton Famine Author: Edwin Waugh https://www.gutenberg.org/files/10126/10126-h/10126-h.htm 

18. https://www.liverpoolmuseums.org.uk/archivesheet59 

19. https://en.wikipedia.org/wiki/Liverpool%E2%80%93Manchester_rivalry 


35


Dorothy worked in one of the mills of Bury, Lancashire 

in the 1920s and 30s. Her mother Ellen, grandmother, 

Bridget, and great-grandmother, also called Bridget, all 

worked in the mills too. Stories were passed down of 

how her great-grandmother, Bridget, migrated from 

County Mayo, Ireland, to escape the 1850 famine only to 

find herself just a few years later in another famine in 

Bury. Her story was tragic. Having survived two famines, 

she was killed on the night of the first British secret ballot 

election of February 1872. She left behind 7 orphans. 

Reparations 

When I hear calls for reparations for black people because 

of slavery, I can’t help but think about the Cotton 

Famine, and on behalf of my ancestors, I whisper, 

“You’re welcome.” 

Crossword Answers: 

36

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