{"id":8033,"date":"2021-02-14T10:00:58","date_gmt":"2021-02-14T09:00:58","guid":{"rendered":"https:\/\/stolb01web.ddns.net\/wordpress\/?p=8033"},"modified":"2021-07-01T16:28:58","modified_gmt":"2021-07-01T14:28:58","slug":"a-stitch-in-time","status":"publish","type":"post","link":"https:\/\/stolb01web.ddns.net\/wordpress\/?p=8033","title":{"rendered":"A stitch in time"},"content":{"rendered":"\n

Elsewhere<\/a> I have waxed lyrical about the working of thread into fine material as a most appropriate metaphor for the creative process. A finely crafted tapestry may be the outcome. Fifty years ago another tapestry was stitched, one of word and music; fine threads with names like “Will you love me tomorrow”, “It’s too late”, “I feel the earth move”, “You’ve got a friend”; all brought together to produce a work of beauty – Carol King’s “Tapestry”<\/a>. Reluctantly I give away my years, when I say how much this album meant to me as a young thing. May I say very young! And to mitigate more, perhaps my recollections are from a time just a little after its first release.<\/p>\n\n\n\n

In the above linked tribute in The Guardian<\/em>, beyond the artistry of the music and lyrics, Rickie Lee Jones mentions the cover (here’s<\/a> a Wiki link, as the copyright on the artwork seems unclear), and I too have it etched upon my brain – barefooted, jeans clad, long locks, the direct gaze that seems to say politely but firmly “I have to get back to my work!”. A window seat seemed to me one of the higher forms of luxury. Looking at it again, the vinyl of days gone by replaced with a CD picked up along the way, I see my memory deceived just a little because for some reason I remember a guitar and not a cat. King’s cat was named Telemachus. Penelope it was who weaved and weaved as she awaited Odysseus’ return, defending with her wits and industry the honour of her son and family.<\/p>\n\n\n\n

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