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Learn how to unravel the mysteries of creating space, depth, and perspective in your quilts - textile pictures that play tricks on your eyes! Author Karen Combs reveals these secrets by examining masterpiece quilts created by well-know quilt artists and explains their use of optical illusions. Each section explores different visual illusions. Hundreds of illustrations and traditional quilt block designs are used to show how dimension and movement can be added to quilts and wallhangings. Chapter 8, Illusions of Color contains information helpful in producing all types of illusions. This book contains full-size patterns for 12 quilt blocks showing illusions, and complete instructions for the cover quilt using isometric perspective.

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7 months ago
 
7 months ago

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Im currently reading some of the authors in the Founding Poems section of this book, for the Poets of Color class Im teaching. As well, Ive just recently read and will reread Miguel AlgarГ­ns introduction. Im so interested especially in the section of this intro re: the Open Room, and the open mic. Having never attended a poetry slam, and having limited the amount of time Ive spent at open mics, I was both amused by his description of it and at the same time I admit it was a bit icky. I get that one event/live moment can make or break a poets career, i.e. whether s/he will continue to pursue the mic and performance. I see how immediate positive feedback can encourage a poet to try again, perhaps even think about bringing the new shit. I see, however, how a poet can become over-reliant upon his/her poems that are hits, that get the audience every time, such that the audience anticipates/expects the hits. How does this kind of environment discourage the poet from pursuing new work, trying out different poetic devices, voices, aesthetics, et al. My question here is about the possibility of arrested development. What I appreciate about AlgarГ­ns description of the poetry slam is the emphasis on farce. I get this; how poetry is received and its value assessed, whether it is deemed effective or ineffective depends upon many factors - the performers skill and experience both in performance and in writing, the audiences aesthetic preferences, political leanings, whether they are easily charmed by charismatic poets on the mic, etc. So given that there are many various ways of assessing a poems and poets effectiveness, given the imperative to decenter a singular academic standard of reading and criticizing poetry, indeed, I get farce. What I dont get, and this is beyond the scope of AlgarГ­ns intro, is how seriously slammers appear to take slam, if the purpose of slam is to engage in farcical contest. So thats a few things I am thinking about while reading. Another is this: as I am reading through the founding poems, it dawns on me that some of the poetry is kind of not awesome, is perhaps kind of awkward on the page, as is the case with Sandra Maria Estevezs poems. I may get shit for saying that, so again let me reemphasize that each audience member, and in the case of book, each reader has many different criteria for reading poetry. Given that (for the most part) the poems here are important social commentary, what I look for is poetry that pops, read aloud and on the page, such as the poems by Lois Griffith, who Ive never heard of before. Her work reminds me of early Jessica Hagedorn - funky, sassy, serrated; I think of these two poets as drawing from the same well. I read Pedro Pietris poems, particularly the Road Runner poem, the Telephone Booth poems, and Uptown Train, and it feels like this is a totally different person than the one who wrote Puerto Rican Obituary, (not included in this anthology) unless what I think of as a playful absurdism im the previous anthologized poems is something that came later, after the purge of the obituary (in which the RISE TABLE RISE TABLE is also a little playful/absurd).Just some disorganized thoughts here. Maybe more to come.

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