I mentioned using our own olive oil in “Going Bananas”. Olive crops are notorious for being unpredictable, vulnerable as the fruit is to a great many factors, and it’s common to have a reasonable harvest every second year as a rule. The farmers, and particularly the older folk, say the trees are resting when it’s clear that no olives are developing on the trees, and who can blame them, the trees that is.
The olive tree grows slowly, taking its time. It’s been taking its time for aeons and there’s something about its gnarled trunk, its knotted branches knitted into intertwining twists and cables, its roots reaching over rocks and creeping into crevices, that’s very reassuring. Olive wood is extremely hard, the tree is evergreen. We live among olive groves that have been rooted for centuries in a land that has seen everything good and everything ghastly that mankind is capable of.
There’s much I could write about olives, but for now I’ll contrast the old way of pressing the fruit to obtain the golden oil with the very latest technology.
Deep in a secluded valley near our home lies a very old abandoned village whose handful of residents attempted to escape the depredations of invasions in times long gone. The few stone houses stand silently derelict amongst wildly overgrown orchards, formerly abundant with fruit, whilst the dense undergrowth strangles the artichokes and a few other vegetables, heirs to earth once cultivated, which have managed to propagate. But the olive trees endure. Untended, unpruned, unfed and unharvested they stand in silent testimony.
Amongst the ruins are the remains of the olive mill which produced the oil upon which the villagers and other locals relied. The olives would have been brought by donkey and stored in the ceramic jars whose design has changed not at all over many, many centuries, until their turn to be weighed and then pressed. The harvest was a busy time for everybody, backbreaking work, even for small children who would collect the olives which were knocked from the trees to the ground. I’m sure all would have been delighted to see the oil flowing from those presses, just as we never fail to be thrilled when we see our oil gushing from the gleaming stainless steel of the very latest equipment.
Today every last drop is squeezed from the olives, although the method of harvesting the fruit is essentially the same – the olives still have to be beaten out of the trees. My friend Petra made this video at harvest time last year and it shows the whole process of olive oil production very clearly.
Video by Petra Nowak; music written and composed by loVeu2 (Nowak, Georgiou, Elliot)
The weather has indeed turned out exactly as forecast – snow, sleet, freezing rain, rain, and wind. The wind’s not pussyfooting about, making itself known with gales so bad that most of the ferries are docked and not permitted to sail. The gods are evidently much annoyed, and each is trying to outdo the other. The fireplace is doing a great job, the tea is hot and plentiful, and the banana loaf is down to its last little slice.
Colour! Lots of it has been needed these blustery days, with the wind roaring its way through grey cloud and snow flurries to rattle shutters and nerves. I turned to my magic balls of yarn for the perfect quick fix. Cheerful colours almost begging to become a circular knit cowl. Something so simple and easy, it feels like cheating.
Round and round I knit while the yarn colours changed enticingly, and after two evenings glued to the TV drama, it was finished. I gave my cowl a solid colour lining, did a three-needle bind off with the live stitches of the lining and the cast on stitches of the magic ball bit, and there – done! All the knots are neatly concealed, and the cowl is doubly warm.
We’ve had quite a bit of unsettled weather this winter, including some heavy and very disruptive snowfall. Higher than usual temperatures in the last few days have been accompanied by strong winds from the south which bring us unwelcome Sahara dust. The resulting dense haze usually only dissipates when the wind changes direction, or when it’s finally washed out by rain. Yesterday we were suddenly walloped by a fierce gale out of the west which certainly took care of the dust, but also heralded a big change in the weather.
According to the forecasts, which are often about as accurate as my aim when throwing a ball for the dog, we can expect strong winds, heavy rain, sleet and some snow, starting tomorrow. Seems the really nasty conditions prevailing in Western Europe at the moment have set their sights on us again, as if we don’t have enough problems already with the severe flooding and damage in Northern Greece.
The gloomy weather outlook turned my fancy to thoughts of something sweet. Chocolate perhaps? A biscuit? My eye lit on the bananas in the fruit bowl which were starting to get over-ripe. Banana bread, of course – that sweet treat you can zap out with little fuss but big impact; quick and easy to make, simple and satisfying.
I got to work, first picking oranges and lemons from our laden trees to decide which I’d use for the zest. I’ve tried many recipes over the years; some were better than others. Banana cake is pretty basic, unless you’re really into a highfalutin version. I’m not. I can’t give due credit for the recipe that I finally settled on some years ago as it’s cobbled together from the efforts of many other bakers, but this is what works for me, and as I’ve said, simple banana bread recipes are of much the same ilk.
If you’re interested, here’s how I go about it, with a few hints first:
I like to use oil rather than butter; orange or lemon zest really does give the loaf that extra something; nuts should be added sparingly and finely chopped if you use them; we don’t like raisins in banana loaf; I must be careful not to over beat the mixture or it gets gooey; it’s better to mash the bananas first.
Cathy’s banana loaf
INGREDIENTS 4 very ripe bananas – mashed (and obviously peeled!) 2 large eggs ½ cup vegetable oil (I use our own organic olive oil) 1 cup sugar ½ tsp vanilla essence 2 cups self-raising flour ½ tsp baking powder 1 tsp bicarbonate of soda ½ tsp salt ¼ cup milk and if desired: ¼ cup nuts, finely chopped (pecans are good) and/or the zest of an orange or lemon
METHOD Cream the oil and sugar Stir in the bananas and vanilla essence Add the eggs and mix in well Sift the dry ingredients together and add to the batter Stir in the milk If used, add the zest and/or nuts
When thoroughly mixed, pour the batter into a greased loaf pan Bake at 350 deg F (180 deg C) for about an hour until well risen and browned. Cool in the baking pan, turn out and …go bananas!
That poor man! I can’t imagine what he went through, and how difficult his life must have been by today’s standards.
I’ve lived in the Austrian Alps. I’ve hiked there, even in winter. Not in blizzard conditions of course, but certainly through deep snow, equipped with the proper boots, thermal underwear, ski jacket, hat, gloves and trekking sticks. The whole nine yards. Note, I said hike. Not me for the ski run and all that suicidal careening down gradients designed by Nature for mountain goats to frolic on.
Ah yes, hats. Many and varied did I knit. I’m not convinced that much heat is lost through the head, and apparently scientists have more or less debunked this notion, but certainly a warm, fleecy cover on one’s noggin is a comfort, and so much better if the headgear is bright of colour, in my humble and much-biased opinion.
Back then to my favourite older man. Much older man. I suppose his bearskin hat did ward off the elements to some extent, though as I’ve mentioned before he seemed to have trouble keeping it firmly affixed to his head, given that the leather ties had been broken and then knotted together again.
I’m no historian of Neolithic clothing but although wool was known and used by Neolithic peoples in other parts of the world, it appears this excellent insulating material wasn’t available to Otzi and his folk. Seems sheep had yet to find their way high up into the Alps, or at least trade in fleece hadn’t begun here at that time; I’m happy to be corrected on this point.
Ever since we met, Otzi and I, his lack of a snugly-fitting hat of warm wool has spun its way through my imagination on occasion. A hat for Otzi should surely not be coarse and bulky like skins and furs, but soft and cosy. It should be somewhat waterproof, as indeed his bearskin cap was, but able to hug his head against the vicious winds that whip and rip through the Alps.
Otzi needed the protection afforded by felted fabric. Austria is famous for its wonderful Loden cloth which is not actually felted, but fulled. Wool yarn is first loosely woven or knitted, then subjected to a controlled process of agitation and boiling, until the wool fibers shrink and mat together into a dense fabric. This density makes fulled fabric exceptionally warm and very hardwearing; it does not ravel, it can be cut, and it can be moulded to any shape.
I have quite a bit of oiled Shetland tweed yarn in my stash, a perfect yarn for my tribute to Otzi. Such yarns, spun in the oil, can be unappealing to knitters who aren’t aware that once the finished item is well washed in hot soapy water the oil is removed and the yarn fluffs up, becoming much softer. Tweed yarn for Otzi then. Tweed, with all its inviting little flecks of color, to warm and cheer him.
Two colours, I decided. Two colours, as his clothing had been so drab. Brown for earth and rock, blue for the sky so far above him. To think he perished, alone, all those thousands of years ago, and now esteemed scientists devote their careers to him.
His hat didn’t take long to knit. I used a larger size needle than the yarn usually calls for and knitted an overly big hat. I gave it a deep brim so that it can be worn doubled, or pulled down to cover part of the face. The resulting hat, prior to fulling, was of course floppy and stringy and looked quite odd, but the magic was yet to come.
Bucket of very hot water, bucket of cold water, bottle of dishwashing liquid, rubber gloves, and go… I love this part! The idea is to agitate and aggravate the woollen item by rubbing it hard in the soapy water, plunging it in and out of hot and then cold water. The water has to be changed often so that it remains as hot/cold as possible, and the item must be checked frequently to monitor the rate of fulling and shrinking.
When satisfied with the result, I rinsed it thoroughly and rolled it up in a towel to blot excess moisture. Poor Jason sat outside in the sun all day while Otzi’s hat dried, never saying a word.
It’s likely that I’ll knit another hat for Otzi – there are so many exciting possibilities.
Whichever way you spell it, the kilims shown in the last entry radiate with colour. I was almost overwhelmed when I entered the dazzling display area on a rather grey wintry evening. Colour leapt out at me. Colour embraced me. Colour cheered and colour warmed me.
This impressive exhibit was expertly curated by Magda Karastathis on behalf of the Lafkos Community Association. Magda studied at the prestigious Athens School of Fine Arts and taught at schools in Patras, Athens and Volos before her recent retirement. Her family is from the Lafkos/Milina area: Lafkos, the ancient fortified village on the hilltop, which afforded more protection from invaders and pirates; Milina, now a beautiful village on the Pagasitic Gulf, but only a fishing spot in those very early days.
Summer visitors to the Pelion Peninsula are often surprised to hear that we have a distinct winter season. They’re even more stunned to learn that snow’s not uncommon, and that Mt Pelion has a ski resort. Winters are not usually severe, but there are many dreary days for we have the typical winter rainfall of the Mediterranean climate. If grey’s your colour, take your pick of shades, but it’s not mine and so, still steeped in the saturated colours of the exhibited kilims, I dived into my yarn stash the next day.
The bobbles and tassels had really caught my imagination!
Lafkos is a beautiful village with a long and interesting history, high on the southern Pelion Peninsula. Its old stone buildings, strongly fortified against invaders, showcase traditional building methods, featuring intricate stonework and wood carving, much of it still well preserved.
Beyond the immediate hilltop huddle of historic buildings around the church and village square are more modern structures, built as the village expanded. Most are now constructed of brick, but are still designed in the Pelioritic style as required by the building regulations which seek to preserve the character of the Pelion region.
One such new building is the Lagou Raxi Country Hotel which occupies a beautiful spot overlooking the Pagasitic Gulf, on land which would have been well outside the safe environs of the village in the earlier period. Tracts of land here on the peninsula still carry the descriptive names they were given long ago, and the hotel takes its name from the area on which it’s built: Lagou Raxi, pronounced Lagou Rachi. This refers, so I’m told, to the shape of the ridge or spine (rachi) of ground which resembles the back of a hare (lagos). It’s also been suggested that this had been an excellent hunting ground for hare in former times, and may have contributed to its being so named.
The hotel has a large conference room and it’s here that some of the local homeowners agreed to mount an exhibition of their kilims – flat woven rugs and carpets. These heirlooms were woven on handmade wooden looms by women of their families in generations past, and most of them are of quite some age.
I was able to attend the opening night of the exhibit and met Mrs Athena Biniari who has some of her family’s beautiful kilims on display. She very kindly spent considerable time discussing with me the traditional methods used to create kilims, blankets, cushions and similar soft furnishings for the home in a time when all such items were manufactured within the household, as they were throughout the Balkans and beyond. In some parts of the Balkans the practice continues, as it does among nomadic tribes in Asia and North Africa who are renowned for their woven artifacts.
Mrs Biniari fondly remembers childhood days of spinning wool yarn on a drop spindle for her grandmother, who would weave in the courtyard of the home during the summer months. Other ladies recall that weaving was more of a winter activity, when days were long. Distribution of labour within the household and the community must have meant that some had more leisure time than others, of course, but the fact remains that the production of any form of textile in these days was a time-consuming process.
Every inch of yarn had to be produced by hand; every colour was the result of hand dyeing processes. Dyestuffs had to be collected from the natural materials that provided them, and the dyepots had to be mixed. Extensive knowledge was required, and passed down from generation to generation. We should not forget that in earlier times most needlework was done after the day’s work was completed, and by lamp or candlelight. And done with such care, such pride. I am in awe.
This expertly woven rug is quite plain in that it’s woven in stripes, which is obviously quicker than weaving more intricate designs, but its relative simplicity is offset by the wonderfully exuberant edging. Imagine making all those deliciously plump pompons, and with no modern pompon-making devices to speed up the work. I hope the maker enjoyed doing this as much as I have enjoyed seeing it. It really caught my eye, and I can just imagine how delighted my cats would be if such an enticing rug were gracing my floor.
The warp threads form this very simple edging, but so lavishly coloured is this carpet that nothing more is needed.
This display makes me catch my breath, and when I think of the work involved, in addition to the weaver’s everyday household load of chores, I’m amazed.
Note the vases of flowers motif as an alternating band in the middle rug.
I’m not sure if these three rugs were all woven by the same person, but the display itself commands attention, highlighting as it does the variety of colors and motifs.
The natural materials here – wood and wool – make for an arresting arrangement. The rug on the right is completed with a fairly typical knotted edging, but the one on the left is the only example I have seen of this very unusual crocheted motif edge treatment. It’s quite striking, employing as it does a different form of textile artistry and skill. I’d like to find out more about this particular rug and whether it had one maker or was it a collaboration? The ability to combine all manner of stitching and of textiles, into a coherent whole is one of the enduring appeals of the needlearts.
These kilims are draped to advantage over hessian, on an old handmade chest, in which they were probably stored. The forests of the Pelion, though now much reduced in size by the inevitable encroachment of the centuries, still abound with hardwoods of many types from which some lovely antique pieces of furniture were fashioned. I believe this chest is made of chestnut; note the handcarved dovetail joints.
Note the crocheted and braided edgings to this woven cushion cover.
The owner has taken pains to preserve and display these damaged pieces which have the appearance of being part of a large carpet, and may indeed be, but given that one piece is edged with tassels, and the other with bobbles, I think they are in fact salvaged from two different kilims.
This beauty appears to have been damaged while stored; the blue areas are the underlay that was used to display it on. If you look closely, you will see that it was feasted upon precisely along the seam where the two pieces were carefully joined to create this large carpet. The precision with which the pieces were woven, so that the intricate pattern remained unbroken when they were seamed together, speaks to the meticulous work of the weaver. The damage suggests to me that it was folded on the seam line when it was put away, and makes the case that textiles in storage be examined frequently to inspect for unwanted guests munching away.
Lafkos is a small village, well off the beaten track, so unfortunately this exhibition hasn’t received anything like the attention it deserves, but the exhibitors I had the privilege of speaking with expressed the desire to showcase more of their textile treasures in the future. Yes please!
Turkey’s larger towns and cities have many sophisticated stores and boutiques where the shopper, whether a local resident or tourist, is presented with an abundance of the goods to be found in such surroundings. Designer clothing, sumptuous rugs, antiques. Tantalizing temptation!
But for me, the street markets and covered bazaars do it every time. They are so enticing, full of weird and wonderful objects, the everyday and the exotic, paper tissues and cloth of tissue, jeans and jewellery.
The buyers and sellers alike are fascinating; visitors are from far and wide; dozens of languages are heard, mingling with the sounds of bells and music. Tiny shops selling sweet-smelling spices nestle between the textures and vibrant colours of handwoven carpets, rugs and other handworked textiles in adjoining enterprises.
It’s knitting that invariably catches my eye. Anything knitting related, be it the handknitted socks which pop up here and there in various shops and stalls, or knitting yarn. Although stores here do a brisk trade in clothing of varied quality, much of it imported from countries like China and Taiwan, handknitting is still popular, and domestically produced knitting yarn is widely available.
You will often find a small selection of basic yarns in the typical haberdashery business. These little shops are bursting with threads, buttons, zippers, needles of all types, sewing tools and gadgets, notions and trims – an amazing selection of items for those of us inclined towards the needle arts.
Displayed on shelves reaching to the ceiling and expertly retrieved for your inspection by the owner or assistants, tucked under the counter, stored in the back or even fetched for you by some runner urgently dispatched to a fellow dealer, the goodies are many and varied.
Whilst we communicated only by gestures and much pointing on my part, the owner of this establishment was extremely courteous and helpful, even though my purchase was tiny. The hospitality however was huge, as we have often found it to be in Turkey, and sweet tea, always served in glasses, was immediately sent for.
Later in the day we came across a shop pretty much devoted to knitting – owned and run by two charming ladies who are either sisters, or mother and daughter. I couldn’t quite establish the relationship and as we were a little off the typical tourist part of this particular market, there was no helpful local to translate for me. No matter. We spoke the universal language of knitters and got along quite happily.
As you see in these photographs, the knitters were very excited about a recently published magazine pattern they were working on. They were most anxious to show me the baby jacket, knitted from the top down, a technique which we in America are familiar with, but one completely new to them.
What was so touching, and so typical of the generosity of knitters, was their determination that I too should learn this method and all of its advantages, in spite of the fact that we had not one word of common language among us. I not only hadn’t the heart to tell them I have made several items this way, but I quite literally couldn’t.
Here are the ladies explaining the pattern to me, and going to enormous trouble to write down some pointers, bless them. In Turkish yet! They were so enthused about the process, and so eager for me to benefit from it also. We had a grand old time, babbling away, trying to find words in my tiny pocket dictionary, which was not exactly encyclopaedic with regard to knitting terms.
I will never forget them, how genuine and cheerful they were, their generosity in sharing. They spoke for knitters everywhere.
Otzi, the Iceman, first came to my attention in September 1991 as I sat at our kitchen table in Austin, perusing the New York Times. Enthralled doesn’t begin to describe my reaction as I read the article about the discovery of a mummy, more than 5,000 years old, frozen in the ice of Southern Tyrol, close to the border between Italy and Austria. “One day, “I announced to my husband, “ we have to go and see this.”
Scientists the world over became involved with Otzi; the more he has been studied, the greater our knowledge and understanding of his life, and the period in which he lived. We know his age and what his ailments were. We know his occupation, his diet and what his last meal consisted of. We know how he died. We even know, through the wonder that is DNA, that there are male descendants of his living in the area! The importance of this find cannot be overstated, and for those interested there’s a wealth of information available – our good friend, Google, is a starting point.
What we will never know is the character of the man. No scientist can tell us this, though they were able finally to establish that he died of an arrow wound in his back. That is to say, he was killed by the intervention of another man, or men. I find it particularly poignant then that even in death he was wanted by others, for the politicians weighed in as the row over ownership of Otzi escalated. Was he found on the Italian or the Austrian side of the border? The implications of this are significant, and it was finally determined that he died in what is now Italy.
My fascination with Otzi increased with each new discovery relating to this extraordinary find. Bodies encased in ice masses are revealed occasionally in the Alps, particularly in recent years as a result of the melting of some glaciers, but these deaths are comparatively recent and due to avalanche, skiing or hiking accidents. The identities of the unfortunates buried in this manner are usually established very quickly, but Otzi is in a league of his own.
People’s lives take on turns and twists. Some years ago so did ours, and my husband’s work took us to Austria for a number of years. I almost swooned when we realised that we could drive down to Bolzano, Italy, across the Alps in roughly four hours. I’m not going to dwell on the anticipation, or the excitement here, other than to say that I am still awed by Otzi. Three times have we visited him; my husband delights in commenting that his wife is in love with an older man.
The museum has mounted an excellent exhibition of Otzi, complete with a lifesize model of how he would have been dressed in life, and reconstructions of his clothing and equipment. His garments were found in a poor state, and frankly I think it a marvel that they survived at all. The clothing in itself was a significant discovery as it became clear to scientists that artisans worked at what one might call the clothing trade.
Otzi’s garb was not crudely fashioned, he wasn’t roughly clad in skins, but in fairly sophisticated garments of specific purpose, made by others. Given the skill sets and tools of their time, the Neolithic tailors were accomplished at their trade.
His cap, in particular, caught my attention, fashioned as it is from small pieces of bear skin. I assume that fur remnants were reserved for such items as it is unlikely that whole skins would be cut up for this purpose, given their value as larger pieces of clothing and as bed coverings. It’s also quite probable that skins and furs were recycled from damaged pieces which were no longer of practical use.
Acquiring and preparing animal hides and pelts could not have been easy; such valuable materials would have been repurposed. It’s worth noting that bear skin, with its thick layer of fur, was almost certainly the warmest material available to the mountain people of this period.
Caps and hats need to fit the head quite closely, particularly if required for warmth, whatever they are made of. The hatmakers of Otzi’s time shaped his headgear, patchwork fashion, into a crude bowl shape, thus ensuring maximum warmth. Two leather strips were attached to his cap, both of which were torn and knotted before his death.
Vicious winds whip wildly through those mountains, and it might well have been difficult for Otzi to keep the hat tied securely on his head. Poor Otzi. A knitted hat, worn as a helmet liner perhaps, would have made his life a little easier, allowing as it does a snug and elastic fit.
We learn and continue to learn from Otzi, more than 5,000 years old, whose needs and aspirations were much like ours. My husband refers to him as the victim of a hostile corporate takeover.
WINDOW: An opening in a wall, a roof, a vehicle which allows the entry of air and light; usually features panes of glass; can see and be seen through; may be secured by shutters or bars.
Leftover scraps and remnants of various materials have been used throughout the centuries by diverse cultures in all corners of the globe; manufactured goods such as clothing, for example, have been re-purposed in countless imaginative ways. So varied are the techniques, and so decorative and/or practical the results that many a book is devoted to the subject.
Knotting and tying short lengths of yarns into a longer, more useful yarn is by no means a new idea, and is a thrifty way to knit a garment. I have seen wonderfully vibrant kiddie clothes made like this in Africa, but unfortunately have no photographs. Where economic considerations aren’t an issue, beautiful multi-coloured yarns can be created by cutting lengths from yarns in one’s stash and joining them into what is now called a ‘magic ball’. I don’t know who first came up with this very apt name for such an exciting ball of yarn; Kaffe Fasset uses the technique to spectacular effect in some of his stunning garments, but as far as I’m aware, he didn’t coin the term. If anyone knows who did, I’d love to hear from you.
For those knitters not familiar with Magic Ball knitting, there’s a great deal of info on the Internet. Clara Parkes of Knitter’s Review has written a very clear description.
The Magic Balls, knitted hats and handwarmer I’m showing here were all made from leftover bits and pieces as I was knitting, and in particular from my always too generous length of yarn pulled out for a longtail cast on. I live in terror of running out before all the stitches are on the needle! I toss the scraps into a ziplock bag and wind them into balls every now and then, having several balls on the go so that I can vary the colours in them. So far I’ve knotted all the bits together, but there are many ways of joining the yarns so that no knots show at all. If that’s your look, turn to our old friend, Google.
Beauty and utility
Simplicity in scraps
It’s interesting that the rug, handwoven from cotton fabric scraps in India, produces the same effect.
The beret has the knots featured on the right side. Fun! The hat’s knots are on the wrong side.
I began by knitting a 3inch brim which was turned to the inside.
The handwarmer is lined in mohair which both hides the knots and makes it reversible, as well as doubly warm.
Raki, who can sleep through anything, including earth tremors and all that Hera, Zeus, Poseidon and the crew can hurl at us, was totally unaware that he was standing in for Jason.
My adorable little models, Nellie and Michael, pictured here with their mother in their home in Volos, were very patient and obliging. Thank you, Lena and Sotiris.
I think it’s pure magic that you can take knitting needles and yarn, a little knowledge and two basic stitches, and create almost anything at all. And if you’re not pleased with the result then you can simply unravel your work and hey presto – you have your yarn back! Very few handcrafted goods can be returned to their original materials; unfired clay can be reworked, but cut cloth can’t be restored to the original yardage, though the pieces can of course be used in a different way.
Whatever my yarn, whatever the project, for me the knitting magic will never end.