Quilts Quotes

“After all, a woman didn't leave much behind in the world to show she'd been there. Even the children she bore and raised got their father's name. But her quilts, now that was something she could pass on.”
― Sandra Dallas

“Perhaps thee will best understand what Abigail is like if I tell thee that when she quilts she prefers to stitch in the ditch, hiding her poor stitches in the seams between the blocks.”
― Tracy Chevalier, The Last Runaway

“The eldest ones said that the laughter and tears are sewn right into the quilt, part and parcel, stitch by stitch. Emotions, experiences, heartbreak, mourning, pain and regret, stitched into the cloth, along with happiness, satisfaction, cheer, comfort, and love. The finished quilts were a living thing, a reflection of the spirits of its creators.”
― Arlene Stafford-Wilson, Lanark County Connections - Memories Among the Maples

“I've left behind so many unfinished quilts in my life, beautiful pieces of dreams and intentions never fully assembled.”
― K. Martin Beckner, A Million Doorways

“I’ve embarked on personal adventures with each of these quilts. I want to teach you how to do the same.”
― Patricia Belyea, East-Meets-West Quilts: Explore Improv with Japanese-Inspired Designs

“Aunt Jane came around from the back of the house, her black silk cape fluttering from her shoulders, and a calico sunbonnet hiding her features in its cavernous depth. She walked briskly to the clothes-line and began patting and smoothing the quilts where the breeze had disarranged them.

"Aunt Jane," I called out, "are you having a fair all by yourself?"

She turned quickly, pushing back the sunbonnet from her eyes.

"Why, child," she said, with a happy laugh, "you come pretty nigh skeerin' me. No, I ain't havin' any fair; I'm jest givin' my quilts their spring airin'. Twice a year I put 'em out in the sun and wind; and this mornin' the air smelt so sweet, I thought it was a good chance to freshen 'em up for the summer. It's about time to take 'em in now."

She began to fold the quilts and lay them over her arm, and I did the same. Back and forth we went from the clothes-line to the house, and from the house to the clothes-line, until the quilts were safely housed from the coming dewfall and piled on every available chair in the front room. I looked at them in sheer amazement. There seemed to be every pattern that the ingenuity of woman could devise and the industry of woman put together, — "four-patches," "nine-patches," "log-cabins," "wild-goose chases," "rising suns," hexagons, diamonds, and only Aunt Jane knows what else. As for color, a Sandwich Islander would have danced with joy at the sight of those reds, purples, yellows, and greens.

"Did you really make all these quilts, Aunt Jane?" I asked wondcringly.

Aunt Jane's eyes sparkled with pride.

"Every stitch of 'em, child," she said, "except the quiltin'. The neighbors used to come in and help some with that. I've heard folks say that piecin' quilts was nothin' but a waste o' time, but that ain't always so.”
― Eliza Calvert Hall, Aunt Jane of Kentucky

“kantha quilt”
― jitendar maheswari

“Quilts need air and sunlight every week to keep them fresh and a long soak in summer.”
― Dorothy Adamek, Carry Me Home

“She went to the not-quite-antique stores...and found an old bed quilt, blue and white, with stitches made by a hand she didn't know but trusted all the same, and laid it against the black metal bedstead.”
― Erica Bauermeister, The School of Essential Ingredients

“The calendar gave him unmoving pools of quiet in which to rest. He spent hours looking at the calendar. It was time past and time to come, divided into neat little boxes, and the boxes named and numbered. He would look at a box ahead, say, February 25, 1917, and think, Inside that box, I and everyone else on earth, minus a few who will die before then and plus a few who will be born, will have our lives. Inside that box, each of my acts and feelings for that twenty-four hours awaits me. And because he was sick, there was not much he could do to prepare for or to control those acts which waited for him to become their center....

Most of the time, he was alone. He took deep breaths of the raw smell of seed potatoes, newly cut and bleeding their milky starch. He inhaled the sun-warmed scent of the creosote-stained redwood planks. The top quilt on his bed was pieced in a star design. Each star was made up of God knows how many pieces, and each piece was of a different color and design. The designs were a tanglewood maze of leaves and flowers and stars and branches. When he got tired of calendar quiet and of cataloging smells, he took up quilt-gazing. He didn't need a world a minute bigger than his room, an inch wider than his calendar, or an iota sweeter than his own breath. But he was the only one who knew this.”
― Jessamyn West, South of the Angels

“When I asked Grandma about it she told me in her own way...she wanted me to know that each time I looked at my quilt it would remind me to be compassionate with other and identify with their struggles. I remember her exact words, same ones she repeated so many times:" Chile, Grandma never wants you to look at the bad in folks and go backwards. I wants you to look at the good in them and go forward. If you jest look at the bad you gonna fine zactly what you lookin' for. Even the worse folks got a speck of good, you jest gotta fine it.”
― Phyllis Biffle Elmore, Quilt of Souls: A Memoir

“Aunt Jane was in perfect correspondence with her environment. She wore a purple calico dress, rather short and scant; a gingham apron, with a capacious pocket, in which she always carried knitting: or some other" handy work "; a white handkerchief was laid primly around the wrinkled throat and fastened with a pin containing a lock of gray hair; her cap was of black lace and lutestring ribbon, not one of the butterfly affairs that perch on the top of the puffs and frizzes of the modern old lady, but a substantial structure that covered her whole head and was tied securely under her chin. She talked in a sweet old treble with a little lisp, caused by the absence of teeth, and her laugh was as clear and joyous as a young girl's.

"Yes, I'm a-piecin' quilts again," she said, snipping away at the bits of calico in her lap. "I did say I was done with that sort o' work; but this mornin' I was rummagin' around up in the garret, and I come across this bundle of pieces, and thinks I, 'I reckon it's intended for me to piece one more quilt before I die;' I must 'a' put 'em there thirty years ago and clean forgot 'em, and I've been settin' here all the evenin' cuttin' 'em and thinkin' about old times.

"Jest feel o' that," she continued, tossing some scraps into my lap. "There ain't any such caliker nowadays. This ain't your five-cent stuff that fades in the first washin' and wears out in the second. A caliker dress was somethin' worth buyin' and worth makin' up in them days. That blue-flowered piece was a dress I got the spring before Abram died. When I put on mournin' it was as good as new, and I give it to sister Mary. That one with the green ground and white figger was my niece Rebecca's. She wore it for the first time to the County Fair the year I took the premium on my salt-risin' bread and sponge cake. This black-an' white piece Sally Ann Flint give me. I ricollect 'twas in blackberry time, and I'd been out in the big pasture pickin' some for supper, and I stopped in at Sally Ann's for a drink o' water on my way back. She was cuttin' out this dress.”
― Eliza Calvert Hall, Aunt Jane of Kentucky

“Here Aunt Jane paused, and began to cut three-cornered pieces out of a time-stained square of flowered chintz. The quilt was to be of the wild-goose pattern. There was a drowsy hum from the bee hive near the window, and the shadows were lengthening as sunset approached.

"One queer thing about it," she resumed, "was that while Sally Ann was talkin', not one of us felt like laughin'. We set there as solemn as if parson was preachin' to us on 'lection and predestination. But whenever I think about it now, I laugh fit to kill. And I've thought many a time that Sally Ann's plain talk to them men done more good than all the sermons us women had had preached to us about bein' 'shame faced' and 'submittin" ourselves to our husbands, for every one o' them women come out in new clothes that spring, and such a change as it made in some of 'em!....

"Things is different from what they used to be," she went on, as she folded her pieces into a compact bundle and tied it with a piece of gray yarn. "My son-in-law was tellin' me last summer how a passel o' women kept goin' up to Frankfort and so pesterin' the Legislatur', that they had to change the laws to git rid of 'em. So married women now has all the prop erty rights they want, and more'n some of 'cm has sense to use, I reckon.”
― Eliza Calvert Hall, Aunt Jane of Kentucky

“I've had a heap o' comfort all my life makin' quilts, and now in my old age I wouldn't take a fortune for 'em. Set down here, child, where you can see out o' the winder and smell the lilacs, and we'll look at 'em all. You see, some folks has albums to put folks' pic tures in to remember:em by, and some folks has a book and writes down the things that happen every day so they won't forgit 'em; but, honey, these quilts is my albums and my di'ries, and whenever the weather's bad and I can't git out to see folks, I jest spread out my quilts and look at 'em and study over 'em, and it's jest like goin' back fifty or sixty years and livin' my life over agin.

"There ain't nothin' like a piece o' caliker for bringin' back old times, child, unless it's a flower or a bunch o'thyme or a piece o' pennyroy'l — anything that smells sweet. Why, I can go out yonder in the yard and gether a bunch o' that purple lilac and jest shut my eyes and see faces I ain't seen for fifty years, and somethin' goes through me like a flash o' lightnin', and it seems like I'm young agin jest for that minute.”
― Eliza Calvert Hall

“I looked again at the heap of quilts. An hour ago they had been patchwork, and nothing more. But now! The old woman's words had wrought a trans formation in the homely mass of calico and silk and worsted. Patchwork? Ah, no! It was memory, imagination, history, biography, joy, sorrow, philosophy, religion, romance, realism, life, love, and death; and over all, like a halo, the love of the artist for his work and the soul's longing for earthly immortality.”
― Eliza Calvert Hall, Aunt Jane of Kentucky