Books by Pat Earnshaw Pat's books are available from:
. . We were like moulting dogs from 'Rude Words' Virtual Eden is a series of vivid cameos tracing elements of the author's life between the ages of one and eight, a time that is often viewed in retrospect as blissful and protected, a personal Eden. With remarkable recall and an unusual sensitivity to atmosphere, she sketches the opposing personalities of her maternal grandparents and their lives in the primitive conditions of an isolated rural village; the death of a two-month old brother; a letter she wrote to a favourite doll when she was four and a half and had just started school; her father's suicide; the emergence of awareness of herself as a person and a body; and the sense of total isolation following a long 'exile' in hospital, after an operation for middle ear abscess (age 8). Told as far as possible from a child's point of view, and free of self-pity and sentimentality, this collection is a moving account of one person's experience of infancy and early childhood.
Gothic Tales is written not in the current mode but something more ancient, less closely connected with the everydayness of existence, exploiting atmospheres and situations on another, perhaps supernatural even spine-chilling, level of reality.
Under the generalship of Francis Drake, five ships set sail from Plymouth Harbour on November 15th, 1577. For almost three years they braved largely uncharted oceans without telescopes, knowledge of longitude, or any means of outside communication. Their quite small boats, the decks painted red to hide the spillage of blood, confronted great storms, attacked Spanish Galleons, and were attacked by vengeful Indians linking these white skins to the vicious cruelty of the Conquistadores. They suffered drought, starvation, lice, and were never quite free of the superstitious dread of witches and sea-monsters that returned to hunt them when they were stuck on a sandbank in the Moluccas.
This volume contains twenty prose-poems about a black cat called Vince, each tale beautifully illustrated by wild-life artist Sally Michel. Vince is a real-life cat: small, slim, neither beautiful nor cuddly but loyal, affectionate and with great charisma. The text of My Cat Vince was awarded first prize in the Scintilla poetry competition, 2000:
'There is certainly room . . in the whole field of lace for some difference of opinion. But the latitude is limited: the object of a definition is that other people shall understand what we are talking about. Without this agreement, communication becomes meaningless.'
This book guides the reader through the intricacies of identifying a piece of lace, listing and illustrating the points to look for in each lace. It covers the whole range of laces from all parts of the world, selecting for examination those major types which the collector or dealer is most likely to come across or hear about. The numerous photographs are arranged to assist comparison of diagnostic features and to put together laces which might be confused with each other so that their differences, sometimes subtle, can be appreciated.
Sonnets, villanelles, sestinas, terza rima and other traditional forms alternate with free verse to explore the mysterious, at times sinister, occasionally surreal aspects of science and the mind, that underlie the humanity of everyday life. A nicely presented collection of well crafted, thought-provoking and enjoyable to read poetry. There are 50 poems on 96 pages with not a dull one among them. A bargain at the price, rush out and get a copy. I promise you'll not put it down unread. The spectrum of Pat Earnshaw's knowledge across the board from science fiction to science fact appears to be boundless. . . her powerful written words ensure a rare and evocative insight into human vulnerability and the scepticism of science. An exceptionally succinct and innovative composition from a woman who has done her research well. She writes knowledgeably about history. 'Madness for tulips 1630s' is a fine example and in 'Addiction' she takes us through the folklore surrounding smoking. In 'Ice in my heart' this poet writes of conflict, using ice images -'I need to stay frozen / tears hard and unfallen / I was not meant to be frozen;' I hope she will tap her unconscious as freely as she ranges the visible world. This is a mind-expanding collection and should be read.
This second collection of Pat Earnshaw's poems explores the themes of time, immortality, the millenium, childhood passions and cannibalism. 'An apocalyptic voice speaks - or rather sings mournfully - throughout this interesting collection. The best of the long poems deal without sentimentality with the terrible gaps in perception that can exist between children and adults. The eponymous poem has all the surprises, the delights and the flaws which make Cychosis such an interesting read;' 'One senses a quest for wisdom that is also a quest to deal with tragedy.'
Pigeon Grounded was Pat Earnshaw's first return to creative writing. The medley of poems ranges from rhyme to free verse and from everyday observation to scientific fact and speculation. Extracts from reviews:
The aim of machine laces from the very beginning was to copy those made by hand, and so invade the immensely profitable market that hand laces had monopolised for so long. In time the imitations became so scrupulously exact as to present a kind of virtual reality of the 'real' form. This book begins with a brief description of the nine major lace machines, to put their products into context. For each, the machine and a typical product are illustrated. Chapter 2, A facile guide to the recognition of machine laces, segregates all the diagnostic features into: firm indications of machine origin (found only in machine laces), less firm indications (sometimes found in hand laces), contra-indications (never found in machine), and other features sometimes quoted as helpful which really are not. In the third chapter, a near-alphabetical list of twenty-seven handmade laces is matched with photographs of machine copies of similar design, emphasizing the characteristics which distinguish one from the other.
Years 1985-1995 have been packed with quite staggering advances in both mechanical and computer technology. Volume 2 brings the story totally up to date with accounts of the very latest CAD/CAM applications which enable manufacturing designs to be beamed by satellite to lace machines across the world. In addition it throws new light on the formerly obscure history of the Pusher from 1860 to the present day, and on the evolution of the Raschel machine from its inception in Saxony in 1859 to the amazing variety of its forms and products in the 1990s.
This is an almost unaltered reprint of the volume first published by Batsford in 1986. It is a comprehensive and fully illustrated account of all the major lace-making machines, from the cumbersome hand- and foot-powered Stocking Frame of the 1760s to the high-speed Raschel of the 1950s and after.
Machine nets were invented during the 1760s and were fashionable from about 1800, but it was several decades before patterning could be produced on the machines. During this time, tens of thousands of women were employed in decorating the plain net by hand embroidery. Three main techniques were used: needlerun, tambour and cambric appliqué. Neither run nor tambour originated in Ireland, but Limerick soon became the most important centre in Britain for their production. 'Limerick cut cambric', also made there, was renamed 'Carrickmacross' in 1872. This book gives a comprehensive account of all three techniques, their history and how to make them. Instructions for 40 run stitches and 18 tambour, all analysed from antique laces, are illustrated by line drawings and close-up photographs. Further run stitches are described under 'Cut Cambric'.
Machine nets were invented during the 1760s and were fashionable from about 1800, but it was several decades before patterning could be produced on the machines. During this time, tens of thousands of women were employed in decorating the plain net by hand embroidery. Three main techniques were used: needlerun, tambour and cambric appliqué. Neither run nor tambour originated in Ireland, but Limerick soon became the most important centre in Britain for their production. 'Limerick cut cambric', also made there, was renamed 'Carrickmacross' in 1872. This book gives a comprehensive account of all three techniques, their history and how to make them. Instructions for 40 run stitches and 18 tambour, all analysed from antique laces, are illustrated by line drawings and close-up photographs. Further run stitches are described under 'Cut Cambric'.
Machine nets decorated simply by running a blunt-tipped neddle in and out of the meshes were the most successful of the various embroidered laces that were first established in the city of Limerick, in southern Ireland, in 1829. Hampered for several decades by inadequate design, but bolstered by the lively capacity of the lacemakers for inventing stitches, the industry reached its aesthetic flowering during the prosperous days of the mid-1880s, and its greatest commercial success between then and the outbreak of war in 1914. This book is based on three examples of Limerick lace from this period. It describes the materials used, the setting up of the work, and the various stitches of the solid and decorative areas, thus pointing the way for Limerick run laces to be recreated as closely as possible to their original form.
The Hungarian Halas lace was a child of the art nouveau movement, first appearing in public in 1902. It was a complex hybrid of pastoral designs collected by a drawing master, and of needle lace stitches conceived by an embroiderer marvellously skilled at wielding a needle, but with no previous experience of converting stitches to lace.
This book tells the story of the wearing of lace from its first emergence as a fashionable accessory on the ruffs, cuffs and coifs at the royal Courts of sixteenth-century Europe. Even at that time, lace was of vast economic importance.
Detailed instructions on the basic techniques and equipment needed to make needlelace.
This is a practical workbook which extends the brief instructions given in the chapter on Making in YOUGHAL AND OTHER IRISH LACES. Written instructions for working the 43 stitches of an old sampler at St Clare's Convent, Kenmare -where much of the finest Youghal lace was made - are illustrated with individual photographs and line drawings. THE CREAM demonstrates the peak of Youghal lace production in colour photographs of designs from the superb books at Kenmare, and the magnificent train commissioned for Queen Mary in 1911. This section ends with a list of the identifying characteristics of Youghal lace. THE CRAFT describes in detail the method of lacemaking as practised at the Convents, quoting the instructions from The Needlecraft Practical Journal no.106, issued shortly before the First World War. Using this account, together with the stitches and designs of the earlier sections, Youghal lace can be made again in the traditional manner.
This book explores the origin of threads from fibres of living and non-living sources. Out of the vast number of possibilities available for textiles, only linen, cotton, silk and wool were to attain the highest economic importance.
Here is a practical, highly illustrated account of how, when and where laces were made, and the ways of identifying them - first of all by discovering the techniques used. Pat Earnshaw shows how the various parts of the lace are examined visually, and explains how design, thread and texture, with some historical knowledge, can help establish a lace's age and origin. A 'key' guides the reader through these points towards a final identification.
The story of the needle lace known as Youghal (pronounced yawl) began when one of the Sisters at the Presentation Convent in the town of Youghal, County Cork, started to unravel fragments of antique Venetian and French needle laces with the idea of exploring how they were made. Beginning as imitation, the lace developed its own strikingly beautiful designs, destined for a royal and aristocratic market.
Machine laces began over 200 years ago. The rapid following of one invention upon another, the cut-throat competition between rival countries, rival manufacturers, and rival machines which involved industrial espionage, endless law suits for infringement of patents, and smuggling punishable by deportation to Australia make a fascinating story. This pioneer work, first published in 1986, has been re-issued in 1994 as Volume 1. It details the structure, techniques and products of the Stocking and Warp Frames, Bobbinet, Pusher, Leavers, Lace Curtain, Handmachine, Schiffli and Barmen machines, and emphasizes the differences and similarities between them. There is a detailed glossary and reading list.
This book tells the story of the wearing of lace from its first emergence as a fashionable accessory on the ruffs, cuffs and coifs at the royal Courts of Sixteenth-century Europe. Even at that time lace was of vast economic importance.
'There is certainly room . . in the whole field of lace for some difference of opinion. But the latitude is limited: the object of a definition is that other people shall understand what we are talking about. Without this agreement, communication becomes meaningless.'
Here is a practical, highly illustrated account of how, when and where laces were made, and the ways of identifying them - first of all by discovering the techniques used. Pat Earnshaw shows how the various parts of the lace are examined visually, and explains how design, thread and texture, with some historical knowledge, can help establish a lace's age and origin. A 'key' guides the reader through these points towards a final identification.
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