By Elaine Edwards
Below deck, musty with summer, a woman in a wilted white bonnet guides my hands through the motions: loop, cross, pull.
She is an actor, a historical interpreter, our tether between this strip of shoreline’s brutal past and the bored tourists of its present. But I’m not bored: at home I practice with my journal, its soft leather bound and unbound by red string.
The figure eight is a stopper—tie it to prevent your rope from slipping through. It’s the first knot I learn for the pleasure of tying alone, but all knots have their purpose. If you’re a climber, a figure eight can save your life.
Until then, the only things I’d tied for a reason were shoes and horses. The shoelace is a binding knot, though mine rarely stay put. For halters, it’s a quick release—tug the end and the whole thing unravels, the not of knots, that which exists to come undone.
But we are few of us sailors. What I need from a bowline is in the chafe of the rope, its muscled ellipses, in the working-unworking of my hands. As if telling a story, they move through air and memory: times I have entwined my fingers with another, been tongue-tied with strangers, every hour that I’ve let myself feel it—what the heart does when constricted by loss. Hold fast, says the knot, and I weave briefly among all that connects me to you.
Then I loose the knot and begin again.
Elaine Edwards (she/her) lives and writes in Richmond, VA. She was the third place winner of the inaugural SmokeLong Quarterly Award for Flash Fiction. Find her on Twitter @apiologee.
Image by Manuel Sardo courtesy of Unsplash
Beautiful language. Vivid images. Wonderful metaphor.
exquisite descriptions, literal and figurative. Brava.
I think of the double knot I always make tying shoe laces, and the different fabrics and shapes of laces: round, flat, nylon, cotton, leather. Marathons have been lost and won over laces and knots. The language in Knot Theory gives me shivers, the kind that run up my spine and tingle the back of my neck and head. “…the not of knots, that which exists to come undone.” “its muscled ellipses, in the working-unworking of my hands.” This piece jumps into a moment in time and takes you somewhere (as author Claire Keegan, has been known to say). It is universal, poignant, textured, visual, beautiful.
I learned to tie square knots as a Girl Scout some fifty years ago. The mnemonic jingle we learned to do it remains an incantation to this day. This piece took me back to that time. Magic!
What an evocative, compelling piece of writing! I love the rhythm of it and the meanderings you offer your reader to imagine on this topic.
As a knitter, crocheter, needle-pointer, I really enjoyed this !
I am a knitter and before that a macrame maker and before than an embroiderer since age 7. Those skills are all about knots.
There is something calming in the rhythm and precision of knot tying, in the feel of fiber in my hands, in the collateral usefulness of locking rope or thread made of hair or fur or plant fiber into itself. Using my hands to make secure that which was insecure.
The secureness of a knot is illusory, but for a short time the illusion is useful and comforting. A necessary illusion.
Knot what I thought it would be!
“the not of knots, that which exists to come undone” — Thank you for writing this piece. I needed it today.
I’m a knot of anxiety, my fingers tangled over writing a comment to be seen by readers and writers. All I can say is that your work made me feel brave enough to write a few words of my own, to thank you for playing with words. Your “not of knots” was not for naught! 🙂