Book Review: "The Ideal Man" by Joshua Kurlantzick

The Tragedy of Jim Thompson and the American Way of War


Jim Thompson earned the title of "The Silk King" in Thailand, back in the 1950's.  One of the first Westerners to appreciate Thai Silk, he had a vision to transform the life of poor weavers, giving them ownership over their production and exporting their silks to the United States and Europe.

He was also a spy.  In fact, he ended up in Thailand as one of the CIA's first batch of suave James Bond types, fell in love with the country and stayed.  He had studied architecture and design and truly loved the old Thai way of life.

Then he disappeared.  The story had intrigued me for years, but I had never really gone beyond the surface details.  His name came up again as I wrote a post for TAFA's blog , "S is for Silk".  I had seen a novel about him in a bookstore, a mystery written with a possible scenario of how he vanished, so I decided to see if my local library had it.  Instead, I found this one, "The Ideal Man", and am glad I did.

As the subtitle states, Jim Thompson's tragedy is tightly linked with how the United States developed its presence in Asia.  The tragedy goes beyond the disappearance.  Thompson's whole life became tragic as he fell in love with this country, created a voice for the common people, and increasingly lost faith in the American role in Asia.  When he arrived in Thailand, there was a vibrant democratic movement happening in the region.  Within a few years, both the Royals and the United States helped ensure that these anti-colonial voices were squashed.  Instead, the usual corrupt dictatorship was endorsed and led to power.  We all know what the consequences were for Vietnam.  Much less is told about Laos and the devastation we left there.  Thompson's political position was in favor of working with the rebels in all three countries.  He met with them, knew them as friends and had a vision for self-government that was way ahead of his time.  He watched his friends become imprisoned, then shot, and he himself lost favor with both the Thai Royals and the U.S. government.  The ideal man had ideals.  They were trampled on, breaking his spirit and his vision for the region.

The book mostly covers the political intrigue that happened around Jim Thompson over a period of twenty years.  It names the characters that played the main roles in deciding Thailand's future.  It also describes Thompson's life, how he collected and preserved thousands of artifacts, keeping them in his home until he would one day make them available to the Thai people in a museum.  

Jim Thompson's house.

Even his house was one of these artifacts.  He had two traditional peasant homes dismantled and reassembled in Bangkok, starting a fad among the elite to copy him and preserve traditional Thai architectural elements in an environment that was quickly modernizing into Western influences.  At the same time, he built the Thai silk industry into the giant that it is today.  He entertained the most famous people of the day in his peasant houses: presidents, film stars, political leaders, and wealthy tourists who had begun to explore Asia.  Towards the end, the book describes Thompson as worn out, a man with a broken heart and no hope for the future.  Ironically, his disappearance ensured the preservation of his life work.  The house is now a museum and the silk business continues as a profitable venture.

Jim Thompson goes on a trip, a vacation, in Malaysia to visit some friends on an estate.  This was March 27th, 1967.  He goes for a walk and never comes back.  There are woods on the estate and several searches funded by different parties look for any little clue that might lead to an explanation of what happened.  Detectives are hired.  For years, various groups grasp at possible leads.  Nothing is ever found. Nobody knows what happened to him.  Could he have walked out into a new life?  Unlikely.  Did anyone want him dead?  Yes.  It would have been a relief to the CIA, to the Thai Royals and to his silk competitors to have him gone.  His political positions were embarrassing to the US and the Thai elite despised him.  A tragedy, indeed.

Cameron Highlands, Malaysia, where Jim Thompson disappeared.

This story is so familiar to me.  I grew up in Brazil during a time when there was great civil unrest (1970's).  Students were disappearing by the thousands.  Dissidents were imprisoned, tortured and killed.  As a teenager, an American abroad, I was told, in whispers, to always say that Brazil was a democracy.  Later, in college, I learned about the CIA's role there, about the School of the Americas, of how Latin American dictators were puppets, held in place by the US government.  Of course, none of these stories are simple, black and white moments.  They evolved out of many legitimate fears coupled with greed and the desire for power.

Now, both South America and Asia have become strong economic powers on their own terms.  We see an economic decline in the United States that rocks our way of life, our sense of entitlement.  Brazilians flock Disneyworld and fly up to Miami to shop.  Thailand is party land, a center for easy drugs and prostitutes.  The lesson for me is that what we do is important.

My portal to many countries is usually through their textiles and crafts.  Jim Thompson's story resonates with me because of this connection and because of his understanding of how economic development can happen through handicraft production and through the arts.  He was about fair trade before the term was even coined.  And, his story rings a bell because of the expat connection.  When I was a kid, almost every house in Brazil had a picture of JFK hanging next to Jesus with his bleeding heart.  Being an American back then was like being nobility.  I learned early on that some kids wanted to be my friend because I was an American.  Some were curious, some wanted "stuff".  Now, being an American is considered cancerous and downright dangerous in many countries.  This has not happened overnight.  It's decades and even centuries of abuse on our end.  This is truly the great American tragedy.  With our way of war, we have lost our friends.

Everything we do has political and economic consequences.  What we buy, what we eat, where we walk, drive or fly.  And, this is what drives my passion behind my love for all things handmade:  We can be simple so that we can simply live.  In peace, with one another.

Jim Thompson with weavers.

Resources:

Jim Thompson Website
The Jim Thompson House

TAFA Members Working in Thailand:


TAMMACHAT Natural Textiles
Unique Batik Fair Trade
Luxury Lanna Crafts
Siamese Dream Design

Book Review: "The Ideal Man" by Joshua Kurlantzick

The TAFA Team's Catalog of Shops: Jewelry and Accessories

Freeform hats and bags by Rensfibreart

TAFA: The Textile and Fiber Art List was launched in February, 2010.  As it has grown, now over 200 members, so have the members who have Etsy shops.  About half of us use Etsy as our retail platform.  We decided to organize as an Etsy Team (a program Etsy has for sellers to organize under themes or locations) and set up a blog where we can talk about what is important to us and where we can show off our shops.  The blog has eight pages of shops, divided into themes and serves as our Team Catalog.  Although many of us sell things that do not fit neatly into those categories, most of us do have a focus.  I am introducing each of those categories here, hoping that this will encourage you to go over there and shop, shop, shop, until you drop!  These eight pages have over 100 shops, filled with wonderful eye candy that will surely delight anyone who appreciates all the many techniques and traditions that are found in the needle and textile arts. 

Today's focus:  Jewelry and Apparel

Vintage Miao textile incorporated into a bag, by dazzlinglanna

Picking images for this post is not an easy task as there are so many beautiful pieces in our Jewelry and Accessories page.  This is one of the places where you can really see how people are exploring techniques and interpreting them into their own designs.  You will find functional items like scarves, bags, purses, hats, cuffs, gloves, necklaces and bracelets.  Our members are felting, dyeing, painting on silk, reclaiming old textiles and fabrics, knitting, beading, weaving and of course, sewing.

Hagar of Gilgulim recycles old ties into beautiful jewelry.

TAFA is an international organization, exemplified by our members on this page.  Hagar is Israeli, Jutamas of Dazzling Lanna lives in Thailand, Rosemary of Plumfish Creations and Renate are both in Australia, Morgen of Inkyspider  is Canadian, Marina hails from Puerto Rico, Inese is in Latvia, Dolapo of Urban Knit is in the United Kingdom, Lilou works with weavers in Cambodia and so on.  Of course, quite a few are based here in the United States.  The diversity of our members, both in the techniques they are exploring and their cultural influences makes for a fascinating collection of colors, textures, and designs.

 Lilou, a fair trade group working with weavers in Cambodia.

The big challenge for all of us is that nobody really "needs" anything we are selling.  And, in this awful economy, buyers have been tightening their belts and holding on to their money.  Yet, is not beauty something that our spirits crave?  An accessory from one of our shops will certainly cost a lot more than a bauble that is sold at Walmart.  But, the right scarf, hat or necklace can not only finish off an outfit and make it complete, but also makes a statement of support for the worldwide handmade community.  It ties us to our historical roots represented by the techniques we promote through our work.  

 

 Wraps by Inese, our TAFA member in Latvia

 

Click here to visit our Jewelry and Accessories Page in our TAFA Team Catalog of Shops.

And, while you are there, click on the other tabs to see our other Team member shops.  We aim to be the best in textiles and fiber art on Etsy!

All TAFA Team members are also members of TAFA: The Textile and Fiber Art List.

Interested in membership?  Click here for more information.

The TAFA Team's Catalog of Shops: Jewelry and Accessories

TAFA Members Talk: Leslie Rinchen-Wongmo

"Nomad Girls", by Leslie Rinchen-Wongmo

As part of a series I am running on Fiber Focus about TAFA members, Leslie responded by sharing a bit about the places she has lived and how that has affected her work.  As fiber artists, we are all part of a larger community, an international one that has thousands of years of history where we can add our particular vision and voice.  But, as individuals, we help shape our immediate communities whether we work alone or participate in a larger group.  Leslie has immersed herself into Tibetan textile traditions and apprenticed herself to T. G. Dorjee Wangdu where she participated in embroidering thangkas for His Holiness The Dalai Lama and other notables.  She is one of the few Westerners who has had such an honor. 

Now, hear from Leslie:

Leslie Rinchen-Wongmo

For the past 20 years, I've been living primarily out of the country and traveling back and forth for events and to visit family. I LOVED living in Dharamsala, India, where I met and learned the precious tradition of Tibetan appliqué. There, I was immersed in communities of Tibetans, of dharma students, of artists, of adventurers. I felt very supported and very much at home. But nothing lasts forever, and life shifted in unexpected ways. 

"I once lived here... My beloved mountains in Dharamsala, India"  

I spent my 40s living in Milan, Italy. Milan was "closer" to California, more accessible to the airport, and less pleasant to hang out in. So, I traveled back and forth to California more frequently.

"and then I lived here... You pick!" (Milan, Italy)

Living on two continents and traveling back and forth frequently may sound exciting. And it's true -- life doesn't get boring. But it doesn't get connected either. Milan was a hard place to connect anyway, and connection was made even harder by taking off every few months. I met some wonderful fiber artists in Lugano, Switzerland, and participated with QuiltItalia a little. But I found that I couldn't be continuous in my activities, couldn't establish routines to make my work flow more smoothly, and couldn't take on an organizational role in any groups because I'd always be leaving too soon to take responsibility for follow-through.

A glimpse of my studio (now, back in California).

I love where I'm living now and am so fortunate to have a light and spacious area in which to work. The weather is cool and the ocean is near. It's a good place. And I'm on a path to connect with community here. I don't know whether there are relevant fiber arts groups, but I've found a wonderful Buddhist study group, some amazing entrepreneurial networkers, and will soon start an internship at an ethnographic art museum in LA. It's good to feel that I'm here for the long haul and can count on deepening my involvement in these (and other) activities.

"And this is just a block away!"

A word about physically near community:

In recent years, it has become easier and easier to connect with people and with like-minded groups online. My life has been bountifully enriched by such connections. I love email and Facebook and Twitter. I love that I can teach online through my Stitching Buddhas Virtual Apprentice Program. I love that I can stay connected in an inspiring way with people through my Threads of Awakening Weekly Wake-Ups.

Lotus, by Leslie Rinchen-Wongmo

But maybe because I'm a tactile person... Silk isn't silk unless you touch it. The light only shines off it in a certain way if you're standing near it. And the energy of physical presence with people is different than what travels through cyberspace... So community in my physical vicinity is important to me, whether that be through an arts group or a book group or a hiking group or a volunteer group. I'd love eventually to live in an artists' live-work community. One of the things I miss from my days in Dharamsala is the simple pleasure of having someone stop by for tea during the day. I'd stitch while we talked. It was wonderful! I'd love to live in a small arts community where that's possible again. But for now, I'm really happy where I am and am enjoying the process of connecting day by day.

Visit Leslie's Member Profile on TAFA for more samples of her work  and to find her places where she is on the web.  Leslie has a website, blog, and is on facebook and other places.  So, come and show her your support and leave a comment if you like her work!

Visit other articles about TAFA and its members on this blog.

TAFA Members Talk: Leslie Rinchen-Wongmo

TAMMACHAT Natural Textiles, Part 2: The Artisans

“I feel in harmony with this work.”
Loek Khonsudee, Member, Panmai Group, Northeast Thailand

By Ellen Agger and Alleson Kase
All Photos © Ellen Agger 2009

TAMMACHAT Natural Textiles works with rural communities in Thailand and Laos where women have long been recognized as valuable and equal members of their families and communities. These artisans:

• transform barks, berries, leaves, seeds and silk cocoons into gorgeous weavings
• create traditional and contemporary designs using traditional floor looms
• develop and use natural dyeing techniques that support their health and the environment

TAMMACHAT Natural Textiles is building trading relationships – based on fair trade principles – with a growing number of weaving groups and non-governmental organizations in Thailand and Laos that work with village groups. We want to introduce you to a few of these groups.

Panmai Group in Thailand works with silk production
and organic weaving production.

Panmai Group has 250 members living in 3 provinces in Northeast Thailand in both Khmer and Laotian villages, who draw on these traditions in their designs. These women are very skilled in sericulture (the entire cycle of silk production) and are proud to weave only organic, village-reeled and naturally dyed silk yarns. They are expert and widely respected for their dyeing skills using natural materials, protecting both their own health and that of their environment.

Prae Pan Group in Northeast Thailand dye cotton naturally
and weave silk.

Prae Pan Group has 200 members in 7 villages in Khon Kaen province in Northeast Thailand. They are highly skilled at supplementary weft weaving and the natural dyeing of cotton, although they weave silk as well. Prae Pan, like Panmai, has been operating for 20 years and is proud to be entirely villager-run and self-sufficient.

During a recent visit, women from both groups told us that this work allows them to stay in their villages where they can live with their families, grow rice and practice their foremothers’ art – while preserving it for their heirs.

Pattanarak Foundation works with
disadvantaged and stateless peoples along
the Thai border.

Pattanarak Foundation works to balance development and conservation among disadvantaged communities and stateless peoples along Thailand’s borders. Their products are handmade with an indigenous species of cotton organically grown along the Thai-Lao border on the banks of the Mekong River. After spinning, dyeing and weaving, some products are sewn by projects in the west of Thailand along the Burmese border. This helps forge links and exchange ideas between communities that are experiencing similar challenges. One village group working with Pattanarak specializes in indigo dyeing, always popular for its lively colour – “nature’s true blue.”

Saoban provides technical assistance and training for
low income textile entrepreneurs in Laos.

Saoban is a Vientiane-based marketing outlet for over a dozen village groups that work with the Participatory Development Training Center (PADETC) in rural Laos. At Saoban’s shop, young entrepreneurs develop business skills while providing much-needed markets for village products that range from bamboo-silk handbags to naturally dyed silk scarves. This is part of PADETC’s vision for Laos: education for sustainable development.

Mulberries is the market brand of the Lao Sericulture Co., a not-for-profit organization that is accredited by the World Fair Trade Organization (formerly IFAT, the International Fair Trade Association). Its goal is to strengthen the position of women in Laos by providing them with dependable incomes and to preserve their sophisticated weaving and natural dyeing techniques. Women are further trained to bring diverse skills and environmental sustainable to the complex cycle of silk production with extraordinary results. Founder Kommaly Chantavong was a nominee for 1000 Women for the Nobel Peace Prize 2005 for her work on this important project that is recognized for its poverty alleviation, cultural preservation and peace building.

Green Net Coop helps Thai organic farmers market their products. One Green Net project brings together grandmothers who grow, spin and weave organic cotton in Ban Kokkabok in Loei province with sewers in Panmai Group in Northeast Thailand, who transform the cloth into children’s sunhats and baby products. Read the story of the Kokkabok Women’s Cotton Group.

Fai Gaem Mai helps groups in Northern Thailand
develop handwoven silk products.

Fai Gaem Mai is based in Chiang Mai University and helps community-based production groups in Northern Thailand develop handwoven Eri silk products, one of the textile products that TAMMACHAT carries. The Eri silkworm feeds on the leaves of cassava, rather than mulberry, providing additional income for villagers already growing this high-volume, low-value commodity.

Suan Nguen Mee Ma Company (Garden of Fruition) was founded by Sulak Sivaraksa, who was honoured with the Right Livelihood Award (the “Alternative Nobel Prize”), to explore new markets for indigenous crafts, to publish educational materials and to act as a small-scale, practice-based “think tank.” Among their projects, they support small groups of farmers in Nan, Thailand to revitalize organic cotton growing, spinning and weaving, and to preserve heritage varieties of naturally coloured cotton.

Each of these groups bring their special skills in creating their unique products. We feel honoured to work with and learn from them when we visit on our annual networking/buying trips, deepening our relationships each year. The products highlighted in this post are available at TAMMACHAT Natural Textile’s Fair Trade Textile Events. Select products are also available in TAMMACHAT’s Online Shop. Visit www.tammachat.com to learn more.

Voices of the Weavers

“You must consider the whole process if you want to support this art.
It is difficult to produce by hand.
Our work is real women’s group work, handmade art and tradition.”

Mae Samphun Jundaeng, Chairperson,
Panmai Group, Northeast Thailand

“We want to work with natural dyes –
it’s better for our health and for the environment.
The colours we use in our weavings depend on the plants
available around our village.
I am told that most people appreciate my work –
especially the colours.”
Noi Simpree, Member, Panmai Group, Northeast Thailand

TAMMACHAT Natural Textiles imports fairly traded, naturally dyed, handcrafted textiles directly from the artisan groups that create them. TAMMACHAT, which mean ‘natural’ in Thai, was established in 2007 by Alleson Kase and Ellen Agger. Alleson and Ellen love textiles and had been involved with both fiber and empowering women for decades.

Ellen Agger, co-founder of TAMMACHAT Natural Textiles. See Part 1 of this post to learn more about TAMMACHAT's mission.




Ellen is a member of our Fiber Focus Group.

Clicking on her slide show below will take you to her page:

Find more photos like this on Fiber Focus

TAMMACHAT Natural Textiles, Part 2: The Artisans

TAMMACHAT Natural Textiles: Empowering Women Artisans in Thailand and Laos, Part 1

By Ellen Agger and Alleson Kase
Photos © Ellen Agger 2009

TAMMACHAT Natural Textiles imports eco-friendly, fair trade fashion and home decor from rural Thailand and Laos. TAMMACHAT, which mean natural in Thai, was established in 2007 by Alleson Kase and Ellen Agger. Learn more about the artisan groups TAMMACHAT works with in Part Two of this post.

Ellen Agger, co-founder of
TAMMACHAT Natural Textiles

Why we started TAMMACHAT

Two reasons: First, the more idealistic one, was to realize the sayings that “another world is possible” and “vote with your wallet.” We believe that people impact human rights, communities and the environment with every purchase we make. So, it’s important that people have access to fairly traded and environmentally friendly products.

Second (and this is more serendipitous and more personal), we were in the right place at the right time. A few years ago we were traveling around Thailand, searching out weaving groups, an interest of Alleson’s since 1980 when she first traveled in Guatemala. The women we met at one weaving co-op told us their sales were down, which meant they had to limit membership in the co-op. Right away, we knew we were going to connect their desire to expand their market with our desires to find new and meaningful careers.

What motivates us:
We want to live in a world where:
• women have choices about and control over their lives within their families and communities;
• people are fairly and adequately paid for their work; and
• everyone uses resources wisely and according to their needs, so that communities and the planet are preserved for future generations.

Thai weaver hanging organic silk,
coloured with natural dyes, to dry.
© Ellen Agger 2009

Fair trade in action
As social entrepreneurs, we want to encourage fair trade and ethical consumption. This means:
• knowing what goods are made of
• where they are made
• how their making impacts the people who make them, their communities and the environment

TAMMACHAT Natural Textiles imports fairly traded, naturally dyed, handcrafted textiles directly from the artisan groups that create them.

Weaver at her loom in rural Thailand weaving
organic cotton table runners.
© Ellen Agger 2009

Handweaving, one of the world’s oldest arts, continues to be practiced with amazing skill and well-deserved pride in many rural villages in Thailand and Laos. The silks and cottons woven by women in these areas reflect cultural traditions that have endured from earlier times, passing from mothers to daughters.

We select each piece of wearable art, each table cloth and wall hanging, and every length of hand-loomed fabric that we purchase. Every textile chosen displays technical expertise, aesthetic beauty, careful finishing and sustainable production.

We travel extensively in rural Thailand and Laos, visiting weaving villages and artisan groups, to learn firsthand about the textiles we buy and how they are made. After 2 years of trading, we will apply for fair trade accreditation with the World Fair Trade Association.

We support the artisans and communities that create these textiles by:
• paying fair prices set by individual artisans and artisan groups
• building long-term trade relationships with artisan groups and non-governmental organizations that work with village groups
• supporting environmentally and socially sustainable practices, and appropriate technologies used by artisan groups in the creation of their products
• providing international markets for this work to help preserve this women’s art form and encourage the younger generation to continue these traditions

Raising mulberry silkworms in traditional bamboo baskets
to create organic silk yarns.
© Ellen Agger 2009

Natural fibres, natural dyes
Whenever possible, we source organically produced natural fibres. Heritage varieties of silkworms are raised without chemicals in artisans’ homes rather than in factories. The cocoons spun there are painstakingly hand-reeled into yarn, yielding extraordinary beauty and value. Traditional varieties of cotton, in 3 natural colours, are grown organically, most often on the banks of the Mekong River. Unique, nubbly textures result from ginning, fluffing and spinning these fibres by hand.

Before weaving, silk and cotton yarns are hand-dyed in small batches with organic materials that are locally raised or sustainably gathered. Emerging from these village dye pots are colours that range from subtle to intense, in all the rich hues that nature can create. Of course, some yarns are woven in their natural shades of white, cream, butter yellow or tan.

Age-old designs for contemporary life
Many of the pieces that we buy use designs and techniques that have been handed down for generations. Others – especially weavings that are sewn into clothing, bags and cushion covers – combine the beauty of naturally dyed, handwoven fabric with contemporary flare. We work with artisan groups to develop new products, such as the 100% SILK. 100% ART silk squares for quilters and other fibre artists – developed with the expert colour sense of Panmai Group members and advice from internationally known quilters Valerie Hearder and Laurie Swim in Nova Scotia.

We also buy traditional designs, such as khit (supplementary weft) and mudmee (tie-dyed yarns that produce a design when woven), choosing pieces that will be popular with western consumers.

How we sell these textiles
We sell these handwoven textiles at Fair Trade Textile Events that we organize in communities throughout Atlantic Canada and beyond. We also opened an Online Shop to make select pieces available anywhere in the world. We also have a shop on Etsy. Everywhere that we take these textiles we tell the stories behind them, because this showcases the real value of this beautiful work.

For more information, visit our website. Also enjoy the TAMMACHAT travel blog written by Alleson and Ellen.



Ellen is a member of our Fiber Focus Group. Clicking on her slide show below will take you to her page:


Find more photos like this on Fiber Focus

TAMMACHAT Natural Textiles: Empowering Women Artisans in Thailand and Laos, Part 1

Dead Muses: Tombstone Rubbing Silk Scarves by Alissa Sorenson

"Infant Mortality" Silk Gravestone Rubbing
by Alissa Sorenson

“Over here!”

I heard her voice – excited and breathless – and saw her waving her hands to catch my attention: all in my head, of course. Leaves crunched under my boots as I walked, stopping at each grave stone, waiting to sense a presence, and then moving on to the next. It was a large white obelisk marked “Olive,” the only word still legible after 170 years of erosion.

"Olive" and her tombstone

“Quick! Take it!” she cried, as if I were photographing her, or sketching her portrait. Take her likeness, I thought. I felt her anxiety, as if once her name were completely worn away, she knew she would be utterly forgotten.

I traced the remnant of a word with my finger. “Wife.”

“Yes, wife.”

“Buried by a loving husband,” I thought.

“Yes.” She seemed very still.

“Age 27 years,” I read. “Young.”

She seemed to be sitting under the nearby, ancient tree, dressed in a white gown with the full skirt and petticoats of her era, waiting for someone, perhaps the husband who had buried her.
My mind was flooded with stories as I draped the silk over her monument and began moving my fabric crayon over the raised letters. Did he remarry and move on? Did he die somewhere else? Away at war? Are they forever separated? I'll never know. I can only imagine these things. Perhaps I am imagining all of it.

"Olive" Detail of Tombstone Silk Scarf
by Alissa Sorenson

But I see Olive in my mind's eye: dark hair, fair skin, pretty, young, and patiently waiting under the tree by her tombstone at Greenlawn Cemetery in Columbus, Ohio.

My desire to take the likenesses, as it were, of the long dead may seem strange to some. My father died when I was young, but I have sensed his comforting presence as long as I can remember. Perhaps this closeness with one spirit helps to develop the ability to sense the presence of others. I am no medium, and I never see the dead with my eyes, but I sometimes hear their voices and see their faces in my mind when they are present.

"Nouveau Decay", full length of the silk scarf and detail below.

As I enter a cemetery, I proceed slowly. It feels like most of the dead are slumbering, and I wait to be called by someone. I've noticed whenever there is a persona involved with a piece, the work will go more smoothly, and the finished silk will have a strange and unique beauty.

As I meander through the old sections of cemeteries, I watch for tombstones with optimum potential: raised letters, large graphics, and less erosion. Once I have developed a sense for who wishes to be remembered, I will usually complete the work using imagery from other grave stones, asking permission first of anyone who might linger. For example, with Olive, I used simple, floral designs to complement her sweet, endearing personality.

Floral details of "Olive", tombstone rubbing on silk.

Respect is my ultimate goal, along with remembrance. This is why I choose the oldest sections of cemeteries, making sure all markers were placed prior to WWII. What a horrible thing it would be to find a tombstone rubbing scarf for sale on Etsy of your beloved family member's head stone.

I am often asked how I came up with this idea. I had wanted to create my own textiles, and purchased Habotai silk, fabric crayons and rubbing plates. The plates did not interest me, however, and my supplies sat unused. This autumn, I went on the annual leaf gathering walk with my children. We bring the fallen neighborhood leaves of maple, elm, and oak home, and make leaf rubbings with crayons on paper, just like I remember doing in primary school. I realized I could do this with my silks and fabric crayons, and enjoyed the process of imprinting something real – contact with nature, more than just design.

When I began trying to think of something for Halloween, I realized I could use the same technique with tombstones, as I had done with chalk and paper in my youth. On my first cemetery outing, I wasn't sure what to expect. The call of the dead surprised me, but it felt comfortable. I enjoyed spending time with them and flexing my 6th sense, or imagination, whichever it happens to be.

"John Grim"
Details of tombstone rubbings on silk.

Sometimes I worry I might bring someone, or something, unfriendly home. After returning from my first visit, I felt a little uneasy, but decided to ignore it. I reasoned that any spirit so closely attached to a location wouldn't be able to stay with me for long. When my children came home from school, my oldest son, who has always been sensitive, walked into my studio and asked, “Who is in here?”

“Just me,” I replied.

“Oh. I heard someone say hello to me, and it wasn't you.”

“Was it a woman's voice, or a man's voice?”

“A woman's.” He looked around as if he might find someone else, sure of his senses, but then shrugged and walked away.

"Hannah Died"

I never told him where I had been or what I had been doing.
I had been to Hannah's grave that day, and I wondered if she might have followed me home, curious about my activity at her grave site. I feel she didn't stay long, though. Once the oil from the crayon has dried, the spirits seem to rest again, perhaps more content to be remembered a little longer.

"Olive" by Alissa Sorenson

You can read more stories and see more tombstone rubbing scarves on my blog: creatrixjane.blogspot.com.
Scarves are available at my Etsy shop: creatrixjane.etsy.com.

Note: Alissa is a member of our Fiber Focus group on Ning. Visit her page for more photos of her work. She also started the knitting group on Fiber Focus. Fiber Focus is a gathering place for people who are passionate about fiber art and its place in the world. Many of us are artists with stores on Etsy, but we also have interior designers, collectors and just people who want to be around fiber art discussions. We welcome new members!

The slide show below is of more of Alissa's work:

Find more photos like this on Fiber Focus

Dead Muses: Tombstone Rubbing Silk Scarves by Alissa Sorenson

The Silk Road: A History of Mystery, Riches and War, A Future For Fair Trade

Syrian Brocade by Arabian Nights

Adventures on the Silk Road

If the story of cotton is sung out in tears and lament, the story of silk makes for epic movies of conquest and desire. As a fiber, silk's resilience, strength, luminosity and sheen made it a coveted material in long times past and continues to hold us like a magnet in today's fashion industry, even with our short attention span. I don't think I knew what a time consuming and fragile operation it was to work with the silk worms until I read one of Pearl S. Buck's novels. I can't remember which one it was, but the care of the mulberry bushes, which feed the worms, was carefully described. As my passion for textiles increased, stories of the Silk Road, also captivated my interest.

The route between China and Europe first started through the desire to conquer the unknown territories lying west of the Han dynasty:

"In 138 BCE, Zhang Qian (pronounced JANG-CHYEN) set out through the tall stone gates of Chang’an, the capital of Han dynasty China. He rode at the head of a caravan of 100 Han soldiers, riding into the dusty, unknown lands to the west. Zhang Qian was an officer of the Han imperial guard and he had volunteered for a critical mission. ... In the end, Zhang Qian’s adventures led to the start of a long march of merchants across great stretches of land and through wide spans of history. The trade links which resulted from his first trek and later expeditions opened regular trade between China, India, the Roman empire and all the areas in between." Monkey Tree

That route became traveled by rugged, determined merchants for centuries. The merchants carried many treasures, but of these, silk was the most prized, thus naming the route as "The Silk Road". One of my favorite books, Textiles of Central Asia by Janet Harvey devotes a section to the importance of silk to the trade:

"So great was the value of the knowledge of sericulture that legend has it China kept the secret for over two thousand years, until the day came when silkworm eggs were smuggled out of the country. We learn of a Chinese princess who was betrothed to the King of far-off Khotan. Apparently he was a king with knowledge and forethought, for the envoy sent to escort his bride was told to advise 'the Royal Princess of the East' that 'her new country possesses no silk or quilting, and has neither mulberry nor silkworm. These will be needed if she is to have clothes made'. The princess supposedly left China with eggs of Bombyx mori and seeds of the white mulberry hidden in her headdress. Once established in Khotan in Eastern Turkestan, and doubtless elsewhere beyond China, sericulture spread westwards along the trade routes to become a lucrative home-industry for town and village households throughout Central Asia." (page 57)

Turkman robe in ikat silk pictured on Turkotek

Turkotek is a wonderful online resource for anyone interested in Asian textiles. Members show each other photos and help determine origin, technique and history around the pieces. They are extremely knowledgeable and make for a fascinating read.

Mystery and Intrigue Around Silk
Even as silk made its way to other countries, it was often horded by the royalty and nobility. Commoners were relegated to cotton or cotton/silk blends. In time, it became established as a cottage industry throughout Asia. Although factories have standardized cultivation of the silk worm and mulberry trees, it continues as a mainstay industry in many of the areas where silk has been grown for centuries. This video shows a Bengladeshi group working with silk:



Jim Thompson, an American who came from a family of textile producers, saw this kind of production in Thailand and became very interested in marketing Thai silk to interior designers and high end decor outlets. At that time, Thai silk had been dying out and his efforts revitalized the industry making Thailand one of the centers of the most beautiful silks found today. Jim Thompson founded the Thai Silk Company, still thriving today, built a beautiful compound and established a large collection of Asian art. There is a catch. Jim Thompson had also been a CIA agent during the war. Speculation leads some people to believe that his work with silk and his interest in art was actually a cover for his continued CIA work. His story ends as one of the biggest mysteries of the 20th Century:

William Warren writes about
Jim Thompson's mysterious disappearance.

The Unsolved Mystery: "On Easter Day, 1967, American businessman and founder of the modern Thai silk industry James H. W. Thompson disappeared while supposedly on a stroll in the jungle-clad Cameron Highlands in Central Malaysia. The circumstances were unusual, and led to a massive search and investigation. Neither Jim Thompson nor his remains has ever been found…

After he vanished, Jim Thompson became the subject of a second legend, a mystery that has never been solved. The facts were first recounted by William Warren in 1970 in his book The Legendary American. Today, many people in Thompson’s circle are no longer living. Now the author, who knew Thompson well, is able to write more freely. This revised edition contains new material on Thompson’s private life and his alleged role as a CIA agent, drawn from interviews with people close to the events. The result is this definitive account of a true-life mystery of international proportions." Description from The Jim Thompson House Museum Shop

Other books have been written about his disappearance, but nobody knows what really happened...

Francine Matthews is one of the speculators who embraces the CIA theory in her book The Secret Agent. She says, "Thompson is believed to have quit espionage entirely around 1948 in order to become a silk trader. But when I looked at the map of Thailand—and later visited Khorat myself—I guessed that he'd journeyed into the hinterland so often in those early Thai years in order to run agents for U.S. intelligence. By 1949, the communist Mao Zedong was triumphing to the north and the colonial wars of Cambodia, Vietnam and Laos were just heating up. Revolt was everywhere, and revolt was of concern to Washington. To shroud his covert activities from scrutiny in Bangkok, particularly after the authoritarian coup of 1947, Thompson needed a plausible cover job. One of the few things the dust of Khorat will grow is mulberry trees. Mulberry trees feed silk worms. And to Jim Thompson's delight, silk was a product he could promote the world over."

As she investigated the book, Francine Matthews tells one of Thompson's peers what she thought about his death, "I told her that I thought Thompson had never ceased working as a spy, and that when he journeyed to Malaysia on that final weekend of his life, he intended to meet someone—an agent, a contact, perhaps his killer—in the jungle of the Cameron Highlands. I said I believed that he possessed a vital piece of information the Thai government wanted suppressed: the identity of the regicide who had shot the young king of Thailand, Rama the Eighth, on June 9, 1946—paving the way for an authoritarian coup. I added that I thought Thompson had threatened to reveal the details of that old tragedy, and had been silenced as a result."

Thompson's story does not end with his disappearance. Six months after his death, his sister also meets with an untimely end. She is murdered during a burglary, which many think was an attempt to locate Thompson's will. After her death, the Thai government seized his art collection in Thailand, but his house was made into a museum, the second most visited tourist destination in Thailand.

Silk Sweatshops

Given the labor involved in silk production, how is it that we can today get a silk shirt at Walmart for under $20? Seems to me that a low price like this is a certain indication that its provenance is not a good, happy place under a mulberry bush. Instead, it most likely comes from a sweat shop, forced or child labor, located somewhere where real costs are not being counted in to the final price. Yes, China has had a terrible history concerning sweatshop and forced labor. But, the United States also continues to harbor horrible scenarios where workers are chained to their sewing machines, locked into rooms and not allowed access to the outside world, and forced to give their labor for nothing. Stories about these atrocities periodically make the news and most are within the garment industry using either Mexican or Chinese immigrants as virtual slaves.

The Historical Development of the Sweatshop is a great article showing how this problem has come down to us through centuries of abuse.

Silk and Fair Trade

Fair trade Cambodian silk scarf from The Rainforest Site

Google "fair trade silk" and you will come up with hundreds of links to silk products made by fair trade groups around the world. One of the most interesting efforts I had heard of several years ago was a group working in Colombia. They were trying to find an alternative to the cocaine industry that would bring in as much revenue for the small farmer. I couldn't find the original group I had known about, but I saw that other groups have continued the effort.

Silk production comes with internal problems concerning its harvest which bother vegetarians, vegans and animal rights activitists. TreeHugger ran an interesting article entitled : Is Silk Green? which looked at these issues to determine the value of silk within the green movement. If you look at it, make sure to read the comments as well. In order to harvest a coccoon with one long continuous thread, the moth inside must not be allowed to exit the coccoon, so it is killed by exposing the coccoon to a heat source. Some fair trade groups allow the coccoon to exit and thus need to spin the fibers, raising the cost of the thread. But, to many small groups in remote areas, silk production is a viable industry that allows families to make a living on their native land while maintaining family structures and cultural traditions. Certain breeds of moths also no longer survive in the wild as development encroaches on their terrain. Thus, in my opinion, cottage industries working with silk provide us all with both a wonderful material and a connection to an interesting past.

The lesson here is, if you buy silk, buy fair trade. And, watch your back. Don't go around giving away any local secrets to men in black...

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The Silk Road: A History of Mystery, Riches and War, A Future For Fair Trade