From kitty tote bags and finger puppets to fluffy cat toys, picture frames, and more, these projects are cat-friendly, eco-friendly, and require no special equipment or training. You can make most of these projects in under an hour—with a little help, of course, from your feline friends!

    While there are literally dozens of ways to get yarn on and off the needles, most knitters stick with the methods they learned as beginners, missing out on the opportunity to create edges that are more functional and long-lasting as well as decorative, adding distinctiveness to their finished knits.In Cast On, Bind Off, master knitter Leslie Ann Bestor offers a one-of-a-kind reference to more than 50 different ways to begin and end a knitting project - from the charming bobbles of the picot approach to the tidy, refined edges of the tubular method. For each method, she provides detailed instructions with step-by-step color photography, advice about best uses, and tips for making the most of the technique's strengths and appropriateness. At-a-glance charts pinpoint the right cast on or bind off for various types of knitting and cast on/bind off pairs that work especially well together.Today's knitters are branching out and exploring new knitting styles - from chunky cables to delicate lace - and all they are missing is the perfect cast on or bind off technique to create edges as beautiful, professional, and functional as the stitches that come between. Cast On, Bind Off is an indispensable tool for every knitting bag - a trusted reference that will ensure each project is polished and pleasing .... from start to finish.

    I get excessively drunk at inappropriate times, disregard social norms, indulge every whim, ignore the consequences of my actions, mock idiots and posers, sleep with more women than is safe or reasonable, and just generally act like a raging dickhead. But, I do contribute to humanity in one very important way: I share my adventures with the world. —from the IntroductionActual reader feedback: "I find it truly appalling that there are people in the world like you. You are a disgusting, vile, repulsive, repugnant, foul creature. Because of you, I don't believe in God anymore. No just God would allow someone like you to exist." "I'll stay with God as my lord, but you are my savior. I just finished reading your brilliant stories, and I laughed so hard I almost vomited. I want to bring that kind of joy to people. You're an artist of the highest order and a true humanitarian to boot. I'm in both shock and awe at how much I want to be you." Now with 16 Pages of Photos and a New Introduction

    Hundreds of hilarious tips and tricks make wherever you are the place to be, whether its a Bad Girl bash or in line at the DMV. All new, laugh-out-loud illustrations, games, party themes, drink recipes, party decoders, and strategies for everyday life at its Bad Girl best make this the must-have book of the season for Bad Girls everywhere. Because lifes a party, if you just add Bad.

    Under the singular and brilliant lens that Ulrich brings to this study, ordinary household goods--Indian baskets, spinning wheels, a chimneypiece, a cupboard, a niddy-noddy, bed coverings, silk embroidery, a pocketbook, a linen tablecloth, a coverlet and a rose blanket, and an unfinished stocking--provide the key to a transformed understanding of cultural encounter, frontier war, Revolutionary politics, international commerce, and early industrialization in America. We discover how ideas about cloth and clothing affected relations between English settlers and their Algonkian neighbors. We see how an English production system based on a clear division of labor—men doing the weaving and women the spinning--broke down in the colonial setting, becoming first marginalized, then feminized, then politicized, and how the new system both prepared the way for and was sustained by machine-powered spinning.Pulling these divergent threads together into a rich and revealing tapestry of --the age of homespun,--Ulrich demonstrates how ordinary objects reveal larger economic and social structures, and, in particular, how early Americans and their descendants made, used, sold, and saved textiles in order to assert identities, shape relationships, and create history.