Making Matters

'A celebration of the overlooked artistry in crafts practised across the world' THE TIMES 'Clare Hunter is out to reclaim the joy of making for the masses... no act of creativity is too humble, too ephemeral, for this hymn to the sensory wonder and connectivity of the homemade' OBSERVER ' Making Matters is an open door to the power of craft. Now inspired, I'm off to get creative' DAILY EXPRESS As children, we made things: snowmen, paper boats, eccentrically costumed plays. That making fired our minds and imaginations - it altered our small worlds and shaped who we became. But as adults, it is hard to find to find the space for creativity and to remember its power. Exploring craft traditions and forms of making from across centuries and cultures, Clare Hunter encourages to engage with the world afresh. To use our hands again, to see beauty in unexpected places, to play and protest and embrace imaginative possibilities. From paper crafts to wonders made from light and snow, she searches for creative delight - making lanterns, puppets and pinhole cameras. Inspiring and fascinating, Making Matters celebrates individual and collective creativity. It blends history, culture and politics with rich storytelling, wonderful characters and tales of remarkable objects. Read this, and then make something. 'In an era of screens and machines, what a joy it is to read Clare Hunter's inspiring new book, which summons up the creative delights of making wonderment with our own hands' Justine Picardie, author of Miss Dior ' Making Matters celebrates the joy of the handmade in all of its wonderful variety. In a fast paced world, it is a timely and beautiful exploration of making traditions. I loved it!' Kate Strasdin, author of The Dress Diary of Mrs Anne Sykes

'A celebration of the overlooked artistry in crafts practised across the world' THE TIMES 'Clare Hunter is out to reclaim the joy of making for the masses... no act of creativity is too humble, too ephemeral, for this hymn to the sensory wonder and connectivity of the homemade' OBSERVER ' Making Matters is an open door to the power of craft. Now inspired, I'm off to get creative' DAILY EXPRESS As children, we made things: snowmen, paper boats, eccentrically costumed plays. That making fired our minds and imaginations - it altered our small worlds and shaped who we became. But as adults, it is hard to find to find the space for creativity and to remember its power. Exploring craft traditions and forms of making from across centuries and cultures, Clare Hunter encourages to engage with the world afresh. To use our hands again, to see beauty in unexpected places, to play and protest and embrace imaginative possibilities. From paper crafts to wonders made from light and snow, she searches for creative delight - making lanterns, puppets and pinhole cameras. Inspiring and fascinating, Making Matters celebrates individual and collective creativity. It blends history, culture and politics with rich storytelling, wonderful characters and tales of remarkable objects. Read this, and then make something. 'In an era of screens and machines, what a joy it is to read Clare Hunter's inspiring new book, which summons up the creative delights of making wonderment with our own hands' Justine Picardie, author of Miss Dior ' Making Matters celebrates the joy of the handmade in all of its wonderful variety. In a fast paced world, it is a timely and beautiful exploration of making traditions. I loved it!' Kate Strasdin, author of The Dress Diary of Mrs Anne Sykes

Craft is a process-oriented practice that takes seriously the relationships between bodies—both human and nonhuman—and makes apparent how these relationships are mired in and informed by power structures. Making Matters introduces craft agency, a feminist vision of new materialist rhetorics that enables scholars to identify how power circulates and sometimes stagnates within assemblages of actors and provides tools to rectify that uneven distribution. To recast new materialist rhetorics as inherently crafty, Leigh Gruwell historicizes and locates the concept of craft both within rhetorical history as well as in the disciplinary history of writing studies. Her investigation centers on three specific case studies: craftivism, the fibercraft website Ravelry, and the 2017 Women’s March. These instances all highlight how a material, ecological understanding of rhetorical agency can enact political change. Craft agency models how we humans might work with and alongside things—nonhuman, sometimes digital, sometimes material—to create more equitable relationships. Making Matters argues that craft is a useful starting point for addressing criticisms of new materialist rhetorics not only because doing so places rhetorical action as a product of complex relationships between a network of human and nonhuman actors, but also because it does so with an explicitly activist agenda that positions the body itself as a material interface.

Craft is a process-oriented practice that takes seriously the relationships between bodies—both human and nonhuman—and makes apparent how these relationships are mired in and informed by power structures. Making Matters introduces craft agency, a feminist vision of new materialist rhetorics that enables scholars to identify how power circulates and sometimes stagnates within assemblages of actors and provides tools to rectify that uneven distribution. To recast new materialist rhetorics as inherently crafty, Leigh Gruwell historicizes and locates the concept of craft both within rhetorical history as well as in the disciplinary history of writing studies. Her investigation centers on three specific case studies: craftivism, the fibercraft website Ravelry, and the 2017 Women’s March. These instances all highlight how a material, ecological understanding of rhetorical agency can enact political change. Craft agency models how we humans might work with and alongside things—nonhuman, sometimes digital, sometimes material—to create more equitable relationships. Making Matters argues that craft is a useful starting point for addressing criticisms of new materialist rhetorics not only because doing so places rhetorical action as a product of complex relationships between a network of human and nonhuman actors, but also because it does so with an explicitly activist agenda that positions the body itself as a material interface.