Three Balls of Wool: An Illustrated Celebration of Nonconformity and the Courage to Remake Society’s Givens
A poignant and hope-giving allegory based on the true story of a refugee family.
By Maria Popova
It may be an elemental property of human nature to fantasize about utopias — a fantasy all the more alluring the more dystopian one’s actual society is. But the inescapable fallacy of the fantasy is that while a utopia promises universal flourishing for everyone, not everyone has the same criteria for flourishing. Homogeneity, as Zadie Smith observed in her superb essay on optimism and despair, is no guarantor of a just and equitable society. We all dream different utopias — something Margaret Mead and James Baldwin tussled with in their fantastic forgotten conversation about the problematic metaphor of the melting pot. An ideal society is not one that seeks to level the differences into a flat universality but one that welcomes them into a glorious topography of diverse human flourishing.
That is what Portuguese writer Henriqueta Cristina and Brazilian artist Yara Kono explore in Three Balls of Wool (Can Change The World) (public library) — an unusual and poignant picture-book about the meaning of freedom and human dignity, published in partnership with Amnesty International.
The story, reminiscent of Umberto Eco’s lovely vintage semiotic children’s books on humanitarian subjects, is told through the perspective of an eight-year-old girl and her refugee family, exiled from their home country under threats of imprisonment and a sense of political gloom, which the young girl can’t quite understand, though she intuits their gravity through the deep lines furrowing her parents’ foreheads.
The family arrives in a new country that at first shines with the promise of a better life, clean and orderly. “Here there are no poor people and all the children go to school,” the girl’s mother tells her. But soon the seeming utopia unravels into a tyranny of uniformity. At school, all the children wear sweaters in one of the three permitted colors — solid gray, solid green, or solid orange — and all the buildings look like “a bunch of gray shoeboxes staked one on top of the other.”
One day, the mother launches a quiet rebellion against the tyranny of homogeneity and conformity — an embodiment of artist Ben Shahn’s insistence that “without the nonconformist, any society of whatever degree of perfection must fall into decay.” It starts with a grey sweater she unravels into a ball of yarn, then an orange one, then a green one. Out of these three balls of wool, she begins knitting sweaters of all stripes and patterns, remixing the solid givens into previously unimagined possibilities.
Soon, the little girl and her brothers are clad in countercultural sweaters that become the awe of the neighborhood.
People begin gathering at the local park each Sunday, unraveling their old solid sweaters and knitting variegated new ones, transfiguring the same three colors of yarn into every imaginable combination of shape and pattern — a testament to Kierkegaard’s assertion that “the more a person limits himself, the more resourceful he becomes.”
By springtime, the entire city is an explosion of combinatorial color.
The story doesn’t reveal what country the refugees left, nor what country they arrived in, but through the semiotic description of their new home I sense familiar echoes of my own childhood in Communist Bulgaria. The afterword confirms my intuition — the book is based on the true story of a Portuguese family who fled from Portugal’s right-wing dictatorship at the peak of the Cold War in the 1960s, then lived as refugees in Algeria and Romania before finally settling in Czechoslovakia. They returned home to Portugal shortly before the end of the Carnation Revolution — a peaceful uprising that began on April 25, 1974 and ended the half-century dictatorship. “Today, Portugal has a democratically elected government and every child goes to school,” Cristina writes in the closing of the afterword.
Printed on the last spread of the book is the Universal Declaration of Human Rights, adopted by the United Nations General Assembly in 1948, before Portugal was a member. Its first article reads:
All human beings are born free and equal in rights. Endowed with reason and conscience, we should act towards one another in a spirit of kindness and community.
Its thirtieth and final article reads:
This declaration does not give any government, group, or person the right to infringe upon the freedoms of any other.
Three Balls of Wool, which is absolutely lovely both as a picture-book and as a symbolic cultural message, comes from Enchanted Lion Books — the Brooklyn-based independent powerhouse that has brought us treasures like Cry, Heart, But Never Break, The Lion and the Bird, The Paper-Flower Tree, and Bertolt. Complement it with Albert Camus on what it really means to be a rebel and Ben Shahn on nonconformity and the creative spirit.
Illustrations courtesy of Enchanted Lion Books; photographs by Maria Popova