essay my knife

Life of a Knife Man

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My Knife Life Lately: Photo Essay

The past few months have been a whirlwind.

The past few months have been a whirlwind, full of nonstop work to prepare for the holidays. No matter how much I plan, I’m always amazed by how much time and effort even the most straightforward projects require.

But through it all, I’m incredibly grateful for the opportunity to do what I love. I wanted to take a moment to share a photo essay featuring some highlights from my life this fall, along with a glimpse into the projects I’ve been immersed in recently.

Have a great day.

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My Knife: An Essay

June 27, 2017.

The question arose regarding what I felt was the most valuable piece of my kit that I was not able to reproduce in the wild and why. Since I had to provide it in essay format I wanted to share “My Knife”. Enjoy!

I chose my knife as being the single most important item in the kit, not just because it is the hardest to reproduce from natural materials but because of the comfort. A rock may be broken in half and then a bi-lateral surface section chipped off again and this will make a knife for a survival situation. The issue with this is I live in an area where I am able to find a river rock, and not just granite and create a knife, but it does not give me the comfort of a go-to item for my kit.

When it comes to my kit, I want to know that I have dependable items. Items that are solid made and will last long enough to get me out of the situation I am in whether voluntary or involuntary. My LT Wright Bushcrafter will cut most anything I put in front of it and has proven itself to cut many branches, make feather sticks, cut plants, skin animals, and even material in order to make char cloth.

Recently, it has been used for skinning a rabbit and an opossum at both the broader scale and when I needed to get into the finer aspects of skinning. I could use it to easily penetrate the stomach lining but light enough not to rupture anything that would spoil the meat. The fine work came when I was reminded that I was to save the furs. I was able to carefully go around the limbs, head, and tails because of the shape of the tip as well as the sharpness.

When I first received my Bushcrafter, I worked on a Try Stick based off of the challenge from Mors Kochanski. I found that it worked really well in producing the cuts and notches that I desired and that could be used in many situations. I continually use it for carving both log cabin notches and what I call bail hook or pot hook notches. While spoon and spatula carving is much easier with a different style of knife, my Bushcrafter will still help me produce a useable camp tool. This is comforting to know that I can produce what I truly need in the bush as well as anything that can help me “smooth it”.

This lesson has caused me to question whether I could chop something with my Bushcrafter other than vegetables or meats. That being said I decided to take my knife outside and put it to the test. As I mentioned above regarding carving spoons, an ax or hatchet may be better suited for chopping trees, logs, or branches, but this will get the job done. I can easily chop small diameter trees with no issues and larger ones with a baton. As for splitting logs to create smalls and other sizes for firewood, I am limited by the blade length but not so much I cannot accomplish my tasks. I realize that a larger diameter takes a little creativity for me to attack it such as splitting a quarter off of a log as opposed to splitting it straight down the middle first.

In the end the result is simple and facts are facts. While a Mora, a FlexJack, a camp ax, or even a larger PKS style knife may work for specific areas that are required for survival, my LT. Wright Bushcrafter will accomplish the tasks that I feel will get me through a survival situation and certainly help make me comfortable on normal outdoor adventures.

Until then,

Use your instincts to survive

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Process Analysis in Richard Selzer's 'The Knife'

A Scrapbook of Styles

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• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

An accomplished surgeon and a professor of surgery, Richard Selzer is also one of America's most celebrated essayists . "When I put down the scalpel and picked up a pen," he once wrote, "I reveled in letting go."

The following paragraphs from "The Knife," an essay in Selzer's first collection, Mortal Lessons: Notes on the Art of Surgery  (1976), vividly describe the process of "the laying open of the body of a human being."

Selzer calls the pen "the distant cousin of the knife." He once said to author and artist Peter Josyph, "Blood and ink, at least in my hands, have a certain similarity. When you use a scalpel, blood is shed; when you use a pen, ink is spilled. Something is let in each of these acts" ( Letters to a Best Friend  by Richard Selzer, 2009).

from "The Knife"*

by Richard Selzer

A stillness settles in my heart and is carried to my hand. It is the quietude of resolve layered over fear. And it is this resolve that lowers us, my knife and me, deeper and deeper into the person beneath. It is an entry into the body that is nothing like a caress; still, it is among the gentlest of acts. Then stroke and stroke again, and we are joined by other instruments, hemostats and forceps, until the wound blooms with strange flowers whose looped handles fall to the sides in steely array.

There is sound, the tight click of clamps fixing teeth into severed blood vessels, the snuffle and gargle of the suction machine clearing the field of blood for the next stroke, the litany of monosyllables with which one prays his way down and in: clamp, sponge, suture, tie, cut . And there is color. The green of the cloth, the white of the sponges, the red and yellow of the body. Beneath the fat lies the fascia, the tough fibrous sheet encasing the muscles. It must be sliced and the red beef of the muscles separated. Now there are retractors to hold apart the wound. Hands move together, part, weave. We are fully engaged, like children absorbed in a game or the craftsmen of some place like Damascus.

Deeper still. The peritoneum, pink and gleaming and membranous, bulges into the wound. It is grasped with forceps, and opened. For the first time we can see into the cavity of the abdomen. Such a primitive place. One expects to find drawings of buffalo on the walls. The sense of trespassing is keener now, heightened by the world's light illuminating the organs, their secret colors revealed--maroon and salmon and yellow. The vista is sweetly vulnerable at this moment, a kind of welcoming. An arc of the liver shines high and on the right, like a dark sun. It laps over the pink sweep of the stomach, from whose lower border the gauzy omentum is draped, and through which veil one sees, sinuous, slow as just-fed snakes, the indolent coils of the intestine.

You turn aside to wash your gloves. It is a ritual cleansing. One enters this temple doubly washed. Here is man as microcosm, representing in all his parts the earth, perhaps the universe.

* "The Knife," by Richard Selzer, appears in the essay collection Mortal Lessons: Notes on the Art of Surgery , originally published by Simon & Schuster in 1976, reprinted by Harcourt in 1996.

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The Tools of a Chef: a photo essay about knives and their handlers

• by Mary Bailey
• Posted on November 1, 2018 September 17, 2021

A photo essay exploring knives and their handlers. 

Photos Curtis Comeau Photography | Styling Peter Keith, Meuwly’s | Words Mary Bailey

I do a lot of food and chef photography and one thing that has always fascinated me is the tools they use. But I never really thought about a knife making a difference to me, until a friend gave me a knife—a Wüsthof chef’s knife. It changed my life.

“It was an unbelievable experience,” says Curtis Comeau, budding knife enthusiast. “But, over about six months it got dull and wasn’t so much fun anymore.” A chef friend said ‘Go to Knifewear. They will sharpen it for you and show you how to take care of it.’

“When I went in to Knifewear I was blown away by the different types of knives. It was another world. You can hold them and test them out and find the one that fits you. While someone sharpened my knife, by hand ($10), someone else showed me how to use a ceramic honing rod (called a steel). If I used it every time I used my knife, I would only have to have it sharpened maybe once a year. It would help hold the edge and keep the knife in top shape.

“A few weeks ago, I was visiting my Dad at the hotel our family owns near Waterton National Park,” says Curtis. “My dad and his partner are everyday Albertans; they have Walmart knives and a steel sharpener, like everybody else. I couldn’t even cut the bacon, I almost cut my fingers trying to force the knife through the bacon. It was a miserable experience after using my Wüsthof. I said ‘I am buying you guys a $150 knife. If will make your life so much better.’

“Now I get it. You use a knife like your toothbrush, every day. It’s going to be fascinating learning more about knives.”

“A good knife is inspiring,” says Kris Armitage, manager of the Knifewear shop on Whyte Avenue. “A good sharp knife is also safer, but what is really important is the joy a good knife brings. You will be inspired to cook and enjoy it more.

“Buying a knife is very personal,” says Kris. “It’s like picking out a hockey stick, it’s got to be the one that feels right in your hands. We narrow it down to the size and shape. You will have it for the rest of your life. You do not need to buy another knife. You’re going to want to, but you don’t have to.

“I want to find the right knife for each person, whether that be a factory-made knife with a plastic handle ($79) or a Fujiwara Denka. These are made by a fourth-generation blacksmith, Teruyasa Fujiwara, who changed how knives are made in Japan.

“His knives are empirically better than everything else in our store (and range from $600-$1000). Fujiwara said, ‘If you don’t pass these on to the next generation and that generation to the next, I have failed at making a knife.”

“Besides how a knife feels in your hand, what matters it how it is made and with what. For example, stainless steel knives used to get a bad rap because it was hard to keep a fine edge, which is not true anymore,” says Kris. “Knife technology is constantly changing. The Miyabi Black series is one of the hardest steels around, yet it will hold an edge for a ridiculous amount of time.

“The biggest difference with Japanese knives is that the steel is harder. You can put a finer edge on it and it will stay sharp longer. A sharp knife is safer because it goes where you tell it to.

“A handmade knife is hammered by a blacksmith. The attention that goes into a hand-forged knife will show in its performance. A factory-made knife is made mostly by machine,” says Kris.

How a knife is made also makes a difference in how it looks. Take Damascus steel for example. It’s an ancient technique invented in Syria, involving folding the steel over and over to get rid of impurities. Steel making has progressed so much that Damascus no longer refers to a type of steel but a look. “It’s used strictly for aesthetics now,” says Kris, “and doesn’t affect how the knife performs at all.

“We recommend one to three knives for a basic set up in a kitchen. The old saying, you get what you pay for, is so true with knives. The sweet spot for one great knife is between $200 and $400, probably six to 11 inches. A chef’s knife (210 ml Gyuto, approx 9.5 inches) is a good all-round knife. Buy the biggest knife you are comfortable with. A petty knife (74 ml, also called a paring knife) for small jobs like coring strawberries or taking silver skin off meats, or a utility knife which has a wider blade.”

Kris recommends tailoring your third knife to your style of cooking. “If you chop a lot of vegetables, a Nakiri (cabbage) knife is a good idea. It’s a big flat knife that looks a bit like a cleaver.

“And don’t forget to take care of it, hone it every time you use it and get it sharpened at least once a year. “

Kelsey Johnson, chef and co-owner, Café Linnea

“What do I like about my knife? It’s all about the feel in my hand, the way it rocks when I use it, the weight,” says Kelsey Johnson, exec chef at Café Linnea. “My every day is a 10-inch Miyabi and I have a Tojiro Flash that I use for butchery. It has a firm blade which is good for breaking down a half cow and it’s good for taking out bones.

“I bought my first knife at Knifewear in Calgary long before I was in the industry, when I was in film and theatre. It’s a knife made by a 25th generation Samurai family, eight inches or so, unfinished steel with a wooden handle. I use it at home. It has no spring at all. No flex. My Miyabi has a lot of flex.

“I’m pretty basic in how I take care of them—I do have three sets of stones and I do a quick hone a couple of times a day. Fillie (a cook at Linnea) is a knife fanatic; he used to work at Knifewear.

“I wish all home cooks had a good knife because it makes cooking so much easier. It doesn’t have to be a $500 knife, it could be a $100 knife. And it will last forever.”

Davina Moraiko, chef de cuisine, RGE RD

What do you look for in a knife? “It depends on what I am using it for,” says Davina Moraiko, RGE RD’s chef de cuisine and the 2018 gold medallist at Edmonton’s Great Kitchen Party. “If I’m meat cutting, I’ll need a boning knife. If I’m working the oven station, I’ll need a slicer. You can’t use a chef’s knife for everything. Though, that would make life much simpler.

“My hands are a bit small and I like a lighter knife. My favourite knife is the Masakage Kumo Kamagata. I’ve had this knife for about six years and I use it every single day, cutting greens and vegetables, slicing a fresh tomato during service, slicing onions. I like the handle and it’s light, not massive. Having a big blade on the line takes up a lot of room. I get it sharpened at Knifewear, I hone it every day and I wash it by hand, never ever put it in the dishwasher. I have maybe nine knives, not a massive collection. I just like to have the right knife for what I need.”

Lindsay Porter, chef and owner, London Local

“I like a thin blade and I don’t like a heavy knife,” says Lindsay Porter, chef/owner of London Local. “I prefer stainless steel knives. They don’t rust. You get a bit of water on a carbon steel knife and you are in a hurry and don’t wipe it down right away, it can rust.

“I don’t like overly big or super long knives. This Shun is a good size. I got it at a seafood festival in PEI—a nice little gift basket with two Shun knives. I use it every day. I have some other Japanese knives too.

“I still have my first knife. It was from the set I bought at the NAIT bookstore. Victorinox, I think. I hone daily with the steel (ceramic) and sharpen every three to four months. Sharpening revives the knife. If it’s dull, you have to push and you can cut your finger. I like a few other knives too—a smaller, more versatile knife, like a paring knife, goes a long way. You can get into everything, like a cauliflower. A boning knife is very important. You don’t feel like it’s going to chip the bone, it’s meant to go around the bone.

“Right now, our cooks in the kitchen are using the kits that they bought in school—not the Japanese knives yet.”

Jennifer Stang, La Boule Bakery

“When you enter the culinary program, you are offered a knife set, the Wüsthof kit or the Victorinox kit. I bought the Wüsthof kit. I knew nothing. The 10-inch Wüsthof chef knife is the knife I learned to cut with, that I learned knife skills with.

“I call it my wife, don’t like it when people touch it. I use her still, I like the balance, the way it feels in my hand. I know how it’s going to move. I’ve been gifted knives, such as Global, too light. I find the Japanese knives in general too light. My muscle memory works with the heavier knife.

“Because I am a cook first, pastry chef second, I probably cut more than most, I’m always chiffonading.

“I have breadknives too. One came in my knife kit, it has a scalloped edge which is good for cutting éclair and choux. It’s a bit used and abused, could use a little love. I also have another bread knife, Damascus steel with serrated teeth, very pointy and sharp. When cutting our crusty bread, this is the knife you need. They never teach you how to take care of a bread knife, especially the scalloped edge. I don’t know how and couldn’t find anyone to do it.

“I sharpen knives on a stone with oil, I am well versed in how to take care of my knives. I like to take care of things. They are the tools of my trade. But the bread knife, no idea.”

Knife Tips from Kris Armitage, Knifewear

Use a wooden cutting board. Not glass, not bamboo, not wood fragments, not ceramic or stone. These surfaces are very hard on knives. Plastic is ok but not as anti-bacterial as wood.

Hone your knife using a ceramic steel (honer) every time you use it. It keeps the edge polished. The steel ones can be too aggressive.

Wash and dry by hand.

Don’t put knives in the sink.

Don’t put in the dishwasher,as it’s bad for the handles and the edge.

Don’t leave your knife wet. Always dry them to prevent rust. Even stainless steel can rust.

Learn to sharpen your knives properly or take them in to have sharpened. If you are using the honer every time you will probably only have to do this once a year or so.

Hang your knives on the wall using a magnetic holder. Second best is a wood holder. At the very least, use guards on your knives.

A knife is not a can opener or a screwdriver. Don’t use a knife to smash through anything. Use a cleaver for that.

Buy the best knife you can afford that fits you and use it with pleasure.

Curtis Comeau is an advertising and editorial photographer who regulary contributes photography to The Tomato . Some of his previous stories include a photo essay on pizza, The Art of Sushi and A Visual Exploration of Pancakes.

Where to buy: Zwillings knives are available at Barbs’s Kitchen, Bella Casa, Heart of the Home, Gifts and Gadgets and the Pantree. Miyabi knives are available at Knifewear and the retailers above.

How to Wield a Knife

Photo by sfllaw/FlickrCC

When I was four years old, my dad bought me a little pearl-handled Frost pocketknife from the local True Value hardware store. It was sharp and shiny, and I immediately cut myself badly. It was with those first drops of blood that my love/hate obsession with knives began.

I've obviously learned a lot about knives since then. There are two rather long, parallel calluses on the palm of my right hand where my knife of choice, a five-inch Forschner, sits nearly every day for about 10 hours. I don't cut myself much these days, except with sharp objects that aren't knives (the Japanese-style mandolin is a particularly potent nemesis of mine, shaving off a good chunk of my thumb nearly every time I forget why I stopped using one in the first place). But my ability to keep out of harms way has been hard-won. What follows is a primer on what I've learned about knives and their proper (and improper) use.

The knife itself, a good place to start:

Knives, like any tool, run the gamut from incredibly expensive, handmade fetish items to plain old cheap junk. I have crisscrossed this spectrum many times, veering wildly from high-end Japanese blades made from exotic alloys of powdered steel to the crappy knife sets one usually gets when renting one's first apartment.

Some people hold a boning knife like a conductor's baton during a particularly slow part of Pachelbel's Canon. This is wrong.

However beautiful the shinogi line of a charcoal-forged Santoku, and no matter how solidly made the vintage steel of a French chef's knife, I have to admit that after years of collecting the world's finest knives I have settled on one that has more in common with the knives found in the average American's kitchen.

I prefer a cheap, solid, stainless steel knife. Some of the best can be picked up at a kitchenware or restaurant supply shop for well under 40 dollars. Brands that work well at this price are F. Dick, Victorinox, and LamsonSharp. Plastic or wood is a matter of personal preference, but I pay the premium for a wood handle and then promptly scrub the finish off the wood. Why, you might ask? Simple: fat. I will sometimes spend a solid hour breaking down carcasses, and, after a while, that animal fat renders a knife with a plastic handle as slippery as a live eel. Wood, on the other hand, absorbs the fat, ensuring that the all-important grip is maintained. More on this later when we get to the "ways to horribly wound yourself" section.

Keeping it sharp, one of the keys to not cutting yourself:

In this age of the Internet I won't bore you with sharpening techniques. To be perfectly honest, I don't even sharpen my own knives anymore. I leave that to Mr. Robert Ambrosi of Ambrosi Cutlery, and I recommend you outsource your knife sharpening as well unless you are looking for a new hobby.

If your knife is made of the tough and cheap type of stainless steel you will never get it as sharp as the guy at your local housewares shop. High-end Japanese and carbon steel can be made especially deadly, but you have to know what you're doing. Keep your eyes on the prize: keeping it sharp, which brings us to the matter of the sharpening steel.

Learning to use a steel properly is far more important than spending the better part of a night laboring over the whetstone. There are as many YouTube videos and online guides to using a steel as there are stars in the sky, but the key is to do it lightly. By using a steel, you're attempting to realign a few molecules of steel back into a cutting edge; heavy pressure will only lead to a truly dull blade.

Cutting yourself:

I am an expert. I have sliced off thumb tips and fingernails. I have shaved paper-thin wafers of my knuckle and buried a breaking/cimeter knife an inch and a half into my forearm. If it weren't for the stainless steel chainmail "butcher bra" that Josh from Fleisher's bought me for Christmas last year, I might not be alive to write this essay, having perhaps bled out from one of the many horrible chest wounds averted by its Mithril magic.

The most important thing when it comes to cutting yourself (or avoiding it) is awareness of where you and the cutting edge of your blade are in relation to each other. This is not such a big deal for a home cook slicing vegetables, but for a butcher it becomes a matter of life and death.

The first element to avoiding your blade is keeping it in your hand. As Fleisher's Aaron Lenz describes it, you should hold your knife like the butt of a pistol, fingers wrapped tightly around the grip "like someone was trying to take it away from you." Some people hold a boning knife like a conductor's baton during a particularly slow part of Pachelbel's Canon. This is wrong. You will either drop your knife through your fingers, causing you to cut your knife hand with your knife, or, more likely, lose track of it in your brain's motor control center and cut the hand holding the meat.

Second, do not, under any circumstances, cut toward yourself. I mean your torso, mostly, but also any other part of you. Cut away from yourself or from left to right, never towards your abdomen. Putting all your strength into a brazen "take it to the board" type of cut is a sure way to bury a knife in your chest, belly, femoral artery or ... genitals. We're not talking stitches here, we're talking surgery at best and coffin at worst. Avoid.

Third, keep everything clean. We take care to avoid fat buildup on our knife handles to prevent what I like to call "the knife handshake," which consists of having your lubricated fist slip over the grip and onto the length of the blade. Wash your hands. Wash your knives. Thoroughly. Often.

Fourth—this might come as a surprise—do not leave knives on the table, ever. This applies mainly in a butcher shop. The reason we wear somewhat garish knife scabbards on our hips is to avoid ever setting a knife on the table. Why? Our pieces of meat are large and heavy, and knives can be well hidden. Add force and weight, and you can imagine what might happen to your hand or forearm. Gross.

Fifth, bones can be really sharp. Great, it's hard enough to keep from cutting yourself with a knife, now bones? Yes. Bones, particularly the chine and feather bones along the spinal column, become extremely sharp and dangerous when cut by a carcass splitter. Add the weight of the loin, the force needed to grip and move heavy pieces of meat and the tendency to heft these pieces onto your shoulder, and you have a great recipe for slicing open a hand, arm, or (yikes!) face. The best part is that bone cuts heal fast and well.

Just in case:

No matter how much care you take, if you spend lots of time cutting meat you will cut yourself severely at some time or another. Often you will do so just when your first aid kit has hit bottom. No matter! If you have paper towels and plastic wrap handy, you have all the necessary first aid to get you to a hospital, or, less desirable, to the end of your shift. Simply wash the cut to remove any parts that don't belong to you and then wrap quickly with paper towels and plastic wrap, tightly if the cut is bad and you're on the way to the hospital, and less snug to make it through your shift without your injured extremity falling asleep.

It's my sincere hope that some of you out there will be able to avoid spilling your own blood at the expense of my own. Stay awake. Stay aware. Keep the plastic wrap handy.

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