You see, when weaving a blanket, an Indian woman leaves a flaw in the weaving of that blanket to let the soul out.

Graham invokes a widely circulated motif from Indigenous textile traditions: the deliberate “imperfection” that prevents a work from becoming spiritually closed or arrogantly “perfect.” In her usage, the image functions as an aesthetic credo—art must retain an opening for life, change, and the maker’s humanity. The “flaw” becomes a necessary passageway: it keeps the work from being merely decorative or technically sealed, and it allows something intangible—spirit, emotion, truth—to move through. Read this way, the line also critiques perfectionism in performance and creation, suggesting that vitality and authenticity often depend on vulnerability and incompleteness rather than flawless finish.