After its release last winter, “Being Fruitful Without Multipliying” is now available in an audio-book version on Amazon.
I’m glad to annunce that the book I contributed to, “Being Fruitful Without Multiplying“, is being released in October through Coffeetown Press.
Here is the official press release :
Seattle, WA.—On October 1, 2012, Coffeetown Press will release Being Fruitful without Multiplying: Stories and Essays from around the World ($14.95, 254 pages, ISBN: 978-1-60381-155-2), an anthology of true stories by many women and a few men revolving around the elements of nature and nurture that led to their decisions not to procreate.
The project began as a memoir by three authors with family ties and ended as a conversation that included women and men ranging in age from twenty to sixty-one. Seventeen states and thirteen countries outside the U.S. are represented.
Childfree, childless … these are the labels society gives to women who do not bear children, due to choice or genetics.
Being Fruitful without Multiplying started as one woman’s quest to come to terms with her decision not to bear children. In conversation with Renee and Janice—two close relatives from different generations—Patricia found that they shared another, unexpected bond: each belonged to childless or childfree social networks. All three were weary of questions from well-meaning people who wondered why they had not born children. As they began to reach out to others in earnest, they found that many who belonged to their diverse online communities were eager to share their stories. Some had chosen to be childfree and some were childless because of biological factors but grew to appreciate the advantages. Some of those who chose not to reproduce still decided to become stepparents or adopt.
Over sixty women and a few men added their voices to those of the three main authors. The result is this rich and varied anthology, which includes stories from many different countries, cultures and income groups.
Say Yvette: “What began as a family conversation comparing notes about the choice not to bear children soon grew into a worldwide discussion through social networking childfree communities. Who knew virtual communities such as these existed and would be so large, diverse and vocal?”
Being Fruitful without Multiplying is currently available for pre-order on Amazon.com. After Oct. 1st, it will be also available in eBook and paperback editions at select Barnes & Noble and independent bookstores as well as Amazon.co.uk, Amazon.de, and Amazon Japan. Bookstores and libraries can order through Ingram or by contacting firstname.lastname@example.org. Libraries can also order through Midwest Library Service or Follett Library Resources.
ABOUT Coffeetown Press—Based in Seattle, Washington, Coffeetown Press has been publishing the finest fiction and nonfiction since 2005.
Beccy from Slow Club answered Lydia’s questions.
B : In no order : Love Talk: Clout. Put all your eggs in one basket: Marnie Stern. Take Care: Drake. Til the world ends: Britney Spears and Keep it goin’ louder: Major Lazer.
Blitzgigs Berlin is promoting the exclusive houseshow we’re organising for Gunning For Tamar (UK).
Click on the following link to read :
The concert is tonight! If you’re in Berlin, get in touch – not many ‘seats’ left…
We’re very happy to announce that Gunning for Tamar (UK) will play an exclusive and private concert in a flat in Berlin this friday 28.10.2011.
Gunning for Tamar hails from Oxford UK, and recently released the single “Bonfires“, from their excellently received debut EP “Deaf Cow Motel“.
“Tight and technically proficient, but also intuitive enough to keep things sounding organic” – Artrocker.
More about Gunning For Tamar:
Emerging into an anxious silence, a half scruffy, half clean-cut gentleman takes a step onto a small stage. Taking one step more, he doesn’t appear to be sure, what of, is unknown, he is perhaps unconfident. He is now centre stage, reaching to the floor and clutching what appears to be a bell, a large bell. A puzzled audience gazes, extending the silence a moment more until a chime echoes throughout a magnificent room, a cathedral. The man places the bell gently back to the floor, and shuffles back off in the same direction. Everyone is hesitant, do we applaud, do we not? But it is deemed too late when a few more impartial characters grace the stage. They, however, are met with a grand applause. Watching intimately as the characters approach their instruments, each spectator misses a few blinks as Laura Marling takes her own graceful steps upon the stage.
This is the first show of the ‘When the bell tolls’ tour (it makes more sense now) in the small city of Exeter. Exclusive to cathedrals, this tour is an obvious step for Marling as she gazes at her surroundings. The audience are mirroring her, absorbing the incredible detail and beauty of the stone walls and ceiling.
Marling isn’t lingering though. Eyes watering, her voice projects into the depths of the cathedral. Her voice is quiet, yet concerned. Her voice is calm, yet violent.
Obviously Marling has had constant success, but only recently has she really hit the B.I.G T.I.M.E. And that means big time. Rising from the new folk scene, in…… she has overlapped her peers by the mile, being the only artist to be ever-evolving and ever-growing able to witness.
And witnessing here, as she begins with ‘The Muse’ from the new record, it is clear Marling’s confidence has risen since her beginning, and throughout the three months it took to write ‘A Creature I Don’t Know’. Now, three months is a mouse-like length of time to write a whole album, and what she has produced is immaculate even for something that could have prevailed her life for years. You can just tell there is no over-thinking, there are no wholly taintless harmonies. But this is what Laura has become. She has grown into a character who is sure in herself to decide what she wants to write now.
She glides through the first few half an hour of the set, covering songs new and old. ‘Ghosts’ brings an element of the new, quirky Laura and ‘Failure’ exudes intimacy and meaning. The first spoken utterance she makes into the microphone states in a soft whisper ‘you are all so kind to be so quiet’. Mid-laugh she is abandoned on the stage. Luckily this is planned, we finally have a moment alone. Just the audience and her. She makes light of her lack of ‘talking skills’ and proceeds on with a new haunting track. The unfinished touches of this unknown is brilliant and pure. It is clear Marling needs nothing other than her voice and guitar to exhibit her flawlessness. And that is what she is to anybody, flawless.