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Galleys available upon requestWill pursue:Reviews or Features General:American Book Review, Bookforum, Booklist, Boston Globe Boston Review, Chicago Review, HuffPo, Kirkus, LA Review of Books, LA Times, Library Journal, NY Magazine, NY Times, Publisher's Weekly, Rain Taxi, The Rumpus, Salon, SF Chronicle, Washington Post, UtneMusic interest publications:The Big Takeover, Blues & Rhythm Mag, Downbeat Mag, Jazz Times, OffBeat Magazine, Paste (online only now), Rolling Stone, Spin, Vice, WaxPoeticsWomen's interest publications:Bitch, Bust, Makeshift, Ms.Regional interest publications:Memphis Minnie regional interest: New Orleans Living, New Orleans Magazine The Garons regional interest: Chicago Reader, Chicago Sun Times, Chicago Tribune, Chicago ReviewExcerpts in publications with a focus on history: American Legacy Magazine, ASALH-Journal of African American History, Black Scholar, In These Times, Lapham's Quarterly, Radio Silence, Smithsonian Magazine Publicity and promotion at bookshops that specialize in music; and record stores with books sections.Outreach to online communities and listservs of blues enthusiasts and record collectors.Endorsements pursue music critics and historians Greil Marcus and Peter GuralnickInclude a new quote from Bill Wyman of The Rolling Stones, who calls it: "An excellent book . . . "
Paul Garon: Paul Garon has written about the blues for nearly fifty years. A co-founder of Living Blues, he is also the author of The Devil's Son-in-Law: The Story of Peetie Wheatstraw and His Songs, Blues and the Poetic Spirit and What's the Use of Walking if a Freight Train's Going Your Way, as well as a small collection of prose poems, Rana Mozelle. Beth Garon: Beth Garon is a collagist and painter, and Woman with Guitar is her first book. She and her husband and co-author, Paul have both been active participants in the Surrealist movement in the US for many years. The Garons operate Beasley Books, a used and rare book business in Chicago.
"One of the exciting things about the publication of this new edition is that it serves as a kind of touchstone for the current state of blues research and scholarship. And what becomes quickly apparent is that the digital has opened many new doors into the past, so that the Garons have been able to expland and enhance their portrait of Memphis Minnie through the inclusion of newly unearthed material ... [adding] a multifaceted and complex dimension to the reader's understanding of who this blues woman with guitar was and what her life and legacy have come to and will continue to represent"-Robert H. Cataliotti "Masterly ... I doubt that this work could be improved upon and is heartily recommended."--Howard Rye, Blues & Rhythm "I'd worried that the redoubtable, unsinkable Memphis Minnie might fall apart under the flaying of the pages, as artists suffer through biographies too-literal, too-scholarly, or simply without enough imagination. I needn't have. The Garons' book, revised and expanded from an earlier edition, presents the artist in such a tantalizing manner than even if you haven't heard her sides, you'll run to your musical platform of choice, to sooth your ache ... She set standards for guitar playing, singing and phrasing still hard to beat; Led Zeppelin paid her the ultimate compliment of a ripoff. She lives in our ears, and on the page--thank the Garons for that."----Andrew Hamlin, OffBeat Magazine "As the Garons show again and again, Minnie's earthy appeal was broad. Her playing was, as described by poet Langston Hughes, like 'heartbeats mixed with iron and steel.' ... Woman with Guitar follows Minnie from rural Mississippi to Beale Street to Chicago and back to Memphis again, documenting the groundbreaking highs and the heartbreaking lows. It also digs deep into her discography, running down threads of protest and cultural commentary."--Chris Davis, Memphis Flyer "The idea behind any biography is to bring the subject into brighter light, illuminating their character, their strengths and faults as well as their impact on the world around them. The Garons and their contributors have certainly fulfilled that goal. This updated volume celebrates the legacy of the person many claim was the first lady of the blues. Blues fans should relish this opportunity to discover more about Memphis Minnie, a pivotal figure in blues history."----Mark Thompson, Blues Blast Magazine "Woman with Guitar showcases an intrepid performer who defied the odds, lived life on her own terms, and refused to accept the status quo, especially when it came to restrictions on women's agency. She refused to be submissive, meek, or quiet and was unafraid to make demands or get angry. Beth and Paul Garon celebrate Minnie's bold spirit and are to be credited for introducing her to a whole new generation of potential fans who will likely now hear her on YouTube. Furthermore, their work has raised a slew of questions about American Blues women, opening the door to additional research and exploration."--Eleanor J. Bader, Review Fix "The Garons' surrealist portrait of Minnie is a unique work of scholarship and an essential text toward understanding not only Minnie's world and work, but the blues itself. Quoting her lyrics and others in blues tradition, the authors consistently and convincingly deliver the idea that a blues narrative is often less critical to interpretation than its lines and metaphors ... An offering to anyone interested in better understanding the blues and aiding in its survival, the Garons' work has certainly made a difference in my own explorations, listenings and writings on blues."--Denise Sullivan, Blurt Magazine "If you buy only one book on the blues this year----this should be the one!"----Frank Scott, Roots & Rhythm "Paul and Beth Garon write like fans, calling Memphis Minnie 'one of the most influential blues singers ever to record.' It sounds like the case-building biographers are wont to do--but they back their statement with a who's who of blues performers who acknowledge their point. The new edition of Woman with a Guitar fills in facts but the big picture is unchanged. Minnie was a rarity in the 1930s-'50s, a guitar-playing blueswoman whose original songs entered the repertoire of many performers. A touch of blues purist snobbery is indicated by the lack of mention of the best known Memphis Minnie cover, Led Zeppelin's 'When the Levee Breaks.'"--David Luhrssen, Express Milwaukee