Crone Chronicles #19(original)
Creation & Co-Creation


Creation & Co-Creation

Publisher Ann Kreilkamp shares her "Crone origin story" in this fecund early issue. (Her editorial includes the astrological chart for the magazine, which should be of great interest to any Crone astrologers out there!) One reader writes in to say that CC is "a potent releaser of emotions" which is a pretty good way to describe this issue as a whole.

I especially appreciate Jean Mountaingrove's first column in this issue. Jean is the co-creator of Womanspirit magazine, the spiritual foremother of SageWoman (who we interviewed in Crone issue #1) and her feisty response to being sent a birthday card that wished her (on her 68th birthday) that she be "forever young" made me laugh happily. What a wonderful role model!

Rowan's essay "First Steps on my Crone Journey," describes the croneing ritual of a young woman (the author went into menopause at 35) and Susan Mattos gives readers a point-by-point workshop in "How to create sacred space." Several articles ("Near Alta," "Art as Process," and "Her Creation Story" explore how becoming crone connected with an opening to their creative gifts and discovering their blossoming Muse while creating new businesses is discussed in Ann Kreilkamp's article about the business end of Crone Magazine, and Telia Nunn's account of creating a Crone-based art collective.

The heart of the issue is the in-depth and evocative interview with visionary philosopher and futurist Barbara Max Hubbard. One of the ice-breaking early "Boomer" women, Barbara talks about her life, work, and especially how she is constantly trying to create new ways to be in relationship -- especially in the context of the sacred marriage and gender relations. It was such a coup for Crone Chronicles to be able to speak at this depth and length with Barbara, whose words are every bit as visionary as they were when this interview was conducted.

This issue is slim, but jam-packed -- there's not a bit of wasted space in these 48 pages. Published by Ann Kreilkamp in Spring of 1994.

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