Women in Print 1: Design and Identities: 2 (Printing History and Culture)

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Explaining the #ChooseToChallenge theme, IWD stated: “A challenged world is an alert world. Individually, we're all responsible for our own thoughts and actions – all day, every day. Figure 4.2. Clara, ‘The Model Husband’, Olive Branch, 28 June 1851. Courtesy of the American Antiquarian Society.

Ottoman Women’s Print Network and Their Creative Contribution to Print Culture in Turkey (Özlem Özkal and Ömer Durmaz) PLEASE NOTE THE CHANGE OF VENUE: Day One, G33 Small Lecture Theatre, School of Education, University of Birmingham; Day Two, Lecture Room 3, Arts Building, University of Birmingham Other individuals have assisted in the process. Dr Connie Wan, Dr Kate Croft and Rebecca Howson were responsible for the on-the-ground organization of the 2018 conference, without whose dedication to the project the event would not have happened. The Bibliographical Society kindly supported the conference to allow the participation of postgraduate students as both speakers and audience, and Birmingham City University generously supported the production of the book.

4. What would you say to young female wishing to join the print industry?

Figure 9.2. The Suffragette, 31 July 1914, frontmatter. Public domain. Image courtesy of LSE Library.

coming-of-age and contemporary narratives, the list proves there’s no single formula for funny fiction. The demographic of our workforce strongly swings towards men, mostly due to the roles on the shopfloor which have historically been done by men. I would be delighted if we could balance this out and have a more equal split between men and women, however when recruiting we are always looking for the best person for the job in question, someone who shows both aptitude and the right attitude, which makes their gender irrelevant. It was her husband, who is English, who suggested she write about her family because “they’re just so out there”. “But every time I tried, the drama hit too close to home, and I wasn’t having fun writing it, I was getting stressed out. So I thought, well, what if I leaned into making it really, really ridiculous, and just threw in a dead body and saw what happened,” she said. “It turned out that was the ingredient that I was missing.” Dial A for Aunties is set in California, around a family of Chinese-Indonesian wedding planners. Leonard and Virginia Woolf likewise faced hostility from within the trade when they initially set out to learn how to set type. The ‘do-it- yourself’ ethos adopted by 1970s feminists echoed the early years of the Hogarth Press, which was set up by the Woolfs to be a small private press which they operated themselves. As the Hogarth Press output expanded and it evolved into the size of a commercial publishing operation, print production, and especially typesetting, turned out to be more time-consuming than the Woolfs had expected. Additional help was recruited through the Woolfs’ informal network of acquaintances. Nicola Wilson and Helen Southworth’s chapter, ‘Women Workers at the Hogarth Press (c.1917–25)’ explores the relationships between the Woolfs and the women who assisted them. Figure 10.3. Untitled (lithograph), Lene Schneider-Kainer, Hetärengespräche [The Dialogues of the Courtesans], Lucian of Samosata and Christoph Martin Wieland (trans), Berlin: Verlag Julius Bard, 1920. Image reproduced with the permission of Gesche Kainer.Whenever I talked to business leaders in our industry about working flexibly, they often dismissed it as not practical for print companies. But working through Covid has shown that we can work from home or work part time/adjusted hours and still deliver, so I really hope that some of that continues as we head towards to a new normal. Hopefully one where it’s easier for women (and indeed men) to agree a format of flexible working with their employers that’s a win for both parties and means that we can truly tap into the female talent in our industry and even help us attract more.” From Print to Process: Gender, Creative-Adjacent Labour and the Women’s Print History Project (Kandice Sharren and Kate Moffatt) KEYNOTE SPEAKERS: Dr Nadine Chahine ( Type Designer); Ann Field(Marx Memorial Library, London); Professor Helen Smith ( Director, Centre for Renaissance and Early Modern Studies, University of York) Comedy Women In Print is the brainchild of comedian, author, actress Helen Lederer. Its aim is to recognise, celebrate and encourage witty women authors. We’ve created a platform for both aspiring and established witty writers. CWIP not only offers a publishing deal with Harper fiction to a NEW witty writer, but it also gives mega publicity and respect to the BEST funny fiction around. This award is open to all women filmmakers and content developers. The film must be an original narrative created, produced and devised by a woman, or women, although male cast and crew members are allowed.

A 1- 6 minute film that can take the form of anything comical. It’s a great opportunity to show us your creative flair and have fun! Sutanto, who did a master’s in creative writing at Oxford, has previously written children’s and young adult novels. She initially considered writing Dial A for Aunties as a YA title, but felt it would be “really disturbing to be moving a teenage boy’s body around”. Women in Print 1 reflects the efforts and expertise of many people. We hope that the publication justifies their commitment and provides not only a reflection of the importance of women in print but also offers opportunities for future studies of women in the printing trade. Summaries by Emily Watkins The Comedy Women in Print Prize 2021 longlist for Unpublished Comic NovelMarian Keyes, Chair of Judges for the CWIP Published Novels Prize, says: “I am absolutely delighted with our longlist. The range is glorious – everything from lighthearted commercial fiction to literary fiction – it’s a demonstration of all the different ways in which women can be funny in print. It was a pleasure and very exciting to read all ninety submissions, and this is a list that I’m very proud of.” The editors of Women in Print 2 are indebted to several individuals and organizations for both contributing to and supporting the book. The chapters were originally a set of papers delivered at the University of Birmingham on 13 and 14 September 2018. Organized by the Centre for Printing History & Culture, the conference, ‘Women in Print’, was designed to review and reassess the contribution made by women to printing and print culture from its origins to the present day. We were convinced that the contributors deserved a wider audience and were pleased that Peter Lang Ltd were keen to publish an edited collection in two volumes on the subject as part of its ‘Printing History and Culture’ series. Our main thanks are due to the individual authors of the chapters in this volume who accepted advice, responded to requests for changes to their drafts and supplied the images to illustrate their chapters. These women have built legacies that have aided and inspired generations of women. From writers like Shelagh Delaney to political reformists such as Amy Ashwood Garvey; from the Pankhursts to comedy legend Victoria Wood the work of women from the north of England has and continues to shape the world we live in today. Yes – we require all films to be 6 minutes or under, to be entirely original dialogue, to not feature brand logos and most importantly, to only use music with the written consent of the performer and/or publisher either personally or via the PRS system https://www.prsformusic.com/ . Relocating to Hong Kong from Dublin, Ava’s on a kind of inverse gap year. Teaching grammar to rich kids, she meets Julian (more than happy to support her financially, but there’s no such thing as a free lunch) and Edith, who provides a much-needed listening ear. Power, privilege and growing up are under the microscope in this excellent debut. V For Victory