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) 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. 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 Figure 1.1. Fragment of a broadside on the Popish and Meal-Tub Plots and other events of the time; with eight of twelve scenes: Popish Damnable Plot against Our Religious and Liberties, Lively Delineated in Several of Its Branches, With an Account of the Manner of the Execution of William Viscount Stafford on Tower-Hill. London, 1680. Reproduced by permission from the British Museum.

Kelly O’Sullivan, senior print and publications manager, Sainsburys Argos, and founder of the Victoria Print Network At a time when funny books are needed more than ever, writers longlisted in the Published Comic Novel category are: First in the Fight is published by iNostalgia, an independent publishing company based in Manchester that specialises in books that make social history engaging to all through images and memories. Its publication is supported by Metrolink and Weightmans solicitors. Emily Williamson by Sarah Wilson Kathleen Ollerenshaw by Alex Francis The Book Launch

In broadsheet newspapers, new books by men received 12 per cent more review coverage than those by women. And comparable books published at the same time by Neil Gaiman and Joanne Harris, and Matt Haig and Rowan Coleman, proved the men had widespread coverage when launched, while the women had much less. Eleven aspiring novelists are also longlisted in the Unpublished Comic Novel category. A surprise Game Changer Award will be presented to echo Jilly Cooper’s Lifetime Achievement prize last year.

Figure 8.2. Design for an Irish-themed Greeting Card, Elizabeth C. Yeats (Cuala Press Archive). Image courtesy of the Board of Trinity College, Dublin. Yolande Bonhomme was another prominent woman printing in Paris. She began printing on her own following her husband’s death in 1522. Estimates of her output range from 136 to 200 publications before her death in 1557. In 1526, she became the first woman to publish the Bible and she later joined forces with Charlotte Guillard to demand better quality paper from the papermakers’ guild.All of them made me laugh and laughing is the most wonderful thing right now,” said Keyes. “I am absolutely delighted with our list. The range is glorious – everything from lighthearted commercial fiction to literary fiction – from established names to new talent.” Figure 9.1. Advertisement for Votes for Women. Image courtesy of Schlesinger Library, Radcliffe Institute, Harvard University. ←x | xi→ Caroline Archer-Parré is Professor of Typography, Co-director of the Centre for Printing History and Culture at Birmingham City University, and Chairman of the Baskerville Society. With an interest in typographic history from the eighteenth to twentieth centuries, Caroline has published widely. She is the author of three books, contributes to numerous journals and writes regularly for the trade and academic press.

Sutanto started out writing dark suspense, and says her friends would tell her that her characters were “too flippant about murder”. “The Aunties can be very flippant, as long as I have the main character as the normal person who is going out of her mind. So the comedy actually came very, very naturally, which was really great,” she said. After a bidding war, the novel is being adapted by Netflix, which describes it as Crazy Rich Asians meets Weekend at Bernie’s. The day is marked globally on 8 March, and aims to celebrate the social, economic, cultural and political achievements of women. It also marks a call to action for accelerating gender parity. TRAVEL: The University of Birmingham is accessible by train, bus, car, bicycle and on foot. Directions and maps can be found HERE. The acceptance of remote and more flexible working enforced by the pandemic certainly creates a working environment that women - as the most traditional carers of children and elderly parents - can thrive in. The 9-5 routine with daily commute has morphed into a more fluid work day where women can more easily balance the demands on their time. One can only hope that the tradition of full-time office working does not re-emerge and that more flexible arrangements will continue for women to stay in the workplace for longer and therefore further their careers.” From Print to Process: Gender, Creative-Adjacent Labour and the Women’s Print History Project (Kandice Sharren and Kate Moffatt)

Biographical notes

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! LIGHTNING TALKS: Rosa Smurra, Women's contribution to manuscript textbook production in thirteenth and fourteenth centuries: Bologna compared with other medieval university towns; Artemis Alexiou, ‘Women editors, proprietors, activists of the late nineteenth-century feminist periodical press: Henrietta Müller and the Women’s Penny Paper / Woman’s Herald (October 27, 1888 – April 23, 1892); Amy Clarke, Printing innocence: the publications and public influence of Margaret Caroline Rudd 1775-89; Shoshana Kessler, Printing as paratext? questions of authorship and authority in little magazines and small presses.

I am supportive of Women’s Day, and recognise its importance in celebrating the achievements of women, however I personally have been exceptionally fortunate to be in an industry, and worked for two key players in that industry, St Ives and CPI, who have not made gender an issue, in any way. I won’t pretend it hasn’t been challenging balancing working and bringing up my daughter, however the support I got made it possible for me to succeed. The series editors of Women in Print 1 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 was keen to publish an edited book in two volumes on the subject as part of its ‘Printing History and Culture’ series. Our main thanks are due to the volume editors, Dr Artemis Alexiou and Dr Rose Roberto, who oversaw this complex project from inception to completion, and all the individual contributors who were actively involved throughout this journey. Women in Print 2 reflects the efforts and expertise of many people. We hope that the publication justifies their commitment and not only provides ←xi | xii→ a reflection of the importance of women in print but also encourages further research into the history of women in the printing trade.

Summary

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 Figure 10.2. 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.