Women, Writing and Freedom

“A word after a word after a word is power.” – Margaret Atwood

This poignant and all too necessary event was hosted by Linen Press and the Contemporary Small Press on Thursday 19th October at the University of Westminster’s Regent Street Campus. Celebrating women’s writing and the achievements of the press and its writers, the event also delved into the complex struggles and injustices facing women and their writing in the current publishing climate.

Lynn Michell, the founder and director of Linen Press, welcomed us all and began the evening by sharing some of the home truths and hard facts about women writers in the publishing industry. She asked: “How do we get books into the big stores without paying them to sell the books?” Shedding light on the difficulties of gaining recognition in mainstream bookstores, when the fees for production are inordinately high, meaning that authors rarely see a profit from their labour of love. Male writers often take home book prizes and gain greater recognition for their work than both women and minority writers; therefore, publishers often do not want to take the ‘risks’ attached to publishing female writers and will not consider their work. Michell mapped out the lay of the publishing land for women, and the reality of how disparate the landscape is between female and male authors truly hit home – there is still so much work to be done in order to enable women to thrive in the publishing industry.

The keynote speaker, Maureen Freely, a writer, translator and senior lecturer at the University of Warwick, spoke of the often-neglected area of publishing translated works in the UK, particularly those written by women, as the works of male writers are more frequently translated. Freely is currently the president of English PEN, an organisation that campaigns for at-risk writers around the world whose rights to freedom of expression have been censored. English PEN’s inspirational work fights to remove inequalities in the literary world, facilitates the translation of foreign works into English and promotes such work in the UK, introducing UK readers to impeccable foreign works. Commercial censorship was highlighted as a huge and ongoing issue that shapes what writers say and, in turn, what readers are able to read. Freely gave the example of when a writer known for writing chick-lit was unable to publish work with themes around depression or anything “too dark”. Freedom of expression and writing are indivisible, which led Freely to help at-risk writers around the world, with a focus on women in Turkey who are currently either being imprisoned for their writing or are unable to work due to the risks of hiring them as writers. Their freedom to express themselves has been greatly impinged, costing them their writing, passion and voices as feminist activists, journalists and writers, and equally their own personal freedom to remain a part of their society. Freely has regularly contributed to the Observer, the Guardian and the Independent, and is hugely invested in writing on feminism and Turkish culture, where her written work complements her activist work by helping to assist these women writers in the process of gaining asylum in the UK and joining a community of writers, so that they can continue to speak out against the inequality and injustices they are facing.

Freely also shared with us the exciting news of the inaugural Warwick Prize for Women in Translation, which will be awarded on 15th November 2017, and aims to provide an opportunity for greater recognition of the invaluable work produced by women. The prize was set up for works of fiction, poetry or non-fiction by women, which have been translated into English by a female or male translator, published by a UK or Irish publisher, and translated and published between April 1st, 2016 and March 31st, 2017.

Women Writing Freedom
Hema Macherla, Avril Joy, Lynn Michell, Maureen Freely.  Photograph courtesy of Linen Press

Avril Joy, an awarding-winning short story writer and novelist, took us back to her years of teaching and management at a women’s prison, where she learnt the power of imagination, both for these women and for herself, when the writer-in-residence inspired her and prompted her own journey as a writer. Joy initially outlined the context of working at the prison – men would rarely visit the women and, therefore, letter writing and forms of writing in general quickly became a necessary and sought-after skill. More importantly, Joy found that these women were desperate to learn and hungry to thrive in ways that they had not had the opportunity nor freedom to before. It was strange to think that prison would in many ways provide a previously unknown freedom for these women, but within Joy’s cupboard-sized classroom, she was met with a desire to gain more from life, and writing became a way to explore this. Joy remarked that she often heard the women say that “they can lock me up, but they can’t lock up my mind” – a pertinent statement that may resonate with many women who may feel oppressed, their voices unheard and their freedom censored by a society that still retains double standards. Joy gave these women the permission to write their own stories, to voice their own lives and find power in imagination, a power they had so often been unable to access. Whilst many may have been victims in their lives, through the ability to voice themselves creatively, they started to recognise themselves as survivors, changing their relationships to themselves. Ultimately, Joy urged us, like those women in prison, to use whatever voice we have to tell our stories, and to survive.

Hema Macherla, an Indian writer whose works have been translated into English, poignantly articulated her own journey with writing, as well as the injustices faced by women in India when they do not conform to the male-instigated and deep-rooted traditions of Indian culture. It is shocking to realise how much is still needed in order to gain equality and justice for women in India, when men are still ‘justified’ in beating their wives, and the coercion into and practice of Sati (a funeral custom in which a wife immolates herself after the death of her husband) was only banned in its entirety in 1988 by the Sati Prevention Act. Women are struggling to have their voices heard and their freedom granted, since these brutal experiences often go undocumented or unspoken, as they are simply part of the way things are in India, and so Macherla bravely writes of these women within her novels. In her writing, she creatively expresses the cruel and shocking reality of a culture that still subordinates women and justifies the brutal actions against them through a hierarchical system of valuing men, their position and their rules, above the rights of women.

Michell closed this insightful and thought-provoking event by congratulating and thanking her writers and interns who make the work at Linen Press such a pleasure and inspiration. The audience then had the wonderful opportunity to view the trailer for her newly published novel, The Red Beach Hut, which is available online to purchase. It is a beautiful and sensitive portrayal of two lost souls who find themselves pacing along a beach together in a moment of their lives in which they both need a friend, someone who will be out-of-sync with them. To finish the event, we celebrated ten years of Linen Press over glasses of wine and had the opportunity to continue the thoughtful, powerful and much needed discussions with the event’s speakers.

Review by Isabelle Coy-Dibley

Isabelle Coy-Dibley is a PhD student at the University of Westminster, where her research predominantly considers inscriptions of the female body within women’s experimental writing.

Women Writing Freedom Books
Women, Writing and Freedom.  Photograph courtesy of Linen Press

Women, Writing and Freedom

Linen Press in collaboration with The Contemporary Small Press 
Keynote talk by Maureen Freely, President of English PEN.

‘A word after a word after a word is power.’ Margaret Atwood

In a masculine centred literary tradition that values male over female voices, women refuse to be silenced and continue to tell the truth about their personal and political lives. Join us in exploring the politics of silence and in honouring the voices of women writers everywhere who, despite repression and invisibility, risk all to give voice to the need for liberation and freedom.

Thursday 19th October
17.30 – 19.30
University of Westminster
309 Regent Street


Keynote speaker Maureen Freely on the crucial work done by English PEN and like-minded partners, with particular reference to women writers.

Hema Macherla on the plight of Indian women – fallen women, broken women and women shunned by society.

Avril Joy on working for over twenty-five years with women writers in HMP Low Newton.

Lynn Michell on publishing women writers. She is here to celebrate ten years of Linen Press and to launch The Red Beach Hut.

This event is hosted by Linen Press – a small, independent press run by women for women – and the Contemporary Small Press, which aims to promote, explore and facilitate the work of small press publishers of fiction and poetry.

Freedom of Movement

Freedom of Movement
The Secret of Good Posture comes in the form of two altered pamphlets depicting ‘the relationship between twenty first century freedom and personal postures.’  The pamphlets employ a variety of Oulipian constraints and textual processes in altering the found text to generate new possibilities for engaging with and understanding the text.
The two pamphlets speak not only to the original found-text pamphlet but, because they are an aesthetically matching pair, also operate in dialogue with one another.  In what appears to be the most lightly altered iteration, the writers interpose ideas about freedom of information, freedom of speech and personal freedom with anatomical and postural freedom.
‘Freedom of information also contributes to good appearance: the person with good freedom of information projects poise, confidence, and dignity.’
Questioning the concept of what ‘freedom’ might mean in each context and creating dynamic semantic exchanges with statements such as ‘The secret is about freedom, which can be an important part of the quality of your life’ and ‘Freedom is important because it helps your body function at top speed’, the text asks questions about what we mean when we talk about freedom, what freedom means to us personally, and what it might mean in relation to us as physical, embodied beings. Engaging semantic multiplicities through contextual reframing of the word ‘freedom’, we are asked to consider the impact of our freedom, or lack thereof, on the bodies and lives we take for granted. This text challenges us to consider how our ‘freedoms’, or limits to our freedoms, directly intervene in our physical health and wellbeing. By considering freedom of information, freedom of speech and personal freedom in relation to physical posture and overall wellbeing, we are invited to start making connections between ourselves as individuals and the society within which we function, a society which may either grant or restrict our freedoms according to its edicts.
In conjunction, the pamphlet with the most radically altered text uses a range of constraints and processes to destabilise semantics beyond any meaningful significance – the effect of which, as well as being very funny in places, also calls into play various unexpected associations and semantic resonances between the two altered versions, the assumed intention of the original pamphlet, and our newly-broadened understanding of the meaning of freedom and the meaning of meaning, both in relation to our own bodies and in relation to the wider social context.
Beginning ‘Stand up straight! Don’t sluice!’ the text replaces various nouns with dictionary-based alternatives in what appears to be an n+7 constraint, enlightening us with the statement that ‘Good freedom is important because it helps your boiler fungicide at torch spender’.  To check our freedom of ‘pothole’ we should ask, ‘Is your headlamp held straight? … Do your knobs faction straight ahead?’ Text with lengthy noun-strings moves further and further from fluid syntactic meaning, such as ‘Throughout each deadbeat, concertina on keeping your three natural backfire cutbacks in balanced alleyway’.
This text generates multiple semantic possibilities with the ways that it brings words into unexpected associations with one another and with the various other iterations of the pamphlet text. It questions the ways we use words, sentences and texts to construct supposedly transparent syntactic meaning, and provides us with alternatives that energise the resonant qualities of words in a variety of ways through new associations and dialogues. It also playfully undermines the notions of freedom constructed in its paired pamphlet by undermining and proliferating the capacity of words to mean.
Reproduced from what appears to be a found text original, including informational diagrams and slim pamphlet shape, these two texts in an open dialogue with their third – unseen – counterpart invite us to consider in both humorous and powerful ways the freedoms we take for granted and the many unconscious ways these may impact upon us all.


Paul Hawkins is a Bristol-based poet/word-processor. His most recently published work is in the experimental text/collage protest of Place Waste Dissent (Influx Press 2015). He collaborates with bruno neiva, and they co-authoured Servant Drone (KF&S Press 2015). www.hesterglock.net

Bruno Neiva is a Portuguese text artist and poet. His work is also featured on the PO.EX – Digital Archive of Portuguese Experimental Poetry and he co-runs the artist’s books and e-chapbooks faux publishing house umaestruturaassimsempudorreedições with graphic artist bárbara mesquita. www.brunoneiva.weebly.com

About the Publisher:
Team Trident Press is a not-for-profit publishing team that publishes and prints ‘meaningful words and images’ and is dedicated to eco-friendly printing.  All publications are risosgraph, hand-made products, distributed online, locally and internationally.
Review by Sally-Shakti Willow

Sally-Shakti Willow is researching for a practice-based PhD in utopian poetics and experimental writing at the University of Westminster, where she also works as research assistant for the Contemporary Small Press.  Sally’s poetry is included in the #NousSommesParis anthology from Eyewear Books; the experimental collection The Unfinished Dream by Sally-Shakti Willow and Joe Evans was published by Sad Press in October 2016.  @willowwriting