Savoy Cabbage painting
From Introduction
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Drawing on feminist and material rhetorics, the authors of Women Making History demonstrate that, by creating postcards, Helaine Victoria Press aimed to do more than provide a convenient writing surface or even affect collective memory; instead, they argue, the press generated feminist memory. The cards, each with the picture of a woman or group of women from history, were multimodal. Pictures were framed in colors and borders appropriate to the era and subject. Lengthy captions offered details about the lives of the women pictured. Unlike other memorials, the cards were mobile; they traveled through the postal system, viewed along the way by the purchasers, mail sorters, mail carriers, and recipients. Upon arriving at their destinations, cards were often posted on office bulletin boards or refrigerators at home, where surroundings shaped their meanings.
Women Making History shows that Helaine Victoria Press’s cards, like the movement from which they emanated, were dynamic and participatory. They were, in short, a multidirectional, open ended, rhetorically evolving process of transforming feminist consciousness. The print edition includes many images from the press’s records, and the digital edition offers additional images plus audio and video clips from press participants.
This is the first book to demonstrate the relationships between the feminist art movement, the women in print movement, and the scholars studying women’s history. Readers will be drawn to both the large quantity of illustrative materials and the theoretical framework of the book, as it provides an expanded understanding of rhetorical multimodality. Scholars of gender and women’s studies, art history, media studies, and the history of rhetoric, as well as members of the public with interests in feminism, Lesbian feminist culture, postcards, fine letterpress printing, and papermaking will be inspired by this richly produced history.
About the authors
Julia M. Allen is professor emerita of English at Sonoma State University.
Jocelyn H. Cohen is an artist, arborist and co-founder of Helaine Victoria Press, Inc.
The complete manuscript of this work was subjected to a fully closed (“double-blind”) review process. For more information, please see our Peer Review Commitments and Guidelines.
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From Introduction
Savoy cabbage oil painting by Jocelyn Cohen, 1973
From Chapter 1
Hand written colophon: “For Connie Marsh 1953-1974. April 3 disappearance from Pico Canyon. I never saw your cow pictures or the scene on your canvas the day in California you were abducted and brutally murdered. Sometime we will take back the night and the day and it will be safe for all women. You were young & talented – your life as your death will always be remembered.”18