But welcome to this Friday event with Liza Donnelly.

I'm really excited that she was willing to come on today.

Liza is a writer and a cartoonist, and one of my favorite people.

She is incredibly prolific.

She writes daily at seeing things, which is a substack publication, to which I subscribe,

and here's the secret that she doesn't know. I don't always open her cartoons because I love

that they're waiting for me when I can't face the world. And she has this incredibly light

touch with very serious subjects that I find is really helping me

getting through these days. But she's done more than that and is doing more than that. One of the

things we're going to be talking about is her new documentary, women laughing, and somewhere

there will be a link to a Kickstarter, or at least we'll tell you how to contribute

to that in a Kickstarter and that is based on a book called a very funny ladies new yorkers women's

cartoonists and so i'm hoping today that we can talk about what it meant to be a women's cartoonist

in the 20th century primarily primarily through the New Yorker,

where Liza appears as well. Because when we talked about this in the past, we did an event

together a year ago. When we talked about it in the past, you know, I don't think I had really

focused on the degree to which getting into the cartooning world for women in the New Yorker and in the 20th century was such an incredible uphill battle.

In part because the New Yorker was not bad about introducing female writers like Shirley Jackson, for example, or Dorothy Parker. You know, there were a number of female writers like Shirley Jackson, for example, or Dorothy Parker.

You know, there were a number of female writers that were frequently in The New Yorker.

But the cartoonists were a really different story, right?

Well, yes and no.

I think the New Yorker started out as an equal opportunity, basically, a employer.

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