Literature Review: Punks and Grrrls: Cutting and Pasting for a More Just World

The production of do-it-yourself media in the form of zines has progressed over time from music fanzines in the 1920s to political punk zines in the 1970s to feminist missives in the 1990s. While the content has changed, the production aspect has little deviated from do-it-yourself cheap and easy. Literature surrounding feminist and punk zines post 1970 has largely ignored close reading of the actual content and focused, instead, on a vague survey of the content. Likewise, we never hear from the creators of zines or the people who read them.

Definition and implications of the word “zine”

Although a small semantic difference, some see the word “zine” as a shortening of magazine (Austin, Licona, Piepmeier), yet Mitchell, Mattson and Fraser argue that “zine” is not a “hipster abbreviation of magazine”, but rather something entirely different; an alternative form of press stemming from fanzines of the 1920s “where like-minded folks avoided isolation by distributing homespun publications about their favorite authors and books.” (Fraser). Likewise, definitions of the term zine vary. While some restrict the medium to print (Fraser, Chidgey), others include digital and online zines (Leblanc, O’Hara). Later research builds on zines through the inclusion of blogs and personal websites. Although for my research, I exclude this research as I intend to focus on zines pre-digital age.

Why create zines?

Creators of zines live on the fringes of society, yet also note that their zines are photocopied on their office printers. Working in an office makes me question just how fringe the authors of zines are (but I digress...). Those who create zines do so because they feel disenfranchised in some way and do not want to or cannot portray their feelings in a traditional format. Nearly all research comes to this same conclusion. Whether it’s the feeling that no one is catering to your sexual identity or your musical tastes, all zines start with the intent to offer an alternative to what is already out there.

By creating photo copied, misspelled and disorganized zines, creators subvert the traditional publishing constraints thereby subverting a culture that they no longer trust nor want to engage in (Triggs, Spencer). Glossy, slick magazines full of advertisements represented the enemy: corporations, materialism, and racial, class and gender hierarchies (Spencer). Professionalism was seen as something not to be trusted. Aesthetics of the establishment are those that which punks sought to subvert. Zine readers can trust the authors because they are peers, fighting for the common goal (whether that goal be political, personal or musical).

While those who write about zines generally agree on the reasons zines were created, some are skeptical about just how subversive zines are. Their limited distribution and availability ensures that zines will not be seen by many. Chidgey argues that those who read zines must then be seeking out the knowledge and are not really deviating from the way they already think and feel. Zines simply reinforce their ideas. Since no one outside of punk or feminist values is exposed to the zines, how subversive can they be? However, Mattson and O’Hara argue that while the readers’ may be in line with the zine authors, they are still exposed to injustices and politics they weren’t previously aware of. Zines may speak to personal issues such as sexual ambiguity, date rape or sexual abuse, which aren’t necessarily subversive, but may expose readers to issues outside of mainstream media.

Content

Creators of feminist zines rebelled against the typically male centric zine cultural arenas of art and music. Women who did not fit into the typical feminist box espouse their alienation from traditional feminism and from society because of their different views conveyed through art activism, music, and zines (Fraser). Licona focuses on zines created by those who are on the fringes of sexuality and race, giving a voice to those who have no representation in mainstream media. Research on feminist zines tends to focus on lesbian and non-heterosexual zines, and to fetishize such publications as a “richly bizarre subspecies” for “garden-variety rabble-rousers who have always been stirring up trouble” (Austin). This doesn’t really do feminist zines justice. It makes them seem tawdry and unimportant, with no real value.

Literature on feminist zines also focuses on the notion of deconstruction of the feminine identity. While Harris contextualizes this view in terms of two perspectives on girlhood dominating media: girls as risk takers and girl power, Fraser and Licona study zines of minorities (be they minorities racially or in their sexuality). Zines are a place for these young women to express themselves in a public way without the fear of surveillance, as their readership will be made up of mostly like-minded people who have to seek out the subject matter as zines are not readily available.

While most zines deal with serious subject matter, zines poke fun at society and employ humor and caricature as a means of subversion. Cartoons and collage provide comic relief and parody leaders, dominant views, and political events (Chidgey, Triggs, Wenzel). Mitchell argues that one important facet of zine creation is that it “reinforces the powerful idea that everyone is an expert on something, and that almost anything can make for an interesting topic”. As such, most zines are created by teenagers and those in their early twenties, who are not traditionally considered experts (Harris, Duncombe, LeBlanc). Zines are a space for them to explore their expertise, politics, feelings and receive feedback from readers.

Traditional avenues of print media make money through advertising (subscriptions often yield meager earnings). Zines reject this notion and exist not to make money, but to spread messages. Many zines are distributed free of charge to readers, but leave the creator(s) broke. As such, distribution can be spotty and production value is very low. Even in the digital age, zines are usually printed as this promotes human interaction through the distribution and allows readers a tactile experience, which zine creators see as more valuable and rewarding that looking at something through a screen.

Chidgey questions whether zines and those who create them are being truly subversive or just playing into a different kind of political economy. However, Harris argues that grrrl zines achieve subversion by undermining the marketability of girls and girlhood. Licona argues that feminist zines reverse the gaze to the audience who then is tasked with reviewing their own notions of beauty, sexuality, and feminism.

Anonymity

Both feminist and punk zines employ an amount of anonymity, which can be very freeing to the content of their publications. In the 1970s, punk zinesters published under assumed names and published articles detailing how to steal food, how to get on the dole and where to squat without being caught (O’Hara, Mattson,Triggs). Anonymity was a concern for them because they were engaging in illegal activity and documenting it, which could get them into some sticky legal situations. Without pen names, the authors would have to censor themselves and their material.

Research on feminist zines paints a different picture of anonymity. Rather than avoiding legal repercussions by using pen names, feminist zinesters remain anonymous to allow themselves the freedom to discuss what many consider taboo topics of sexual experiences, sexual ambiguity, rape, incest and other socially charged issues. Research on the topic posits that where women frequently police themselves, zine anonymity give them an opportunity to be completely free without fear of being found out (Harris, LeBlanc).

What’s Missing

One major question I had while reading through the research on zines was who is reading this? While I understand that it may be difficult to find records of who the readers are since there are probably few, if any, subscription records, but I think it’s a valid area of study that’s largely ignored by the research. Mitchell does address readership to some extent, but her thoughts are largely hypothetical. Her example is that someone interested in an academic topic may turn to zines rather than scholarly work for a less intimidating experience on the subject. I also noticed that there is far more literature on feminist zines than punk zines. This makes sense since there is just far more literature and study done on feminism than punk, but I also think that punk zines are a really valuable and overlooked medium.

The politics of such zines can be hugely controversial. I remember reading a zine when I was teenager, which detailed how to make a bomb using household chemicals and how to perform your own abortion with a cocktail of different herbs. While I never tried either method, it amazes me that the Anarchist Cookbook could get so much media attention, while these stapled pamphlets were largely ignored. Even post-Columbine when schools were full of security guards and metal detectors, zines slipped through the cracks.

Where I come in

As a once-upon-a-time comparative literature major, I’ve always loved digging deeper into texts. I would like to do a closer reader of zines, focusing on the words and pictures that make up this medium. Yet, I wouldn’t want to take some ivory tower approach in which I presume to be able to figure out some overarching meaning. If possible, I’d also like to ask some questions of zine creators and their readers. Who reads zines? Who subscribes to zines? Are zines truly subversive or are they simply reinforcing the readers’ current ideas? For my research, I’d hope to create a story about zines rather than a simple overview. Chidgey interviewed zinesters for her research and I feel like this gave her writing a much-needed injection of knowledge that others had largely ignored. I would also like to look more at the design aspect of zines. While I read that feminist zines are often decorated in a traditionally “girly” way with stickers, glitter and lots of pink, I haven’t seen any. Harris argues that such decoration masks the true content of the zine thereby making it appear cute and frivolous to outsiders, who would then take no interest in the writing. I’d like to look into this some more and make my own conclusions.

O’Hara’s “The Philosophy of Punk” recounts the early punk zines and talks of the zine infection that overtook punk rockers of the early 80s. O’Hara is quick to point out that there is no objectivity in the zines, setting them apart from other traditional print mediums. Punk zines made no attempt to appeal to mainstream media, instead preferring to focus on what the individual wanted to see and felt was under-represented. Focusing specifically on Maximum Rock and Roll, a punk zine from the 1980s, O’Hara is one of the few researchers who really break down the message and motivation in creating the zine. MRR sought to fight against racist skinheads, connect people and move people towards positive action by creating a radio station, mail-order distribution center and a punk venue. O’Hara goes on to talk about two other radical punk zines in detail. I would like to take this model and go forward with it as it takes not only the zine itself into consideration but also the words of the creator.
Works Cited

A. Spencer, DIY: The Rise of Lo-Fi Culture , Marion Boyers, 2005, p.195-6.

Works Cited

Austin, Bryn. "The irreverent (under)world of 'zines." Ms. 3.4 (1993). Print.

Chidgey, Red. "Free, Trade: Distribution Economies in Feminist Zine Networks." Signs Autumn (2009). Print.

Fraser, M. "Zine and Heard:fringe feminism and the zines of the third wave." Feminist Collections 23.4 (2002): 6-11. Print.

Harris, Anita. "GURL Scenes and Grrrl Zines: The Regulation and Resistance of Girls in Late Modernity." Feminist Review 75 (2003): 38-56. Print.

Leblanc, Lauraine. Pretty in Punkgirls' gender resistance in a boys' subculture. Piscataway: Rutgers Universtiy, 1999. Print.

Licona, Adela. "(B)orderlands’ Rhetorics and Representations: The Transformative Potential of Feminist Third-Space Scholarship and Zines." NWSA Journal 17.2 (2005): 104-29. Print.

Mattson, K. "Did Punk Matter?" American Studies (2001): 1-29. Print.

Mitchell, Tracey. "Better zine than herd: the underground politics of do-it-yourself media." Briarpatch 4.36 (2007): 21-23. Print.

O'Hara, Craig. The philosophy of punk: more than noise. New York: AK, 1999. Print.

Piepmeier, Alison. Girl Zine: Making Media, Doing Feminism. New York: NYU, 2009. Print.

Schilt, K. "" I'll Resist with Every Inch and Every Breath": Girls and Zine Making as a Form of Resistance." Youth Society 35.1 (2003): 71-97. Print.

S. Duncombe, Notes From the Underground: Zines and the Politics

of Alternative Culture, Verso, 1997 , 11.

T. Triggs. "Scissors and Glue: Punk Fanzines and the Creation of a DIY Aesthetic." Journal of Design History 19.1 (2006): 69-83.

Wenzel, John. "Punk zine happily defies digital age." Denver Post [Denver] 28 Aug. 2009: D1-D1. Print.