Abstract
Janice Radway unearths the story of how a form of countercultural communication and indie art entered one of the key institutions of American book culture—the library. Tracing the efforts that American librarians undertook in the 1990s to collect zines—ephemeral handcrafted publications that typically combine image and text to espouse idiosyncratic or politically dissident views—Radway interprets the interest of US “book custodians” in zines as an index of their dissatisfaction with the commercialization and homogeneity of mainstream book culture. Conceptualizing zines as an early form of networked communication, Radway urges us to examine the economic, social, and political power dynamics shaping US book culture and the literary marketplace as well as to ask how the book as a “social form” may contribute to a genuinely democratic culture.
I would like to thank Carl Kaestle, Wayne Wiegand, James Danky, Christine Pawley, Jenna Freedman, Alycia Sellie, and Kelly Wooten for their intellectual engagement and friendship over the years and for the many ways in which they have inspired and enabled my interest in librarians and librarianship as well as in alternative literatures and underground communication. I have learned much from their work. Gratefully, I want to acknowledge their influence here and especially note the impact of their writings and our conversations over the years on this particular paper.
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- 1.
Zines are nearly always characterized as DIY, that is, as “do-it-yourself” publications. For a discussion of the meaning of DIY production as a critical part of underground culture, see Stephen Duncombe, Notes from Underground: Zines and the Politics of Alternative Culture (London, Verso, 1997), 105–130. See also Amy Spencer, DIY: The Rise of Lo-Fi Culture (London: Marion Boyars, 2005).
- 2.
For additional discussion of this point, see Janice A. Radway, “From the Underground to the Stacks and Beyond: Girl Zines, Zine Librarians, and the Importance of Itineraries through Print Culture,” in Libraries and the Reading Public in the Twentieth-Century, edited by Christine Pawley and Louise S. Robbins (Madison: University of Wisconsin Press, 2013), 237–259, 237–40. My thinking on this issue has, of course, been influenced by the work of Pierre Bourdieu, Roger Chartier, and especially D.F. McKenzie in Bibliography and the Sociology of Texts (Cambridge: Cambridge University Press, 1999).
- 3.
The question “what’s a zine?” prefaced nearly all early writing about the form, both popular and scholarly. This was the case not only because the form was largely unknown outside underground circles, but also because it proved so hard to define given its reliance on mixed materials and the centrality of its modes of production and circulation to understanding it. On this issue, see Radway, “Zines Then and Now: What Are They? What Do You Do with Them? How Do They Work?,” in From Codex to Hypertext: Reading at the Turn of the Twentieth Century, edited by Anouk Lang (Amherst and Boston: The University of Massachusetts Press, 2012), 27–47. In addition, for a somewhat differently inflected account of the relationship between zines and print culture, see Radway, “From the Underground to the Stacks and Beyond.”
- 4.
The single best book on zines as an emanation of the punk underground is still Stephen Duncombe’s Notes from Underground. Since the publication of his book, a vast literature on zines has developed, much of it focused on so-called “girl zines,” the subject of the book project from which this paper derives. That project’s working title is Girls, Zines, and Their Travels: Subjectivity and Social Form in the 1990s and Beyond. Some of the writing on zines that I have found most useful, in order of publication are: Julie Chu, “Navigating the Media Environment: How Youth Claim a Place Through Zines,” Social Justice 24, no. 3 (1997): 71–85; V. Vale, “Slant: An Interview with Mimi Thi Nguyen,” in V. Vale, Zines! Vol. II (San Francisco: V/Search, 1997) 54–65; Sabrina Margarita Alcantara-Tan, “The Herstory of ‘Bamboo Girl’ Zine,” Frontiers: A Journal of Women Studies, 21, no. 1–2 (2000): 159–170; Michelle Comstock, “Grrrl Zine Networks: Re-Composing Spaces of Authority, Gender, and Culture,” in JAC 21, no. 2 (Spring, 2001), 383–409; Michele Knobel and Colin Lankshear, “Cut, Paste, Publish: The Production and Consumption of Zines,” in Adolescents and Literacies in a Digital World, ed. by Donna E. Alvermann (New York: Peter Lang, 2002); Kristin Schilt, “‘I’ll Resist with Every Inch and Breath’: Girls and Zine Making as a Form of Resistance,” Youth and Society 35, no. 1 (2003): 71–97, and “‘The Punk White Privilege Scene’: Riot Grrrl, White Privilege, and Zines,” in Different Wavelengths: Studies of the Contemporary Women’s Movement, ed. Jo Reger (New York: Routledge, 2005), 39–56; Adele Licona, “‘(B)orderlands’ Rhetorics and Representations: The Transformative Potential of Feminist Third Space Scholarship and Zines,” NWSA Journal, 17, no. 2 (2005): 104–29; Red Chidgey, “Riot Grrrl Writing,” in riot grrrl, revolution girl style now!, ed., Nadine Monem (London: Black Dog Publishing, 2007); 100–144; Alison Piepmeier, Girl Zines: Making Media, Doing Feminism (New York: NYU Press, 2009).
- 5.
The commentary on the riot grrrl movement has been vast and continues to explode. For informative introductions to the movement written by young women who themselves became involved and later sought to advocate for the significance of the movement, see Caroline K. Kaltefleiter, “Revolution Girl Style Now: Trebled Reflexivity and the Riot Grrrl Network,” (PhD diss., Ohio University, 1995) and the various essays contained in Nadine Monem, ed., riot grrrl; revolution girl style now!, op. cit. and Sara Marcus, Girls to the Front: The True Story of the Riot Grrrl Revolution (New York: Harper Perennial, 2010). For an additional but not exhaustive list of further citations on the subject, see Radway, “Girl Zine Networks, Underground Itineraries, and Riot Grrrl History: Making Sense of the Struggle for New Social Forms in the 1990s and Beyond,” Journal of American Studies 50, no. 1 (2015): 1–30.
- 6.
Mike Gunderloy, “Where the Action Is: The Small Press in America,” Whole Earth Review, 68, September 22, 1990, 58.
- 7.
Julie Bartel, From A to Zines: Building a Winning Zine Collection in Your Library (Chicago: American Library Association, 2004).
- 8.
Zine Librarian Zine was the creation of Greig Means, formerly Director of the Independent Publishing Resource Center in Portland, Oregon. Lower East Side Librarian and Winter Solstice Shout Out was the creation of Jenna Freedman, Associate Director for Communications and Zine Librarian at the Barnard Library and Academic Information Services. Freedman was the founder of the Barnard zine collection. For her original proposal to create the library see https://zines.barnard.edu/proposal. Freedman is well known within the larger zine community for her writings, activism, and blogging on behalf of zines and zine-ing. The Borough Is My Library was the creation of Alycia Sellie, who established the Brooklyn zine collection while serving as a librarian at the Brooklyn College Library. Formerly, as a graduate student at the School of Library and Information Studies at the University of Wisconsin, Sellie founded the Madison, Wisconsin zinefest and established the Library Workers Zine Collection at the School of Library and Information Studies (SLIS), which has been renamed The Information School. For information on the collection, see https://www.library.wisc.edu/slis/collections/zine-collection/. Sellie’s “Meta-Radicalism: The Alternative Press by and for Activist Librarians,” in Libraries and the Reading Public, ed. Pawley and Robbins, has enriched my thinking about zines and librarians. My argument in this essay is heavily indebted to her work.
- 9.
For information on the founding, history and concerns of the (un)conference, see http://zinelibraries.info/events/zine-librarian-unconferences/
- 10.
For the Code of Ethics, see http://zinelibraries.info/category/code-of-ethics/
- 11.
For an account of this text, see the website for The Book of Zines: Readings from the Fringe, edited by Chip Rowe, at http://www.zinebook.com/index.html
- 12.
Mike Gunderloy and Cari Goldberg Janice, eds., The World of Zines: A Guide to the Independent Magazine Revolution (New York: Penguin, 1992).
- 13.
The list of those attracted to zine publication comes from Gunderloy’s foreword to Why Publish? (2), where he continued, “The small press shares an ethic of mutual aid and community building with the best of the anarchist projects. Perhaps that’s the best reason to publish: because it is the right thing to do.”
- 14.
On the problem of thinking “authorship,” see Roland Barthes, “The Death of the Author,” in Image, Music, Text, trans. Stephen Heath (New York: Hill & Wang, 1977), 142–47; and Michel Foucault, “What Is an Author?,” in Language, Counter-Memory, Practice: Selected Essays and Interviews, ed. and trans. by Donald F. Bouchard (Ithaca: Cornell UP, 1977), 113–37. On the constitution of the bourgeois subject, see C. B. MacPherson, The Political Theory of Possessive Individualism: Hobbes to Locke (Oxford: Oxford University Press, 1962). On the early history of copyright law and its relationship to the book industry, see Mark Rose, Authors and Owners: The Invention of Copyright (Cambridge: Harvard University Press, 1993). On copyright and its relationship to eighteenth century notions of aesthetic and authorial genius, see Martha Woodmansee, The Author, Art, and the Market (New York: Columbia University Press, 1994).
- 15.
Chip Rowe, ed., The Book of Zines: Readings from the Fringe (New York: Henry Holt, 1997), xii. Here, Rowe seems to admit warily that strangeness and the non-normal can be disturbing. Zines, on the other hand, make weirdness merely oddball rather than truly threatening.
- 16.
V. Vale, Zines! Vol. I (San Francisco: V/Search, 1996), 4. See also V. Vale, Zines! Vol. II (San Francisco: V/Search, 1997).
- 17.
For additional reflections on the performativity of zines, see Radway, “Zines Then and Now.”
- 18.
For important accounts of the history of American libraries, see Wayne Wiegand, Part of Our Lives: A People’s History of the American Public Library (New York: Oxford University Press, 2015) and Irrepressible Reformer: A Biography of Melvil Dewey (Chicago: American Library Association Editions, 1996). See also “The American Public Library: Construction of a Community Reading Institution,” in A History of the Book in America, Volume 4, Print in Motion: The Expansion of Publishing and Reading in the United States, 1880–1940 (Chapel Hill: University of North Carolina Press, 2009), 431–51. In addition, see Abigail Van Slyck, Free to All: Carnegie Libraries & American Culture (Chicago: The University of Chicago Press, 1995). As noted previously, my account of the activities of radical librarians owes much to Alycia Sellie, “Meta-Radicalism: The Alternative Press by and for Activist Librarians.” I am also indebted to the work of Kate Eichhorn, The Archival Turn in Feminism: Outrage in Order (Philadelphia: Temple University Press, 2013) and the volume edited by Lyz Bly and Kelly Wooten, Make Your Own History: Documenting Feminist and Queer Activism in the 21st Century (Los Angeles: Litwin Books, LLC, 2012). On James Danky, see Chris Dodge, “Collecting the Wretched Refuse: Lifting a Lamp to Zines, Military Newspapers, and Wisconsinalia,” Library Trends 56, no. 3 (2008), 667–77; Juris Dilevko, “An Alternative Vision of Librarianship: James Danky and the Socio-cultural Politics of Collection Development,” Library Trends 56, no. 3 (2008), 678–704; Michaele Bradford, “Jim Danky Talks about Zine Culture,” Counterpoise 11, no. 2 (2007), 47–54. On Sanford Berman, see Chris Dodge and Jan DeSirey, Everything You Always Wanted to Know About Sandy Berman But Were Afraid to Ask (Jefferson: McFarland, 1995).
- 19.
Chris Dodge, “Pushing the Boundaries: Zines and Libraries,” Wilson Library Bulletin, May 1995, 26.
- 20.
Ron Chepesiuk, “The Zine Scene: Libraries Preserve the Latest Trend in Publishing,” American Libraries 28, no. 2 (1997): 68–70.
- 21.
Sellie, “Meta-Radicalism,” 220, 227
- 22.
Celeste West, Booklegger’s Guide to The Passionate Perils of Publishing (San Francisco: Booklegger Press, 1978), 1. On the importance of West’s work to the history of radical librarianship, see Sellie, “Meta-Radicalism,” 222–224. See also Celeste West, Elizabeth Katz, et al., Revolting Librarians (San Francisco: Booklegger Press, 1972).
- 23.
I differ slightly here from Sellie’s claims about the relationship between librarians and zines. She certainly does place this relationship in the context of the radical librarians’ efforts to diversify library collections and to open them up to marginal and dissident views. However, she also suggests, following arguments made by Alison Piepmeier and Jenna Freedman, that “zines are appealing because they are physical objects that show evidence of personal lives through smell, creases, and other traces of DIY construction.” While this is certainly true, and even now, many zine librarians, along with zine producers and readers, continue to value their handcrafted nature, it seems to me that it was actually the dissident, outsider nature of the entire communicative corpus of zines, the zine scene, if you will, that marked the form as worthy of inclusion in library collections for those with radical sympathies.
- 24.
Meredith L. McGill, American Literature and the Culture of Reprinting, 1834–1853 (Philadelphia: University of Pennsylvania Press, 2003). It is essential to point out here that many zinesters have had a highly critical relationship to copyright doctrine and practice. This can be seen in their fugitive, cut’n’paste appropriations from printed, copyrighted texts, in their commonplace invitation to readers to re-copy and re-use whatever has been included in their zines, and in their occasional referencing of copyleft doctrine. For a vigorous account of the relationship between DIY cultural production, copying, circulation, and radical communication, see Alex Wrekk, stolen sharpie revolution: A DIY Zine Resource (Portland: Microcosm Publishing, 2005). On the challenges the technology of the copy machine has posed to dominant legal, political, and aesthetic regimes, see Kate Eichhorn, Adjusted Margin: Xerography, Art, and Activism in the Late Twentieth Century (Cambridge: MIT Press, 2016).
- 25.
As Chartier notes in The Order of Books, “works are produced within a specific order that has its own rules, conventions, and hierarchies, but they escape all these and take on a certain density in their peregrinations—which can be a very long time span—about the social world.” What I am attempting to do here is to think about the two different orders of books that produce printed books and zines and, especially, in the case of the latter, to try to understand the meaning of zines’ social peregrinations over time and through different cultural spaces, which Pierre Bourdieu has theorized as the field of cultural production. See Roger Chartier, The Order of Books (Stanford: Stanford University Press, 1993) and Pierre Bourdieu, The Field of Cultural Production, ed. by Randal Johnson (New York: Columbia University Press, 1994).
- 26.
On these questions, see the statement of purpose of The Progressive Librarians Guild, http://www.progressivelibrariansguild.org/content/purpose.shtml
- 27.
See Van Slyck, Free for All, 44–64.
- 28.
It is important to note here that zines are being collected, preserved, and circulated by a range of libraries, some public and some not, as well as by independent printing and publishing resource centers, community centers, and radical info shops. Generally, these are not run by professionally trained librarians, but by “barefoot librarians,” that is, by people animated less by the desire to collect zines than to get them into the hands of others who need them. Chief among these within the zine scene are the Independent Publishing Resource Center in Portland, Oregon and Q-Zap, a digitized, online archive of queer zines conceived and maintained by Chris Wilde and Milo Miller along with a range of volunteers. On barefoot librarians and their efforts to develop their own protocols regarding zines, see http://zinelibraries.info/tag/barefoot-librarians/. On the mission and history of the Independent Publishing Resource Center (IPRC), see http://www.iprc.org/about/. On Q-Zap, see their website at http://www.qzap.org/v8/index.php/ and Stephanie Schroeder, “Zinesters Do It on the Photocopier: A Look at the Queer Zine Archive Project,” Lambda Literary, December 21, 2014 at http://www.lambdaliterary.org/features/news/12/21/zinesters-do-it-on-the-photocopier-a-look-at-the-queer-zine-archive-project/. I should also point out that many community librarians have taken an active role in re-imagining what a library might be by promoting outreach, book clubs, community-based discussion groups, and other public activities.
- 29.
For an historically based discussion of the fear of crowds, mobs, and the people in popular culture, see Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (Ithaca: Cornell University Press, 1986). For a sustained discussion of the current global economic and political situation and the threat it poses to the idea of the demos, see Wendy Brown, Undoing the Demos: Neoliberalism’s Stealth Revolution (New York: Zone Books, 2015).
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Radway, J. (2019). Zines in the Library: Underground Communication and the Property Regimes of Book Culture. In: Schaefer, H., Starre, A. (eds) The Printed Book in Contemporary American Culture. New Directions in Book History. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-22545-2_5
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