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Detailing a genealogy of zine production that extends to the US women’s suffrage and women’s liberation movements, Piepmeier characterizes feminist zines as embodied, material artefacts, infused with passion and emotion, which create vernacular spaces for articulating personal experience and sharing these theorizations with a reading community. Such concerns are further examined in Alison Piepmeier’s Girl Zines: Making Media, Doing Feminism, the first book-length analysis of women and queer produced zine cultures. No-border activism, transracial relationships and solidarities, surviving sexual violence, migration experiences, and moving between class locations: these scenes of writing and embodiment are further instances of potential third space political articulations-blurring the divide between them/us, personal/public, taboo/speaking out, of challenging binary identity formations, and of creating political speech acts and sites for social justice demands. These calls draw attention to how male- and female- designated restrooms exclude and potentially threaten transgender and queer people, as their embodiments are challenged and declared wrong, and can sometimes lead to confrontation. Such practices can be found in queer/feminist zines documenting LGBTIQ subjectivities and activism, such as publications calling for gender-liberated restrooms. Through a third-space consciousness then dualities are transcended to reveal fertile and reproductive spaces where subjects put perspectives, lived experiences, and rhetorical performances into play. As a location, third space has the potential to be a space of shared understanding and meaning-making. As a practice it reveals a differential consciousness capable of engaging creative and coalitional forms of opposition to the limits of dichotomous (mis)representations. As Licona writes, Third space can be understood as a location and/or practice. Licona draws on the “third-space” theory of Chela Sandoval to argue that feminist and queer zines move beyond binary demarcations in order to express the fluid, ambiguous, and hybrid nature of lived identities. In her article “(B)orderlands’ Rhetorics and Representations: The Transformative Potential of Feminist Third-Space Scholarship and Zines,” Adela C. Zines as Third Space and Intersectional Texts My intention here is to emphasize some under-recognized spatialities of zine production and reception: the mobile and regulated sites where these media forms are made and accessed, and the critiques of power and privilege carried out within their pages and broader communication channels. Licona’s conceptualization of zines as “third spaces” to elaborate how zines are mobile, dynamic sites of articulation, and Alison Piepmeier’s consolidation of feminist zines as sites of intersectional analysis. To provide the theoretical framework for this essay, I draw upon Adela C. These projects are Tenacious, a zine made by and for incarcerated women, and the People of Color Zine Project, a network which seeks to place people of color’s grassroots publishing firmly on the critical radar. This essay presents two US zine projects that challenge conventional understandings of zine production as leisure-based or politically sublimated activities typically carried out by white, middle-class youth.
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As alternative media scholar Stephen Duncombe has suggested, “In an era marked by the rapid centralization of corporate media, zines are independent and localized.” For Duncombe, however, these publications exert a limited political capacity, being “merely a form of political catharsis” and “a rebellious haven in a heartless world.” Produced by individuals as well as collectives, these publications vary from photocopied pamphlets exchanged with friends to slick magazines circulating within alternative distribution networks (see Figure 1). Feminist zines from the U.S., Mexico, and the U.K.Īs an alternative form of media, zines are low-budget, do-it-yourself publications.