zine

Nine Gallons #2: True Stories by Susie Cagle

tina — Mon, 11 Apr 2011 20:00:00 +0000

In Nine Gallons #2: True Stories by Susie Cagle, writer and artist Susie Cagle recounts her experiences with Food Not Bombs. For those unfamiliar, Food Not Bombs is a "franchise activist non-organization dedicated to fighting hunger with vegetarian meals comprised mainly from wasted food.” Food Not Bombs chapters are all over the world, though predominantly in major cities.

Though this publication is small, Cagle covers a lot of ground. You learn that it’s not easy being involved with the non-organization. One will face working for free (not everyone can afford to volunteer), unreliable volunteers, and uncertainty over where food and resources will come from. The public responds to your work in varied ways, ranging anywhere from positive support to fevered rudeness. There are also issues of class and racial privilege that come into play. As the writer perfectly states, "a largely white monopoly on Food Not Bombs as a cultural institution is an impediment to people of color self-organizing.”

Though the artist didn't touch on weather being an issue, the climate in which you live greatly affects when and where you can serve food. One year, the Food Not Bombs chapter I was involved in served spaghetti at a park on the fourth of July. With little warning, there was a rainstorm that showered us and our hard work. We couldn't afford a tent or cover of any kind, so the food was flooded and had to be thrown away.

Susie's writing is skilled, her illustrations are well-formed and charming, and her characters are both believable and easy to relate to. The only qualm I had with the zine was her illustration style. The artist draws people from a two-thirds angle and they are usually facing the same way. I am unsure whether she is limiting her angles and facial drawings due to necessity or artistic choice. Either way, this repetition distracts us from good stories that deserve our focus.

Overall, Nine Gallons #2 serves as an easy to read, honest, and articulate recount of working with Food Not Bombs.

Written by: Jacquie Piasta, April 11th 2011

Rad Dad #18: Sex & Love

tina — Sat, 09 Apr 2011 20:00:00 +0000

By Tom Moniz

Microcosm Publishing

After a promising introduction I was ready to absorb the essays that lay before me in Rad Dad #18: Sex & Love, a short zine concerning radical parenting with narratives exploring issues of sex and love. Needless to say, this zine made me feel a range of emotions: offended, entertained, informed, and bored. Some of these essays do not concern love or sex or are only very loosely related to the topics in an abstract way.

Rad Dad himself falls flat in his own personal essay. Using movie script queues, he rambles from one point to the next about memories and experiences that are loosely related or not connected at all. The author's entertaining writing style, passion, and experience are worthy of better organization and editing.

The third essay in the zine, entitled “Making Love,” was bad. I'm still reeling from reading a man's recount of a newly polyamorous relationship. When his wife comes home from an arranged date with another man, the jealous husband thought about sexually assaulting her and “not caring how she felt.” Though he didn't act on these thoughts ("I didn't want to look aggressive"), it was completely unexpected and terrible, especially when it was so graphically detailed. There was no warning; just an in-your-face, deal-with-this description of how he would rape someone. He also goes into detail about cheating on this same woman, years prior. The writer's colorful writing when recounting these gross experiences only cheapens them more. For a few days after reading this, I felt nauseated whenever I’d recall the author's words.

There's also an essay about child nudity and another about a person "breaking up" with the anarchist community. Many of the writers talk about their preference for polyamarous relationships. Some even insult monogamy, which I found unnecessary and misguided. There are a few essays by radical parents who talk about sex, love, and dating in relation to being a parent. I feel that these authors truly understood the zine's topics, while offering their own personal knowledge and experiences. This compilation would have benefitted from more essays like these.

My favorite part of this zine was the last section, “An Interview With Dr. White.” The interview was engaging and interesting and I wish it went on longer and was featured more prominently.

While I am against censoring voices, I feel this zine would have benefited from basic editing. A simple "trigger warning" before graphic material would be a great start. A few snips and cuts to a rambling essay would help the reader understand the authors' intentions and sticking closer to the zine’s topics would be a major improvement.

Written by: Jacquie Piasta, April 9th 2011

Bipedal, By Pedal! #2: Confidential Mad Libs

mandy — Sun, 03 Apr 2011 08:00:00 +0000

By Joe Biel

Microcosm Publishing

Because it’s been about ten years, I forgot how funny mad libs could be, and the ones in Bipedal, By Pedal! #2 have proven to be a fun distraction during lunch breaks and in long grocery store lines. Take, for example, my mad lib from this morning: “On Wednesday, September 29th at 17:30 hours, the so-called 'bananas' are planning a bicycle rally in downtown Portland. From information supplied by C.I.D., their plans...were to gather coffees in the South Park Blocks, group into formations of twelve riders...and gyrate along a predetermined path.” Okay, it’s not the most mature form of entertainment, but that’s a large part of its appeal.

What I was most excited about when Bipedal, By Pedal! #2 came in the mail was seeing the awesome creativity of fellow cyclists. I anticipated seeing the heavy-handed injustice that had fallen upon riders nationwide portrayed through silly rewordings of the Portland police inter-office memorandums. Yet the purpose of the small paperback booklet is presented in an aggravating way. While the information is served up with a strong slant against law enforcement, and in favor of the Portland Critical Mass Bicycle Rally, it doesn’t make cyclists look very good.

Critical Mass rallies are huge (usually monthly) rides that take place in many metropolitan areas around the world. The ride works better in some cities than others. Last year in L.A., for example, the LAPD was asked to join the group in order to protect the cyclists. And riders in Sydney, Australia have long ridden with police officers, who help control car traffic and facilitate the ride.

So, when I read that the group’s mission was to be “as non-confrontational as possible and...try and educate people about the stupidity of -ing verb cars,” I cringed. How can tired motorists trying to get home in rush hour traffic relate to a group of 200 cyclists blocking the intersection they need to cross? How do reports of cyclists “lifting their bikes above their heads and shaking them at police,” help anyone? In short, how will adding another frustration to people’s day win them over?

This is not to say there have not been reports of disturbing police behavior toward cyclists. One report, written by the arresting officer, details a confrontation with a cyclist: “I watch (Rothkoph) ride [eastbound] in the [westbound] lane. [When I] asked for his identification, he replied that he had none with him...I informed him that for his own and my protection I would place him in handcuffs...he looked at me and said ‘I don’t think so.’ I grabbed him by his head and took him to the ground.” Would that have happened to a motorist without I.D.? Unlikely.

We all have an agenda—that’s why many of us choose to write for Elevate Difference—but brandishing bicycles like weapons doesn’t seem like it will help the cause. In response to the antagonistic nature of Critical Mass in Austin, TX, a number of alternative rides have started, check for social cycling groups in your town, or try a Critical Mass to see if it’s right for you. Maybe you can step up and ask both the law enforcement and confrontational cyclists to be on the side of the greater good, no matter when or where or how they ride.

Written by: Tatiana Ryckman, April 3rd 2011

Zinester's Guide to New York City

gwen — Tue, 22 Mar 2011 20:00:00 +0000

Edited by Ayun Halliday

Microcosm Publishing

I love Ayun Halliday's writing voice. It balances a small, healthy dose of making fun of oneself with a snarky and sassy perspective of the world. Her world is New York City, which she describes so well in her adventures with her husband and kids in her zine, The East Village Inky. So I knew I was in for a treat when I saw that Ms. Halliday herself cooked up this tasty guide to New York built exactly for my anarcho-feminist-who-still-watches-crappy/sexist-reality-show leanings. This is the guide to New York to use when you don't have much money, you're open to exploring, and you don't mind public transit. I was especially fond of the top 100 vegan items to consume throughout all of New York (oh, I heart you zinester Melissa Bastian...). There's information about festivals, all kinds of interesting venues for music, arts, and culture, and the atmosphere at each hot coffee shop and brunch place. Microbrews! Places that host guest bartenders! The best spots to copy your zines! It's even got cartoons and illustrations sprinkled throughout the guide, including art by one of my indie faves, Christy C. Road. It makes me want to live in New York (minus the high rents and New York attitudes).

If you need any more convincing to use this honest-to-goodness, made-on-paper guide instead of just doing a random Google search before you hit up Brooklyn or any other New York neighborhood, consider a few things. What Google map will be hand drawn and point out adorable facts like a water taxi that's free on weekends? What other city guide will give little anecdotes on street pole art and advice on how to make your own? And where else can you find gracious knowledge on everything from hostess gifts (edible items from throughout New York are safe bets) to scenic views to photobooth spots? I'm in love with this guide, and I guess I'm a little in love with New York, too.

Written by: Maleka Fruean, March 22nd 2011

These Here Are Crazy Times 2

farhana — Fri, 18 Feb 2011 20:00:00 +0000

By Sarah May

Every so often, I’ll be on the phone with my ninety-one-year-old grandma and she’ll reveal a tidbit I’ve never heard before. The most recent revelation—admittedly several years ago now—was about her only serious boyfriend before meeting my grandpa. He hadn’t been interested in religion, and my gram just couldn’t envision a future with such a man, much as she loved him.

My grandpa, a theology professor who fit the spiritual bill, has been gone for a decade, but while I’m always working to pry memories from Gram’s Alzheimer’s infected brain, I’ve got a nice little book full of grandpa’s handwritten notes about every major event of his life. The once-blank journal contains 365 questions about childhood, marriage, children, and aging; always an educator, he filled it out like a homework assignment and gave it to me before he died.

Most people aren’t lucky enough to have such compendiums of information about our loved ones after they’re gone. Even fewer would know what to do with it. Sarah May’s zine, These Here Are Crazy Times 2, about her late grandmother, Martha Luzier Birdsall, is filled with stories about working in a coal mine, getting married in the Methodist church, and losing a brother in WWII, many of which bear resemblance to my own family history. Several years before her death, Sarah May’s grandma gave each of her grandchildren a folder full of poetry and family history, but it wasn’t until years after she’d been gone that Sarah May started poring over her grandma’s personal stories about losing everything but a yard full of turkeys and a big vegetable garden during the Great Depression and dating an enlisted guy who showed her his incomplete divorce paperwork as an afterthought.

Some people have a knack for storytelling, and it’s clear that Sarah May inherited hers from her grandmother. Pick up this small booklet for stories about how things have changed—and how, when it comes to some things like dismissive doctors and broken hearts, they haven’t changed at all.

Written by: Brittany Shoot, February 18th 2011

A Guide to Picking Locks, Number Two

brittany — Sat, 12 Feb 2011 08:00:00 +0000

By CrimethInc.

CrimethInc.

Full disclosure here: I have never, ever picked a lock. I suppose it would be kind of neat to know how to bust into a door with a wafer tumbler lock, but I just never have really experienced the need. An excellent parlor trick, perhaps? A desire to emulate Houdini in a daring escape from the chains of certain death?

For those savvy entrepreneurs who wish to start their own locksmithing business (or channel their inner Houdini), there are many texts available on the subject including Visual Guide to Lock Picking by Mark McCloud and The Complete Guide To Lock Picking by Eddie The Wire. (As a side note, Eddie The Wire is also the author of the Y2K classic, How To Bury Your Goods: The Complete Manual of Long Term Underground Storage. I wish I were kidding.)

So what would the purpose be to own a lock picker’s guide, a tiny, neon pink, pocket-sized book from the publisher CrimethInc? The short answer is, I don’t know. It is pocket-sized, which is convenient for those times where you just really have to get a lock picked and don’t have your hardback version of Modern High-security Locks: How To Open Them by Steven Hampton. My guess is, however, that most folks interested in this book probably are not going to be helping old ladies into their Oldsmobiles. Maybe I’m wrong, but I don’t really see a locksmith-in-training using this text as an educational device.

Something about the book just didn’t seem right, so I typed in a sentence from the book’s text, and surprise! A Guide to Picking Locks, Number Two is really just a hacked-up, poorly photocopied version of the Eddie the Wire book, The Complete Guide To Lock Picking (available free online). The CrimethInc book has no author information, so I’m not sure if Eddie the Wire was involved in this version or not. Contacting CrimethInc was a hopeless endeavour. Will we ever know the truth? Chances are, probably not.

You can buy the CrimethInc book for four bucks online, but I’m not sure exactly why you would when it is available for free. Use your anarchist instincts, lock pickers! Liberate those doomed mink with a free version of this lock-picking text, and avoid paying the man! Cinch up the strings on your hoodie, and make sure your bandanna is secured tightly around your nose and mouth while you access the book free on your iPad. Also, bring your Slim Jim Universal Lock Out Tool Set and make sure you have Febreeze—because as much as I feel for the plight of the mink, the potent aroma of their musk will be nearly impossible to wash out of your mom’s Subaru Forester.

Written by: Emily S. Dunster, February 12th 2011

Haldana

mandy — Tue, 08 Feb 2011 08:00:00 +0000

By Brittany Shoot

What does one do when far away from home? What if you never had a real home to begin with? Feelings of homesickness, uprooting one's life, and moving to a new location is considered one of the most stressful events a person can endure. Settling in another country where people speak a different language and abide by the parameters of a culture one is not accustomed to is just icing on an already challenging cake. In Haldana, Brittany Shoot shares with the reader the storm of feelings inside her during just this time of tumult.

After moving to Denmark, Shoot experienced isolation and disappointment. She witnessed racism, sexism, and downright absurdity; there are photos in the zine to prove this. The author also faced financial challenges, as well as issues with family and acquaintances. Competition for jobs is overwhelming; even a basic cleaning job received over 500 applicants. The stress of communicating with one's in-laws seems even hairier with an added language barrier, and the process of making friends with the locals seems doomed when they cannot imagine their beloved country making life stressful for an immigrant.

Reading Haldana was a learning experience for me. I had heard stories of fortunate Americans traveling through Europe, backpacking and carefree, going from one job to the next and acquiring experiences and stories to share later. However, Shoot's zine shows that this can be more of a myth than reality. Employment is not always so readily available to travelers, and attitudes can grow cold for those who do not speak a country's native language (outside of the designated tourist areas). Even though she has a master's degree and legally lives within the country, Shoot cannot find a steady job in Denmark.

I related to Shoot in many ways. We both moved from our home states to our partner's home areas (though I only moved a few states over), and weathered a rough transition. Her experience was much harder than mine. Along with the usual emotional roller coaster rides that come with replanting oneself, Shoot had to navigate language and cultural barriers. She talks about personal space, and how people often love to crowd into it, both smothering and draining the person at hand. It seems she and I both have difficulty creating and upholding boundaries from needy people.

My favorite part of Haldana was Brittany's writing style. It's rare to find an author with such a distinct voice. Usually, I find myself gritting my teeth after reading too much from a writer with a persistent style; however, Brittany's voice was skilled and I felt like dipping my feet into the pool of words, exploring and grabbing syllables, contemplating ideas and usage; this is similar to how Margaret Atwood's work makes me feel.

Written by: Jacquie Piasta, February 8th 2011

How to Make Soap Without Burning Your Face Off

mandy — Thu, 30 Dec 2010 08:00:00 +0000

By Raleigh Briggs

Microcosm Publishing

The ever-present danger of burning one’s face off is, in fact, one of the reasons I have hesitated to take up the hobby of soap making. Raleigh Briggs’s How to Make Soap zine helped to make the process seem less daunting and intimidating. While the zine is relatively short, at ten pages, it is chalk full of useful tips and information for beginners. The overall tone is lighthearted and fun, with a sprinkling of sarcasm and a wee bit of sass. Briggs does a wonderful job maintaining the cheery air, yet is still able to stress the importance of following all safety precautions and explaining some potential dangers of working with lye. Lye is a key ingredient in soap making, and if not handled with respect and caution, can be quite harmful.

Overall, I’m quite impressed by the layout and design of the zine. It is entirely handwritten with doodles and sketches, staying true to its DIY roots, but is aesthetically pleasing and easy to read. The zine begins with a brief history lesson, followed by important information on working with lye and a crash course in working with fats and oils. Towards the back of the zine, Briggs provides two basic soap recipes, along with some additional tips and tricks on customizing your soap with colorants and additives. The actual instructions are laid out in a flow chart type format spanning two pages.

While I find it visually appealing, I’m not convinced it’s the best way to present the information. If I were to have this handy while making soap, the layout would be difficult to quickly glance at and consult. The zine touched on many different aspects of soap making, but due to its concise nature, I found myself wanting additional resources to consult. Something I would have liked to see included would have been a short list of links, blogs, or favorite books to check into if the reader wanted additional information. Another useful addition would be a few recommendations on brands or places to order your soap making materials online.

I look forward to my first soap making attempt and thanks to Briggs’ zine, the task is much less intimidating and seems fairly straightforward. And I feel confident that I will emerge from the experiment with my face intact.

Written by: Liz Martin, December 30th 2010

The Curious Case of the Communist Jell-O Box: The Execution of Julius & Ethel Rosenberg

gwen — Tue, 21 Dec 2010 12:00:00 +0000

By Michael Hoerger, Mia Partlow

Microcosm Publishing

What could possibly be the connection between imitation raspberry Jell-O, communism, and the execution of Julius and Ethel Rosenberg? I was intrigued. After all, what self-respecting leftist would not be interested in the case of the Rosenbergs, who at the height of the Red Scare were convicted of smuggling secrets to the Russians? The Curious Case of the Communist Jell-O Box (CCCJB) is a political zine by Michael Hoerger and Mia Partlow, which folds out into a full-sized poster, but for maximum enjoyment you have to read it as you unfold. In other words, the story unfolds as you do.

The authors use the theme of the Jell-O box to great effect. This seemingly innocuous product and its unlikely association with communism initially lighten the darker themes of espionage and subsequent execution. The ubiquitous gelatin dessert box then takes on a more sinister significance when presented at trial as a sophisticated communications device. Yet this evidence, which was central to the prosecution’s case, was never recovered, and unsurprisingly when shown a replica under cross-examination and asked whether they recognized the box, the witnesses all answered “yes.”

In CCCJB, Hoerger and Partlow write that the show trial and execution of Julius and Ethel Rosenberg were used to fuel public paranoia about communists and lefties in order to give the FBI and its leader, J. Edgar Hoover, greater powers to infiltrate and use extralegal means to quell any real or apparent leftist threat. If you read closely, you’ll see that the writers do raise the possibility of our late-defendants’ guilt, but it seems there’s a larger message in this zine—the unnecessary demonizing of the left or anyone who dares to raise the virtues of truth and justice.

Your inner geek will be tickled pink with reproductions of the now-declassified transcripts from the 1950 Grand Jury trial and a declassified CIA memo that supplies background material on how to counter pro-Rosenberg propaganda. The collage of period newspaper clippings and sensational headlines from both sides of the political spectrum with their scratchy and at times illegible letters give the zine a genuine 1950s look and feel.

CCCJB left me wanting to find out more about the Rosenbergs and the two children they left behind, and a link to further reading about the case would have been appreciated. But overall this was a well-planned undertaking and a lot of entertainment for just two bucks. I checked out the authors’ website, and they have other food-related political zines with their own declassified documents… excellent… excellent!

Written by: Heather Leighton, December 21st 2010

Scam: The First Four Issues!

payal — Sat, 18 Dec 2010 12:00:00 +0000

By Erick Lyle

Microcosm Publishing

Is it punk to drink when you’re flat broke? Is selling plasma or sniffing glue revolutionary? Is throwing shit off a Macy’s rooftop ever cool? Nearly twenty years after his zine was released in a series of diatribes about scamming the system and living on the edge of society, Erick Lyle’s writings as zinester Iggy Scam have been edited and bound for the masses. His collected works, Scam: The First Four Issues!, makes you question the very idea of “punk” and who gets to decide exactly what that means.

The best parts of Scam are the little things you don’t expect. Reviews of Beverly Hills, 90210; specific books, and generalized analyses—“Cars aren’t very punk. Roller skates are punk.”—are wickedly funny, provided you’re not taking Lyle seriously. Interviews with hardcore band Born Against’s Sam McPheeters or writer William Upski Wimsatt appropriately date the anthology and offer a window into the media Lyle was consuming in the mid-1990s. Pranks like Xeroxing 1,200 Starbucks coupons and handing them out are amusing, if only because you know Lyle didn’t get caught.

Much like Abby Hoffman’s Steal This Book, Scam is full of ways to rip off companies and The Man—most outdated and some more obvious than others. To get free unlimited copies at Kinko’s, swipe a paper clip in the copy machine credit card slot. To let loose free sodas and a bucket full of change, spray salt water into a vending machine dollar bill slot. Need new tunes? Sign up for introductory offers from now-defunct services like BMG Music. Hungry? Buy a soda at Wendy’s and hit the salad bar for free when no one is looking. Ask for a student discount any chance you get—whether or not you are one. Some of those little tricks were and are useful, if also deployed by not-so-punk suburban kids like me.

Some of Lyle’s exploits are awesome: house shows, hanging out at Food Not Bombs, and even protests are hallmarks of a youthful punk lifestyle. Running a pirate radio station and stealing electricity from street lamps can even be viewed as radical acts. Other aspects of Lyle’s so-called punk existence are markedly less glamorous, sometimes outright questionable, and littered with unquestioned privilege.

Take one of Lyle’s hitchhiking experiences, when the guy giving him a ride masturbated in front of him. Unhurt and not assaulted, Lyle walked away from the incident with a laugh—hardly what might happen if he were anything other than a young, white, straight male who thought it was more funny than frightening. In the same way, eating out of dumpsters, while arguably a way to reclaim perfectly fine discarded food, is also an act reserved for those not afraid of being harassed by law enforcement or arrested, as well as those who are well enough to risk food poisoning for a bit of free grub.

Some of Lyle’s stances, like his hatred for straightedge, are never explained. On several occasions, he advocates violence like smashing windows without particular purpose, seemingly because he understands violent acts to be related to anarchy, and thus punk. Granted, I’d never want anyone dissecting stuff I wrote when I was eighteen, but at times, it’s tough to read Lyle’s work as more than chaotic adolescent rants about how to destroy shit rather than effect change.

If nothing else, Scam is an interesting historical document from a time when eighteen-year-olds were listening to “Smells Like Teen Spirit” on the radio and watching the Gulf War on TV. If you can make out the scrawled handwriting, comics about graffiti and postage fraud, and care to read about hustling free condoms from STD studies at university hospitals, you’d do well to pick up Scam.

Written by: Brittany Shoot, December 18th 2010

Cuntastic

andrea — Sun, 12 Dec 2010 12:00:00 +0000

By Laurel Ripple Carpenter

With the popularization of blogs and personal websites in the past decade, there has been a sharp decline in the zine phenomena. I have longed for the days when the magazine rack at independent bookstores was lined with photocopied feminist zines, daring to say the things mainstream magazines cannot. Thankfully, there are still some zinesters willing to invest the time and money needed to undertake the taxing task of putting out a zine. Radical doula Laurel Ripple Carpenter is one of these few remaining idealists (however, a blog version of her zine does exist at blog.cuntastic.org).

As the name would imply, Cuntastic deals with “all things cunt,” meaning anything related to reproductive health, pregnancy, sexuality, etc. As Carpenter is both a doula and a mother, the zine has a large focus on pregnancy and children. The premiere issue, focusing on pregnancy and placentas, delved into multiple women’s experiences of being pregnant, including Carpenter herself. Carpenter shares her own pregnancy journal, giving an honest account of the concerns, fears, and elation a new mother faces. Another new mommy also gives an account of using a midwife assisted birth as opposed to a hospital birth, noting her reasoning behind her preference. As someone who has never been pregnant, or contemplated pregnancy, it was fascinating to read multiple graphic descriptions of the experience of being pregnant and giving birth. The zine also deals with the squeamish issue of new mothers taking placenta pills or eating their placenta, offering instructions both for tablets as well as meals meant to complement the inclusion of placentas.

The second issue, the menstruation issue, deals with women’s’ experiences with their menstrual cycle and alternative menstrual products like cups (i.e The Keeper) and sea sponges. The zine explores menstrual related traditions such as “menarche parties” for girls who receive their first periods. (There is also a humorous story from a male writer on his first time having sex with woman during her menstrual cycle.)

The third issue, the radical parenting issue, deals with feminists (and other left wing folk) becoming parents. The issue asks such key questions as how to not gender condition a child, how to go without disposable diapers, and generally how to raise a child while sticking to your ideals. It is fascinating to see the issue of motherhood explored by feminists as this was often a murky issue for the movement in the past. It is inspiring to hear about women using their feminist ideologies to raise their children. Within the issue, Carpenter also details her experience going into labor while at a DNC protest.

Overall, Carpenter has created a compelling and likable feminist zine with Cuntastic, in which she answers such questions commonly discussed by feminists (menstruation) and questions that need further exploration (motherhood and pregnancy.) I hope to see future issues of Cuntastic soon and hear more about Carpenter and her new life as a feminist mother.

Written by: Adrienne Urbanski, December 12th 2010

This – A Literary Webzine

beth — Sun, 24 Oct 2010 00:00:00 +0000

Edited by Lacey N. Dunham

Early this year, I began writing for Elevate Difference. Over the past few months, I have written more prolifically; built relationships with a handful of supportive, feminist artists; and above all, gained greater insight into my own writing through feedback from editors and readers. This – A Literary Webzine is another example of a space on the Internet that provides a forum for writers to produce and publish while joining a community of their peers. Created by Hollis University graduate Lacey N. Dunham, a former Elevate Difference contributor, This zine employs a volunteer group of editors and seeks submissions from a variety of genres.

If you are a writer looking for exposure, This is an easy way to publish your work; however, it may get lost in the cluttered text of the homepage. A photo dominates most of the space, and it took me a few minutes to realize one of the three columns below the black and white image was the essay that accompanied it. The other two columns were occupied by the Poet Spotlight and Editor’s Note, and further down the page there are links to other writings that are organized by category.

When it comes to websites, aesthetics are important, but This’s appearance is messy and lackluster. Their effort to be simplistic reads as boring, and the lack of creativity in the design gives an impression of immaturity. Although the zine references itself as an issue, it lacked any coherent theme or sense of imagery. The blog, however, includes much of the same content as the webzine, just in a more interesting and readable format.

This is successful in its aim to give all types of writers an accessible outlet for developing their craft. With a little help from a talented graphic designer, it has potential to become a valuable resource for the writing and publishing community.

Written by: Alicia Sowisdral, October 23rd 2010

My things, my grand-mother’s things

admin — Tue, 31 Aug 2010 08:00:00 +0000

By Sarah Pinder

Bits of String Press

One of the wonderful things about living in this digital age is that you don’t have to be famous to be a real artist or a writer. You can create your vision, and then get it out into the world through the Internet if you're so inclined. And once online, you don't ever have to throw anything you create away. It can all be stored... forever.

Enter Sarah Pinder: a Toronto essayist who, for a decade now, has been a maker of zines, self-published works. And for about two bucks (Canadian currency), you can own and enjoy her brief yet insightful pondering My things, my grand-mother’s things.

What I like about Pinder’s prose is that it’s highly relatable. True, I can relate as a woman with a Depression-era grandparent who hoarded trinkets away, and as one who helped to clear those objects out of attics and basements after that seemingly ancient relative had passed on. And I can relate to her take on twenty-something nostalgia: the place when we’re not quite ready to be grown up and throw away our childhood things.

But most, if not all, people can relate to her rather haunting description of how the spaces we inhabit shape and trap our memories, not because of their own qualities, but because they become “repositories” for the things we collect along the way: “My grandmother lived in a house that was a constant archive of identity... Everything in this house was a touchstone, a trigger to summon memory... And regardless of how broken or worn things were, my grandparents’ Depression aesthetic meant that nothing was thrown out...”

This reviewer had two sets of Depression-surviving grandparents and observed two distinct reactions to the crisis. One set decided that: well, if they overcame that, they could overcome anything. They lived out their days without saving much of anything. The other parent's father became a hoarder. This man, who as a boy had shot and skinned squirrels for supper so as not to starve, secretly tucked away mountains of seemingly meaningless household items: camera film, new pens, etc. He was never content to have just one of anything after the Depression ended, and cleaning out his closets yielded hundreds, if not thousands, of things-treasures to him-that told tales of a man obsessed with getting to the bottom of how things work, and a man who lived in fear of owning absolutely nothing.

Pinder’s essay serves as a wonderful launch pad for this kind of reminiscing if you’re game. Her words seem genuine and her doodles–somewhat resembling the sketches of Shel Silverstein–might remind you of any number of seemingly frivolous objects your ancestors once collected and then subsequently left behind. “(I)t seemed callous to get rid of objects from a space that held such meaning for me, regardless of the fact that the objects I had were not the touchstones I’d hoped to use to recreate my grandmother’s life before illness,” Pinder reveals.

For more information or to purchase any of Pinder’s zines, visit her online hub Bits of String Press. My things, my grand-mother’s things was given as a lecture in October, 2009 at the Ontario College of Art and Design during a symposium called “Collectorama,” which focused on people’s obsessions with the act of collecting.

Written by: Rachel Moehl, August 31st 2010

Surviving the Witch-Hunt: Battle Notes from Portland’s 82nd Avenue, 2007-2010

admin — Thu, 19 Aug 2010 00:00:00 +0000

By Emi Koyama

Confluere Publications

Surviving the Witch-Hunt is collection of artifacts and commentary from 2007 to the present and catalogues the community forces that emerged after the City of Portland removed its controversial Prostitution Free Zones (PFZ). These zones had allowed the police to issue exclusion orders for those who had been arrested for sex work, even if they had never been charged. For ninety days, anyone arrested for prostitution in the designated area was not allowed to return without submitting an appeal, segregating public space and criminalizing behavior without actual legal indictment.

The uproar from community figures after the removal of the PFZs demonstrated the discriminatory sentiments of many of those living in the 82nd Avenue neighborhood. Those who opposed the end of the PFZs claimed that there was an increase in crime and a correlating decrease in their property value, and they united to fight the “problem” of sex work in their communities. Emi Koyama collected documents that demonstrate their anger toward sex workers and bolsters these artifacts with some social justice commentary, raising arguments that protect the rights of all women and advance a more holistic view of community development. This booklet uses the 82nd Avenue case study as an example of how multifaceted problems cannot be solved via law enforcement but through broader advances in social and economic justice.

Countering the arguments of outraged neighbors near 82nd Avenue, Koyama’s documents describe the harm PFZs do to women who work in the sex industry. The fliers in the collection address the underlying causes of sex work, and explain that improved access to housing, employment, and treatment services are a better response than criminalization. The documents also catalogue the efforts of anti-prostitution advocates who focus on educating men about the social dangers of purchasing sex. This was the most interesting part of the compilation to me, since many anti-prostitution feminists are pushing educational programs as a way to end sex work. Koyama’s work shows that decreasing the demand for sex work, while a seemingly laudable goal, actually harms women. Decreasing demand also reduces the price for services, so sex workers have to do more acts for less money, and it pushes sex work to more remote areas, causing potential dangers for workers. Also, johns who are rational regarding risk taking will be taken out of the pool, leaving a group of riskier men purchasing the services of sex workers. These men are more likely to act violently towards sex workers and are less likely to take safe precautions during sex.

As someone who recognizes that the problems associated with sex work have no simple solutions, I am thankful that Koyama lays out these rebuttals to anti-prostitution groups. Criminalizing and even reducing the amount of sex work will do little to address the more serious problems in our communities. Sadly, the deeply rooted social, racial, and gendered inequities that necessitate sex work too often go unnoticed by policymakers, concerned citizens, and others trying to improve their communities.

As a human rights lawyer, I am personally outraged at the discriminatory attitudes of too many in the 82nd Avenue community regarding the end of PFZs, and I am somewhat embarrassed that I had not known about these events before reading this collection. Many local stories of civil rights conflict, of discrimination, and of survival often don’t reach further than the affected community. By effectively curating a compilation of documents from the 82nd Avenue community, Koyama demonstrates the importance of capturing a historical moment in the trajectory towards justice. The fliers, newspaper articles, notices about community meetings, and email messages Koyama collected were probably designed to be temporary, but in this small archive they combine to tell a powerful story of the strength of community activism.

Written by: Andrea Gittleman, August 18th 2010

Voces Zine (Summer 2010, Issue 3)

admin — Wed, 07 Jul 2010 16:01:00 +0000

Edited by Noemi Martinez

The Voices Against Violence Project

Unapologetic. Raw. Honest.

The third issue of Voces Zine is a collection of poetry by artists from different communities—indigenous, people of color, trans, and queer—sharing their experiences as survivors of domestic and sexual violence. Originally inspired by a small community of Latino immigrants, this issue represents a first-time inclusion of contributors from outside of its original roots.

The eclectic air of the compilation reflects this shift. During an interview I asked editor Noemi Martinez about the strengths and weaknesses of such a model; she discussed how the stories could be competing or compatible, but that each needed to be told. I appreciated her insight and find this invites a greater audience, while also revealing the individual ways we experience violence against women. Some stories might resonate with one reader more than others, but each exposes the important variance of dynamics in surviving violence: blaming, loving, mistrusting, self-hating, empowering, forgiving, healing, hiding, ignoring, being vulnerable, being strong, being uncertain, being alone, being supported.

At times I felt I could sympathize with each word (“unwrap your bandages/let them wounds breathe/let them scab and itch/and fall/away”), with the uncertainty (“am i better?”), and with the paradox of anger and barren strength (“i aint no fucking weak, limp, helpless, shaking, hiding, trembling, dying, lonely, battered girl. i’m a woman with a black eye.”). Other writings left me unattached or distant, to which I cite Martinez’s foreword, “There is no guarantee how one will react to a particular writing when you are a survivor…as a reader, you might find these writings triggering, not helpful, judgemental [sic], totally off, fucked up, questionable, right on, brutally honest, truthful inspiring.” The point: take from Voces Zine what you can relate to, learn from what you might not, and leave the rest behind.

Voces Zine was created to support survivors and to provide a teaching tool for discussion and understanding of what violence against women means. While the variety of themes provide this type of catalyst, at times the compilation seemed to be more of a therapeutic outlet for each contributor. To this end, I do not fault the project, but commend it for its ability to provide a space in which “victim, survivor, thriver” can share, question, and grow.

I admire each of the contributors for finding the strength to speak up and write out and urge any person questioning, challenged by, or curious about violence against women to take a look through Voces Zine. In the interview, Martinez explained, “I’m not an editor. I’m not professional.” Although I believe she has proven her worth of both titles with this endeavour, the humility of her statement is yet another reflection of the DIY compassion and grassroots foundation of this project. Voces Zine is more than words on paper; it’s a resource of hope, inspiration, and healing.

Written by: Ani Colekessian, July 7th 2010