SARAH LOPEZ ON ZINES AND ZINE CULTURE

Originiating in the United States in the early 1990s, riot grrrl is an intenational underground movement that joins together feminism, punk music, and political activism. As a way to sidestep the corporate structure and to confront head-on topics otherwise seen as taboo or unwelcome by traditional outlets, zines supported the reach of riot grrrl and encouraged participation.

 I was introduced to zine culture through riot grrrl. I knew about DIY publications, but didn’t know just how far-reaching zines were until I started digging deep into riot grrrl history. They combined my interests in music, politics, and print media, and became a huge obsession.

Through zines, I also learned about herbs, self-care, politics, other people’s experiences, and—most importantly—myself. While it’s always great to learn new facts or ways of doing things, the zines that I’ve treasured most are perzines, or personal zines. Like the name suggests, perzines are more personal and about the zinester’s individual experiences. The topics can range anywhere from experiences with gender, race, or medical issues, to family life. Because of zines, I probably know more intimate details about strangers than about some of the people I see on a daily basis. 

It is because there are people willing to share these tender aspects of their lives that I feel less alone. Zines are where I first read about the experiences of other alternative Latinx folks. They’re where I first learned about the many privileges I didn’t realize I have. And zine fests are where I started to truly grow into myself. 

Though I studied printmaking and illustration, it took me a long time to feel comfortable tabling a zine fest, festivals devoted to the presentation, celebration, and distribution of zines, but once I did, I felt right at home. Zine fests are often inclusive spaces with the aim that no one be excluded due to race, gender, or ability. A labor of love, at these fests, many are willing to swap or trade, so you can show up with zero dollars and still walk out with a new zine. The connections I have made at these fests are priceless. 

And it is this feeling of community and connection that I have seen mirrored at the recent Black Lives Matter uprisings. Through such collective happenings, my hope in our ability to build a world centered around mutual aid has been renewed. In fact, while writing this essay, I realized that one of the first times I ever encountered that feeling was at a zine fest. 

Zines and fests have been a lifeline for me. Not requiring a certain standard of professionalization or expertise, zines are a small project to pour my energy into every now and then, reconnecting myself with the process of making art, even when it’s difficult. Something to look forward to even when it’s hard to get excited about anything.

The more I learned about zines and their history the more I appreciated them. From the fact that you can find one on just about any topic, to their roots in the science fiction community. I love zines for all of the reasons that I love books and indie publishing: you can learn, explore, and build community around the love of exploration or whatever particular niche topic—all on your own terms.