erasure as resistance: the ephemerality of queer zines by hsinweiyu

erasure as resistance: the ephemerality of queer zines 1

Each rip, tear, bruise, and missing page communicates a history, one that is connected to each person who has come in contact with the object — Yvonne LeBien

The presentation of this sort of anecdotal and ephemeral evidence grants entrance and access to those who have been locked out of official histories, and for that matter “material reality.” — José Esteban Muñoz

This zine was born out of resistance. After struggling for weeks to compile my notes, research, thoughts, interviews, books, zines, and questions into an academic paper, I realized that I felt extreme reluctance toward writing about zines for academia. Zines are an open-access, participatory culture. To write about zines, I’ll make a zine. This zine is my senior thesis at an “elite” institution. It is the accumulation of a semester-long journey where I examined institutional archives, met with university professors, read academic papers, and learned about zines solely through the lens of academia. This zine is my attempt to step outside the bounds of the academy. This zine is an exploration of topics that I do not yet fully understand. As such, it is an examination, an investigation, a “research project” if you must, rather than a statement of facts. This zine is not a comprehensive overview of zines, queer history, or queer archives. This zine is me making use of the materials (physical, intellectual, digital) that are currently available to me, and creating something that is raw, vulnerable, and imperfect. –Shei

PART 1: FUCK IT, I’LL JUST MAKE A ZINE

PROJECT OVERVIEW QUEERING THE SENIOR THESIS

Can I make a zine if I have zero graphic design skills? YES Can I make a zine that includes swear words? YES Can I make a zine that is more for myself than for others? YES Can I make a zine for my senior thesis? YES Can I make a zine about zines? YES Can I make a zine about queer zines? ZINES Can I make a zine about how queer zines are ephemeral? YES Can I make a zine exploring the ephemerality of zines and queer zines through their aesthetic materiality and embodied ideologies? PROBABLY Can I make a zine about physicality? YES Can I make a zine about permanence? YES Can I make a zine about the politics of visibility? YES Can I make a zine about institutionalized knowledge? YES Can I make a zine using auto-ethnography? YES Can I make a zine about erasure? YES Can I make a zine that incorporates black and white photography? YES Can I make a zine without having to explain my zine? ZINE Can I make a zine without having to explain myself? ZINE Can I make a zine without understanding the history of zines? ZINE Can I make a zine that incorporates poetry? YES Can I make a zine about potentiality? YES Can I make a zine without any help? PROBABLY (NOT) Can I make a zine that people will want to read? ZINE Can I make a zine before I graduate? ZINE Can I make a queer zine without fully understanding my own queer identity? Can I make a queer zine that isn’t an embarrassment to queer zine culture? Can I make a zine in my room? NO Can I make a zine at the library? YES Can I make a zine at a park? YES Can I make a zine about making zines? YES Can I make a zine that has no purpose? ZINE Can I make a zine that will never be read? ZINE Can I make a zine that will never be digitized? ZINE Can I make a zine that will sit on a bookshelf collecting dust? ZINE Can I make a zine about my thoughts? YES Can I make a zine about my feelings? YES Can I make a zine about my opinions? ZINE Can I make a zine about my experiences? YES Can I make a zine about my interests? YES Can I make a zine? ZINE

*MATERIALS: PAPER takes 2–6 weeks to break down in a landfill. INK fades over several decades when exposed to UV light. INK CARTRIDGES take 450–1,000 years to break down. PENCILS contain graphite (100–200 years), wood (>15 years), and aluminum (200–500 years). PENS contain plastic casings that can take 1,000+ years before biodegrading. SYNTHETIC GLUE contains plastic polymers and emulsifiers derived from crude oil (time unknown). STAPLES are made of zinc-plated steel wire (estimated: 100 years). ZINES are printed on paper, with ink, or written with pencils or pens, or glued or stapled together. DECOMPOSITION is the state or process of rotting or decay.

Is decaying a bad thing? “DE-” is added to verbs and their derivatives to denote removal or reversal. COMPOSITION can refer to the nature of something’s ingredients; the act of putting things together; a work of music, literature, or art; an artistic arrangement.

Would handwriting this page make it more ephemeral? Today, physical copies of books seem more ephemeral than digital e-books. The printing press was invented in 1436. The first electronic, digital computer was made in 1945. The first zine was created in 1930s/1940s sci-fi fandoms.

PART 2: Boring but necessary background

Definitions Literature

What is a zine? A zine, by definition, has no definition

v Zines are “non-commercial,

(this is my definition). A zine is a

small-circulation publications

collection of personal essays stapled

which are produced and

together. A zine is a book of selfies. A

distributed by their creators” to

zine is a rant about gender inequality in East Asia. A zine is a blob of color that changes from page to page. A zine is produced with resources accessible to the creator. A zine is created on a digital platform for electronic consumption. A zine is authored by BIPOC, trans, non-binary artists, writers, and creators. A zine is a tribute

record stories and organize communities (Spencer 2005, 13). v Zines “contest the hegemonic publishing paradigms and political ideologies” of the mainstream press (Barnard 1998, 69). v Zines ”celebrate the

to sci-fi, feminist, punk, and queer

everyperson” (Duncombe 1997,

subcultures.

7).

What is a queer zine? A queer zine (queerzine) is (1) a zine made by a creator who identifies as queer (2) a zine that features queer content (3) any zine that wants to be queer.

“Queer” is an umbrella term in the LGBTQIA+ community for people who are not heterosexual or are not cisgender. People who identify as queer may use descriptors like:

queer, LGBTQ+, homosexual, homo, lesbian, gay, bisexual, bi, transgender, transexual, trans, two-spirit, pansexual, pan, asexual, ace, aromantic, polyamorous, poly, femme, butch, sapphic, genderqueer, genderbending, non-binary, NB, gender non-conforming, genderfluid. intersex, intergender, crossdresser, drag, queen, king, FTM, MTF, AFAB, AMAB, QTPOC, 10

fruity,

IS ERASURE ALWAYS A BAD THING? 12

This zine understands “queerness” Barnard notes that zines “undermin[e] the very idea that there is such a thing as a unified and unitary lesbian and/or gay community,” stating that “queer is not one thing” (1996, 88).

to imply a multiplicity: a multitude of genders, sexualities, and/or ideas that exist outside of normative frameworks. Drawing from queer theory and feminist theory, I fixate on the idea that queerness implies multiple things that can exist at the same time and in the same space. It is one thing and another; queerness is a contradiction. I find the idea of queerness as

multiplicity useful because of the

many contradictions that exist within

the world of queer zine-making

(Barnard 1996; Berlant 1996). The

scholars, librarians, and interlocutors I

have interviewed have all expressed

this antithetical statement: zines are

inherently ephemeral; yet zines need

ephemeral ”

to be preserved. It is possible that

their definitions of

differs from mine (something that

resists permanence and materiality).

Through this zine project, I hope to

better understand this contradiction

within queer zine-making: queer zines

are created to be both visible and

invisible.

“

Berlant & Freeman claim “the key to the paradoxes of Queer Nation is the way it exploits internal differences… it does not look for a theoretical coherence to regulate in advance all of its tactics” (1992, 156). [Jack] Halberstam writes that “queer subcultures produce alternative temporalities by allowing their participants to believe that their futures can be imagined… outside of the conventional forward-moving narratives” (2003, 27)

1. Should zines be studied? 2.What makes a queer zine ephemeral? 3.What does ephemeral mean? 4.What does ephemera mean? 5.Is ephemera fetishized? 6.What is queer zine discourse? 7.Are queer zines examples of cultural/historic/political erasure? 8.What does it mean for something to disappear? 9.Are zines a valid form of scholarship? 10. Why create a zine vs. a diary vs. a blog vs. a literary magazine? 11. Should zines be preserved? 12. Does preservation imply collection? 13. What do queer zines reject? 14. Who is collecting zines? 15. Who are the people making zines? 16. Why are zines associated with queer spaces at the Claremont Colleges? 17. What do straight people think about zines? 18. Do zines have to be published?

PART 3: Reflections & Rants Personal essays Interviews

I HOPE NOBODY READS THIS ZINE! (NOT CLICKBAIT)

But if I really wanted no one to read this zine, why would I make one in the first place? I wish my writing could exist on its own, away from the prying eyes of professors, classmates, friends, parents, and whoever else happens to come across a copy of my zine. Zines are not very popular. I attended the Inaugural Print Pomona Art Book Fair (PPABF) on April 2, 2022, from 11:00 am–5:00 pm on Sunday April 3, 2022, and saw three people there. Zines are supposed to be incredibly accessible. But zines are viewed as being oh-so-quirky and queer and radical and leftist and something that you make for your final project in your prison abolition course at your liberal arts university during your freshman year of college. By making this zine, do I want more people to know what zines are? And read them? This semester, I have provided several definitions of zines to people who asked me, “what’s a zine?” after they made the mistake of asking me about the topic of my senior thesis. I have yet to successfully explain “what’s a zine?” to them. I once asked one of my interlocutors (my interviewee) whether he thought I needed to make a zine for my thesis because at that point I thought I had to make a zine for my thesis. At that point in my trying-to-understandingzines-journey, I understood that the people who read zines were mostly the people who created zines. And vice versa. It’s an insular, closed-circulation community much like academia. My thought process was: here I am, reading zines, what am I doing not making one? I felt like I wasn’t contributing to Productive Zine Society. To clarify, I don’t think I’m making this zine to contribute to some form of zine capitalism. Trying to write something that you don’t want other people to read (while still knowing that someone out there will read it) is difficult. You are reading it right now, aren’t you? Your eyes are glossing over these flimsy pages. Or maybe you haven’t. Maybe these pages were stuck together. Or you prefer to look at visual images instead of these long blocks of text. Maybe if you’re the type of person to pick up a zine, you are the type of person to read every page.

When I told my friend (who studies Econometrics at NYU) that I’m making a zine for my senior thesis, she responded ”how ~liberal arts~ of you.”

It made me realize that zines are a “LIBERAL” form of “ART.”

A: Yes, it has occurred to me that maybe I shouldn’t make a zine at all. If my goals and objectives are to understand how zines resist permanence and materiality, then my failure to produce a zine could be reinterpreted as a success of sorts. A: Yes, I feel guilty about the amount of black ink I’m using to print this. A: Yes, I feel weird about the fact that this zine will be preserved by my institution in some capacity. A: No, I don’t think that I will be pursuing graphic design in a professional setting. A: Yes, I would say that this experience was overall enjoyable and educational. A: Yes, I would encourage others to make zines.

A: No, I haven’t read that book about _____. A: Yes, I regret some of the font choices I made during this process.

A: No, I still don’t completely understand why librarians love to use the word “ephemera” so much. A: The very first zine I read was at an Asian American art event when I was 18. A: No, I’m not sure about the future of zine-making or the future of print.

Interview with Queer Archivist Sine Hwang Jensen

Sine (they/them) is the Asian American and Comparative Ethnic Studies Librarian at the UC Berkeley Ethnic Studies Library. They are queer, Asian American, mixed-race. They are also a member of MOONROOT, an ongoing collective zine project about race, gender, and bodies.

“MOONROOT is a creative collective of womyn, trans, and genderqueer folks of Asian and Pacific Islander descent, living and loving in diaspora. We are an evolving experiment in building loving, radical community across social and geographic borders that began in 2011. Rooted in a deep desire to resist isolation and invisibility, we are committed to enacting creative possibilities that move all of us towards healing, wholeness, and selfdetermination” (www.moonroot.info).

All existing issues of MOONROOT can be found on ISSUU.

I spoke with Sine to gain a better understanding of 1. what is a zine? 2. how are zines ephemeral? 3. how do you make a zine? Here is what they said:

“But I think the main point of zines is that it's this do-ityourself, cut-and-paste, collage. I don't have to be an expert in design, or like color theory, or something, you know, to be able to create something. And it’s not about being perfect. It’s about just putting things out there.”

“I definitely needed zines as an outlet for some anger. Because, and punk was also part of that, I think I grew up in a very loud family. But there was a lot of trauma like intergenerational trauma, things that I couldn't talk about and really difficult relationships in my family. So, I really sought spaces where I could really be myself like, and that was hard, being queer and genderqueer and, like, unapologetically be myself without having to explain myself to people. And in zines, I’m the writer, I get to say whatever I want.”

“This word ephemeral, I feel like ephemera are things that are created with impermanence in mind. Some things are created with permanence in mind, like a published book, a music album, that's a kind of thing that I would envision as a permanent thing that I'm creating. Ephemeral things, I think, for me are things that are created to be come-and-go. So, a flyer for an event right after the event is done. That flyer should be taken down, right? That would be looking at something ‘ephemeral’. But it doesn't mean that the flyer is not important. Because not everything has to live forever to be important. Maybe that’s what [zines] cut against in the way that archival theory is like, everything needs to be preserved forever in a permanent state forever. And it doesn't allow for fluidity, for things coming and going. But also, the agency of the creator to say, ‘Yeah, I don't want to produce that anymore. I don't want that. This isn't who I am anymore. I've changed my name and changed my thinking.’ And to be able to say, ‘Yeah, I'm not going to print anymore.’ That gives you the sense of control, you know, over your story.”

“If we're going to have more connection to queer history, we need to legalize being queer and trans. We need to legalize teaching [LGBTQ+ history] in school. We need to to have it be represented in education and children's books so that we can live fully…that’s how we can get to a place where queer people actually have a sense of history, and their history isn’t buried in the shadows. Where our bodies aren't buried in the shadows, so we don't live there. We have to live in these marginal ways. Because of what's going on in Texas, you know? So, until we live in that time, you know, I guess maybe that's where the safety net feels for me. Because we don't live in that kind of time, yet. But I think we will one day. Until then, I want to have my control over my story.” –Sine

Social media lends itself to creating, hosting, and erasing ephemeral content (content that lasts for a specified length of time before disappearing).

Think about Snapchat selfies, Instagram stories, and voice messages.

It allows us to have control over 1. What is content is seen? 2. Who sees it? 3. For how long it is seen?

Social media accommodates the fluidity of queerness, allowing multiple, changing conceptions of identity to exist within the archives.

Archive This Post

I archive pictures of myself I no longer like. I archive posts I no longer identify with.

I archive myself, creating an archive of my self.

Interview: Special Collections Librarian Lisa Crane Lisa Crane (she/her) is Western Americana Manuscripts Librarian at the Claremont Colleges Library. She is also head of Special Collections & Archives. I spoke with Lisa to learn about the provenance of the Special Collections Zines Collection.

Q: Can you talk about your decision to purchase and acquire the Special Collections Zines Collection in 2019?

A: It's long been part of my goal to diversify the archives, and to create, to fill some of those silent voices that are in the archives, as far as giving a voice to underrepresented communities and that sort. So, the LGBTQ community is one that we don't have a lot of materials in our collection that represent them.

Q: Why were you interested in collecting zines? A: They're really important. They provide a perspective, an everyday person's perspective, to life in general. You know, they’re an opportunity for activists to speak out about a topic. Artists who are interested in different topics to showcase their interests. There's a variety of reasons for that. And they are so ephemeral, you know, they're just made to not necessarily stand the test of time. 26

Just made for people to just, you know, hold, read, and then maybe throw away dispose of, you know, that sort of thing. But I think it's important that those are like little snapshots of contemporary times. So, it's great to capture that and keep it. They're really great snapshots of what's going on in a time and a place. So, like I said, very ephemeral things that you would expect to stand the test of time. Yes. So now people will be able to look 20 years in the future and see some of these materials and understand what was going on. Q: Do you have any concerns about collecting zines?

One thing archivists don't want to do is censor…who is it for us to determine what might be exotic, what might be erotic, what might be exploitive? ––––––––

It’s strange to me that an archivist’s definition of “ephemeral” is something that will “stand the test of time.”

PART 4: “Erasure as Resistance”

I protested that no bones were broken; but he moved with me to my own door, his hand, on my shoulder, kindly feeling for a fracture; and on hearing that I had come up to bed he asked leave to cross my threshold and just tell me in three words what his qualification of my remarks had represented. It was plain he really feared I was hurt, and the sense of his solicitude suddenly made all the difference to me. My cheap review fluttered off into space, and the best things I had said in it became flat enough beside the brilliancy of his being there. I clear can see him there still, on my rug, in the firelight and his spotted jacket, his fine face all bright with the desire to be tender to my youth. I don’t know what he had at first meant to say, but I think the sight of my relief touched him, excited him, brought up words to his lips from far within. It was so these words presently conveyed to me something that, as I afterwards knew, he had never uttered to anyone. I’ve always done justice to the generous impulse that made him speak; it was simply compunction for a snub unconsciously administered to a man of letters in a position inferior to his own, a man of letters moreover in the very act of praising him. To make the thing right he talked to me exactly as an ofuntouched food in front of them. They weren't gawking at me, unlike most of the other students, so it waafe to stare at them without fear of meeting an excessively interested pair of eyes. But it They didn't look anything alike. Of the three boys, one was big — muscled like a serious weight lifter,with dark, curly hair. Another was taller, leaner, but still muscular, and honey blond. The last was lanky,less bulky, with untidy, bronze-colored hair. He was more boyish than the others, who could be in college, or even teachers here rather than students. The girls were opposites. The tall one was statuesque. She had a beautiful figure, the kind you saw on thecover of the Sports Illustrated swimsuit issue, the kind that made every girl around her take a hit on her self-esteem just by being in the same room. Her hair was golden, gently waving to the middle of her back. The short girl was pixielike, thihe extreme, with small features. Her hair was a deep black,opped short and pointing in every direction. And yet, they were all exactly alike. Every one of them was chalky pale, the palest of all the studentsliving in this sunless town. Paler than me, the albino. They all had very dark eyes despite the range in hair tones. They also had dark shadows under those eyes — purplish, bruiselike shadows. As if they were all. As I watched, the small girl rose unbitten apple — and walked away with a quick, graceful lope that belonged on a amazed at her lithe dancer's step, till she dumped her tray and glided through the back door, faster than Iwould have thought possible. My eyes darted back to the others, who sat unchanging. "Who are they?" I asked the

Whatireallyamtryingtosaywiththiszineisthatthereareoptionsitsokayforthingstobec ontradictoryandforthingstonotmakecompletethoughtoutsenseandthatitsokaytoex perienceconfusionandfrustrationandareallygoodwayofdealingwithfrustrationcon fusionangeristhroughwritingthroughmakingazinebycreatingartratherthanscholar shipbecauseifindthatscholarshipcontributestoevenmorefrustrationconfusionange rwhichiswhyartissoimportantiguesswhatiwanttosayisthatformisreallyimportanta ndtheformisthemessagewhichisalinethathascomeupmultipletimesbutidontreallyu nderstandwhatitmeansexceptthattheforminwhichichoosetodelivermymessageand mythoughtsmattersitmattersalotimalsotryingtoshowthatalotofthingsdontmatterpi ecesofpaperdontmatterunlesstheyreallymattertoyouadiplomathatwillhideawaydu styinmydeskwillnotmatterasmuchastheexperienceandeducationireceivedandthep eopleimetandgrewtolovepermanencedoesnotmatterinamaterialsensematerialityis notthesameaspermanenceandnothingistrulymaterialorpurelymaterialthingsthatl astforeverarentnecessarythebestorthemostimportantthinkaboutplasticandmetals andsteelandhowthesethingswillhauntourplanetforthousandsofyearsbecausetheys implyrefusetobreakdowndecomposeandendtheirexistencewouldyourathercreate moreplasticinthisworldorcreatesomethingfleetingimnottryingtosaythatshorttermt hingsarebetterimtryingtosaythattheycanbejustasimportantandinfluentialaslongte rmthingsratherthanhighlightingthemundanenatureofzinesandtheeverydayperson experiencethatissocrucialtothestudyofanthropologyin2022imfocusingontheconce ptoftimeassomethingmundaneandtheconceptofpermanenceestablishedstructures methodsideologiesinstitutionswaysofprintingwaysofcreatingasmundanestructure stobesetasidegentlyiwantyoutoconsidertheideathaterasureisntalwaysabadthingbe causethinkofthereasonsortimesyouhaveevererasedsomethinginyourlifebecauseyo uerasedastraymarkbecauseitwasntwhereitwassupposedtobeyoueraseamathequati onaftertheknowledgehasbeenabsorbedintoyourbrainandevenafterithasntbeenabs orbedinyourbrainyouerasewordsasyoutypethemonyourcomputerbecausethedigiti zationofwritinghaveallowedwordstobeeasilyerasedasopposedtohavingtocrossout somethingonthetypeprinterorbackspaceorwhateveritistheydidbackthenyoucanera seyournamefromsomethingyoumadeorwrotebecauseyoudontwantpeopletoknow youweretheonewhomadeittherearesomanyvalidreasonsforerasurethatithinktheo nlytimewhenerasureisactuallybadiswhenitisbeingdonebysomeoneotherthanyours elfbutzinemakersandqueercreatorseverywherehavetheoptionoferasingthemselves siftheyfeelikeitdoesthatmakesense?toyoubecauseitreallydoestomeasivemadethetz ineandengagedwiththepracticeoferasureandrefusingtobeunderstoodorrefusingto beseenorrefusingeventobeitsaboutrealizingyourabilitytorefuseandresistitsaboutin cludingthetextoftwilightinyourseniorthesisbecauseblackoutpoetrytheactsoferasin gandtakingawaythepartsyouwanttotakeawayallowyoutoengagewithtwilightinam eaningfulwayandwhywouldyounotincludeabestsellingyaromancenovelaboutund ergroundvampiresandshadowsandlightinyourseniorthesisifyouhavethechanceto?

PART 5: The End Resources Bibliography Acknowledgements

PHYSICAL ZINE RESOURCES Aarons, Philip, AA Bronson, and Ray Cha. Queer Zines 2. New York: Printed Matter, Inc., 2014. Aarons, Philip, AA Bronson, Ray Cha, and Alex Gartenfeld. Queer Zines. New York: Printed Matter, Inc., 2013. Barnard, Ian. “Queerzines and the Fragmentation of Art, Community, Identity, and Politics.” Socialist Review, 26, no. 1 (January 1996): 69–95. Berlant, Lauren, and Elizabeth Freeman. “Queer Nationality.” Boundary 2 19, no. 1 (1992): 149–80. Butler, Judith. “Imitation and Gender Insubordination.” Second Wave: A Reader in Feminist Theory, 1997. Driver, Susan. Queer Youth Cultures. SUNY Series, Border Testimony(ies) and Critical Discourse/s. Albany: State University of New York Press, 2008. http://catdir.loc.gov/catdir/toc/ecip0720/2007024545.html. Duncombe, Stephen. Notes from Underground: Zines and the Politics of Alternative Culture. Bloomington, IN: Microcosm Publishing, 2008. http://ebookcentral.proquest.com/lib/claremont/detail.action?docID=1912223. Fenster, Mark. “Queer Punk Fanzines: Identity, Community, and The Articulation of Homosexuality and Hardcore.” Journal of Communication Inquiry 17, no. 1 (1993): 73–94. https://doi.org/10.1177/019685999301700105. Japanese Women's Contemporary Artist Zines (H.Mss.1016). Special Collections, The Claremont Colleges Library, Claremont, California. LeBien, Noah and Be Oakley. GenderFail Reader 1 + 2 + 3. Brooklyn, NY: GenderFail Press, 2022. https://www.printedmatter.org/catalog/59573. Muñoz, José Esteban. “Ephemera as Evidence: Introductory Notes to Queer Acts.” Women & Performance: A Journal of Feminist Theory 8, no. 2 (1996): 5–16. https://doi.org/10.1080/07407709608571228. Oakley, Be. Radical Softness As a Boundless Form of Resistance. Sixth. Brooklyn, NY: GenderFail Press, 2020. https://www.printedmatter.org/catalog/54018/. Phelan, Peggy. The Politics of Performance. Routledge, 1993. Spencer, Amy. DIY: The Rise of Lo-Fi Culture. [Revised and Updated 2008. Reprinted 2015]. London: Marion Boyars, 2015. Subcultures Network. Ripped, Torn and Cut: Pop, Politics and Punk Fanzines from 1976. Manchester: Manchester University Press, 2018. https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1857128. The Claremont Colleges Special Collections Zines Collection (H.Mss.1104). Special Collections, The Claremont Colleges Library, Claremont, California. Triggs, Teal. Fanzines: The DIY Revolution. San Francisco, CA: Chronicle Books, 2010. Halberstam, Judith [Jack]. “What’s That Smell?: Queer Temporalities and Subcultural Lives,” (2003): 313–33. https://journals.sagepub.com/doi/10.1177/13678779030063005.

HOW TO MAKE A ZINE (5C EDITION)

LEARN WHAT A ZINE IS

VISIT THE ZINE WALL ON MUDD 2 OF THE LIBRARY

CHECK OUT ZINES IN SPECIAL COLLECTIONS

READ ZINES AT THE QUEER RESOURCE CENTER

TAKE PROFESSOR TODD HONMA’S COURSE ON ZINES

GOOGLE ZINES

GOOGLE HOW TO MAKE A ZINE

EXPERIMENT WITH FOLDING PAPER IN DIFFERENT WAYS

EXPERIMENT WITH INDESIGN, CANVA, AND POWERPOINT

10. EXPERIMENT WITH WRITING, DRAWING, PHOTOGRAPHY, GRAPHIC DESIGN, COLORING, PAINTING, KNITTING, TRACING, ENGRAVING, PRINT-MAKING, ETC. 11. FIGURE OUT YOUR INTENTIONS FOR MAKING A ZINE 12. OPTIONAL: SKIP STEPS 1-11 13. CRY 14. MAKE A ZINE 15. GET IN FIGHT WITH PRINTER AT ITS

Here is a list of people who helped, inspired, and encouraged me to create this zine:

Joanne Nucho Sine Hwang Jensen Aubrey Aust Lisa Crane Ashley Larson Cécile Evers Zorro Yu Timothy Liu Amber Lee Devon, Tony, Xiao, & Natalie Todd Honma Chung Yu Meiying Huang Shihan Yu Sy Wagon Nghiem Nguyen Nazia Islam Sean Stanley Claremont College Library Staff Anthropology Department

erasure as resistance: the ephemerality of zines

Thesis Advisor: Professor Joanne Nucho

Shei Yu Pomona College Class of 2022 36