My Zines

In the 1990s, zines, especially within the context of the riot grrrl movement, again offered a means of expression for those alienated from popular culture. Anne Elizabeth Moore describes these publications as a repository of “hidden histories” that “tell the kinds of stories deliberately ignored, glossed over, or entirely forgotten by mainstream media.” Moore, a zine-maker herself, points out that the medium continues to attract a diverse range of writers and artists, both professional and amateur, from “prisoners” and “homeschoolers” to “survivors of sexual assault” and “members of the military”—in other words, as she puts it, just about “anyone else who has ever felt that the voices speaking for them in the larger culture weren’t conveying their stories.” Cindy Crabb echoes this sentiment in “i believe,” an essay included in The Encyclopedia of Doris, a collection of her writing and drawings.

Like Moore, Crabb, a prolific and popular contemporary zine-maker based in Athens, Ohio, writes about radical politics and the possibility for social change….“I started writing a zine because I believed in the power of telling secrets,” she writes in the opening paragraph of “i believe.” Every page of Doris is a miniature work of art, a photocopied collage of text, drawings, and found images….A believer in “fundamental social change,” Crabb explains that she began writing, drawing, and distributing her zines because she “wanted to live in a world where we were humans and not just consumers, where our voices mattered, where we learned together instead of just arguing.”

(From pages 141 and 142 of Captain Marvel and the Art of Nostalgia by Brian Cremins)