In an era marked by the rapid centralization of corporate media, zines are independent and localized, coming out of cities, suburbs and small towns across the USA, assembled on kitchen tables. They celebrate the everyperson in a world of celebrity, losers in a society that rewards the best and the brightest. Rejecting the corporate dream of an atomized population broken down into discrete and instrumental target markets, zine writers form networks and forge communities around diverse identities and interests. Employed within the grim new economy of service, temporary, and "flexible" work, they redefine work, setting out their creative labor done on zines as a protest against the drudgery of working for another's profit. And defining themselves against a society predicated on consumption, zinesters privilege the ethic of DIY, do-it-yourself: make your own culture and stop consuming that which is made for you. Refusing to believe the pundits and politicians who assure us that the laws of the market are synonymous with the laws of nature, the zine community is busy creating a culture whose value isn't calculated as profit and loss on ruled ledger pages, but is assembled in the margins, using criteria like control, connection, and authenticity.

Stephen Duncombe,
from Notes from Underground: Zines and the Politics of Alternative Culture
(Verso, 1997)


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