Zines - Revision history

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Rescuing 0 sources and tagging 3 as dead.) #IABot (v2.0.9.5

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	The following collections include zines about non-binary experiences of genderː		The following collections include zines about non-binary experiences of genderː

	* Anchor Archive Zine Library<ref>"genderqueer". Anchor Archive Zine Library. https://anchorarchive.org/taxonomy/term/1587 </ref><ref>"gender pronouns." https://anchorarchive.org/taxonomy/term/2844</ref><ref>"non-binary". https://anchorarchive.org/taxonomy/term/3584</ref>		* Anchor Archive Zine Library<ref>"genderqueer". Anchor Archive Zine Library. https://anchorarchive.org/taxonomy/term/1587{{Dead link\|date=April 2026 \|bot=InternetArchiveBot \|fix-attempted=yes }}</ref><ref>"gender pronouns." https://anchorarchive.org/taxonomy/term/2844{{Dead link\|date=April 2026 \|bot=InternetArchiveBot \|fix-attempted=yes }}</ref><ref>"non-binary". https://anchorarchive.org/taxonomy/term/3584{{Dead link\|date=April 2026 \|bot=InternetArchiveBot \|fix-attempted=yes }}</ref>
	* The Pratt Institute's LGBTQ̘ Zine Collection<ref>"LGBTQ̝ - Zines - Libguides". Pratt Institute. https://libguides.pratt.edu/zines/lgbtq</ref>		* The Pratt Institute's LGBTQ̘ Zine Collection<ref>"LGBTQ̝ - Zines - Libguides". Pratt Institute. https://libguides.pratt.edu/zines/lgbtq</ref>
	* The Queer Zine Archive Project		* The Queer Zine Archive Project

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2020s

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	== 2020s ==		== 2020s ==
	The anthology zine ''My Gender is [NOT] Human'' includes art and writing exploring how each contributor's [[Otherkin\|non-human species identity]] relates to their gender identity, whether or not they see themselves as [[xenogender]].<ref>Nova, editors''. My Gender is [NOT] Human''. https://ruffledgryphon.itch.io/my-gender-is-not-human-zine</ref> Some contributors identify with a binary gender (partially or completely), but feel most comfortable with the physical form and/or behavioral traits associated with creatures of their species identity (e.g. a female bobcat). On the other hand, another contributor identifies as a "she-wolf" and considers this separate from "male" or "female".<ref>Earth Listener from House of Chimaeras. ''My Gender is [NOT] Human'', edited by Nova. https://ruffledgryphon.itch.io/my-gender-is-not-human-zine</ref>		The anthology zine ''My Gender is [NOT] Human'' includes art and writing exploring how each contributor's [[Otherkin\|non-human species identity]] relates to their gender identity, whether or not they see themselves as [[xenogender]].<ref>Nova, editors''. My Gender is [NOT] Human''. https://ruffledgryphon.itch.io/my-gender-is-not-human-zine</ref> Contributors report a wide range of gender identities. Some contributors identify with a binary gender (partially or completely), but feel most comfortable with the physical form and/or behavioral traits associated with creatures of their species identity (e.g. a female bobcat). On the other hand, another contributor identifies as a "she-wolf" and considers this separate from "male" or "female".<ref>Earth Listener from House of Chimaeras. ''My Gender is [NOT] Human'', edited by Nova. https://ruffledgryphon.itch.io/my-gender-is-not-human-zine</ref>

	== Collections and Archives ==		== Collections and Archives ==

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	In 2007, Misster Raju Rage started a series of anthology zines called Masculine Femininities. Rage, who self-identified as an "undefined" and "masculine feminine" trans person of color, offered this description of their sense of gender in issue oneː<ref>Rage, Raju. Masculine Femininities, vol. 1. Uploaded November 19, 2009. https://masculinefemininities.wordpress.com/category/issue-1/ </ref><blockquote>So, as a masculine Trans person who feels feminine; who am I? Male or female? (This is what I get asked a lot directly or indirectly) or, which pronoun do I use? I get ‘she-d’ a lot and very often get confused as a female masculine person, the kind [[Jack Halberstam\|Judith Halberstam]] has made famous. But I am NOT. I use capitals not because I dislike the above or want to be disassociated from this but more because I want to be recognised for whom I really am; essentially masculine and yet feminine.</blockquote>The issue also includes writing and art from other gender variant people, including an interview with Rage's collaborator Jin Haritaworn, who described a [[Genderfluid\|fluid]] sense of gender and presentationː<ref>Haritaworn, Jin. Interviewed by Misster Raju Rage in ''Masculine Femininities'', issue 1. https://masculinefemininities.wordpress.com/category/issue-1/</ref><blockquote> I identify as a switch, or a pendulum, and my masculinity and femininity are very related. When I present masculine for a while, my femininity comes back with a vengeance (laughs). I get depressed when I feel stuck in one mode. If I present just masculine for too long, I end up feeling grey, lifeless, like all the colour has been drained from my life. You know how boys grunt and move their bodies very sparsely, their shoulders and hips. This is the most, and the longest I have stayed in predominantly masculine mode. There are times I have to remind myself that I am entitled to express myself, express femininity, to switch and change.</blockquote>Contributor Sabri Clay Sky also expressed a fluid sense of gender, and explained his reasons for accepting both he/him and she/her pronounsː<ref>Sky, Sabri Clay.https://masculinefemininities.wordpress.com/category/issue-1/</ref><blockquote>I consider myself genderqueer and can have kind of a feminine masculinity. I’m most comfortable with switching gender pronoun usage, since communities I’m around don’t use gender neutral or all-inclusive genderpronouns. For instance, performing as a drag king, members of the troupe refer to each other as he or she. This honours, to me: On one hand, referring to “she” who plays on the women’s (American) football team highlights positively, incorporates, and celebrates the usually ignored/monsterized masculine female into our and the larger culture, such as, but referring to the same person as “he” who brought the flyers for the drag show gives credit to his/her masculinity, and the masculine gender of this person in drag and activities leading up to it. A performer before realizing my gender flux gender identity, I’ve found gender performativity to be very real–very corporeal.</blockquote>		In 2007, Misster Raju Rage started a series of anthology zines called Masculine Femininities. Rage, who self-identified as an "undefined" and "masculine feminine" trans person of color, offered this description of their sense of gender in issue oneː<ref>Rage, Raju. Masculine Femininities, vol. 1. Uploaded November 19, 2009. https://masculinefemininities.wordpress.com/category/issue-1/ </ref><blockquote>So, as a masculine Trans person who feels feminine; who am I? Male or female? (This is what I get asked a lot directly or indirectly) or, which pronoun do I use? I get ‘she-d’ a lot and very often get confused as a female masculine person, the kind [[Jack Halberstam\|Judith Halberstam]] has made famous. But I am NOT. I use capitals not because I dislike the above or want to be disassociated from this but more because I want to be recognised for whom I really am; essentially masculine and yet feminine.</blockquote>The issue also includes writing and art from other gender variant people, including an interview with Rage's collaborator Jin Haritaworn, who described a [[Genderfluid\|fluid]] sense of gender and presentationː<ref>Haritaworn, Jin. Interviewed by Misster Raju Rage in ''Masculine Femininities'', issue 1. https://masculinefemininities.wordpress.com/category/issue-1/</ref><blockquote> I identify as a switch, or a pendulum, and my masculinity and femininity are very related. When I present masculine for a while, my femininity comes back with a vengeance (laughs). I get depressed when I feel stuck in one mode. If I present just masculine for too long, I end up feeling grey, lifeless, like all the colour has been drained from my life. You know how boys grunt and move their bodies very sparsely, their shoulders and hips. This is the most, and the longest I have stayed in predominantly masculine mode. There are times I have to remind myself that I am entitled to express myself, express femininity, to switch and change.</blockquote>Contributor Sabri Clay Sky also expressed a fluid sense of gender, and explained his reasons for accepting both he/him and she/her pronounsː<ref>Sky, Sabri Clay.https://masculinefemininities.wordpress.com/category/issue-1/</ref><blockquote>I consider myself genderqueer and can have kind of a feminine masculinity. I’m most comfortable with switching gender pronoun usage, since communities I’m around don’t use gender neutral or all-inclusive genderpronouns. For instance, performing as a drag king, members of the troupe refer to each other as he or she. This honours, to me: On one hand, referring to “she” who plays on the women’s (American) football team highlights positively, incorporates, and celebrates the usually ignored/monsterized masculine female into our and the larger culture, such as, but referring to the same person as “he” who brought the flyers for the drag show gives credit to his/her masculinity, and the masculine gender of this person in drag and activities leading up to it. A performer before realizing my gender flux gender identity, I’ve found gender performativity to be very real–very corporeal.</blockquote>

			== 2010s ==

			== 2020s ==
			The anthology zine ''My Gender is [NOT] Human'' includes art and writing exploring how each contributor's [[Otherkin\|non-human species identity]] relates to their gender identity, whether or not they see themselves as [[xenogender]].<ref>Nova, editors''. My Gender is [NOT] Human''. https://ruffledgryphon.itch.io/my-gender-is-not-human-zine</ref> Some contributors identify with a binary gender (partially or completely), but feel most comfortable with the physical form and/or behavioral traits associated with creatures of their species identity (e.g. a female bobcat). On the other hand, another contributor identifies as a "she-wolf" and considers this separate from "male" or "female".<ref>Earth Listener from House of Chimaeras. ''My Gender is [NOT] Human'', edited by Nova. https://ruffledgryphon.itch.io/my-gender-is-not-human-zine</ref>

	== Collections and Archives ==		== Collections and Archives ==
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	* The Queer Zine Archive Project		* The Queer Zine Archive Project
	* Queer Zine Library<ref>"Tag searchː non-binary". Queer Zine Library,https://www.librarycat.org/lib/QueerZineLibrary/search/tag/Non-binary{{Dead link\|date=November 2024 \|bot=InternetArchiveBot \|fix-attempted=yes }}</ref>		* Queer Zine Library<ref>"Tag searchː non-binary". Queer Zine Library,https://www.librarycat.org/lib/QueerZineLibrary/search/tag/Non-binary{{Dead link\|date=November 2024 \|bot=InternetArchiveBot \|fix-attempted=yes }}</ref>

	~~==External links==~~
	* [https://ruffledgryphon.itch.io/my-gender-is-not-human-zine My Gender is [NOT] Human], a zine focused on [[xenogender]] experiences from [[alterhuman]]s and nonhumans.

	== Works Cited ==		== Works Cited ==

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	Zines are self-published works, generally produced for a small audience and non-commercial purposes. They are often used as forms of personal and political expression by marginalized people and communities, including queer people and feminists.<ref>Fife, Kirsty (2019). "Not for you? Ethical implications of archiving zines". ''Punk & Post Punk''. '''8''' (2): 227–242. [[Doi (identifier)\|doi]]:10.1386/punk.8.2.227_1. [[S2CID (identifier)\|S2CID]] 199233569 – via EBSCOhost.</ref>		Zines are self-published works, generally produced for a small audience and non-commercial purposes. They are often used as forms of personal and political expression by marginalized people and communities, including queer people and feminists.<ref>Fife, Kirsty (2019). "Not for you? Ethical implications of archiving zines". ''Punk & Post Punk''. '''8''' (2): 227–242. [[Doi (identifier)\|doi]]:10.1386/punk.8.2.227_1. [[S2CID (identifier)\|S2CID]] 199233569 – via EBSCOhost.</ref>

	~~== Nonbinary gender in zines ==~~
	Since at least the 1990s, some zinesters have endorsed non-binary understandings of gender in various forms. These include expressing disapproval for binary notions of gender, using or advocating for gender neutral pronouns, or giving accounts of their own non-binary gender identities and/or expressions.		Since at least the 1990s, some zinesters have endorsed non-binary understandings of gender in various forms. These include expressing disapproval for binary notions of gender, using or advocating for gender neutral pronouns, or giving accounts of their own non-binary gender identities and/or expressions.

			== 1990s ==
	In the 1996 transgender zine ''Girly (''issue 5), Mona X asserts that gender is "more like a spectrum" than a binary.<ref>X, Mona. ''Girly'', issue 5. Queer Zine Archive Project. 1996. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/58</ref>		In the 1996 transgender zine ''Girly (''issue 5), Mona X asserts that gender is "more like a spectrum" than a binary.<ref>X, Mona. ''Girly'', issue 5. Queer Zine Archive Project. 1996. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/58</ref>

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	In 1999, a zinester named [[Micah Bazant]] created ''TimTum: A Trans Jew Zine'', taking for their title a word used in early rabbinic literature for people of unclear/hidden sex. Noting that "timtum" accumulated pejorative uses over time, including "stupid" and "ineffectual" in Yiddish, Micah intervenes with their own definition, "a sexy, smart, creative, productive Jewish [[genderqueer]]".<ref name=":0">Bazant, Micah. ''TimTum - A Trans Jew Zine''. 1999. Accessed October 22 2024 via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/408</ref> Micah also addresses the binary gender expectations of the reader, imploring them to "Please see me beyond gender. Please know that I don't fit into this stupid fucking system. Please remind me that there have always been people like me. Creatures who are not 'men' or 'women'".<ref name=":0" />		In 1999, a zinester named [[Micah Bazant]] created ''TimTum: A Trans Jew Zine'', taking for their title a word used in early rabbinic literature for people of unclear/hidden sex. Noting that "timtum" accumulated pejorative uses over time, including "stupid" and "ineffectual" in Yiddish, Micah intervenes with their own definition, "a sexy, smart, creative, productive Jewish [[genderqueer]]".<ref name=":0">Bazant, Micah. ''TimTum - A Trans Jew Zine''. 1999. Accessed October 22 2024 via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/408</ref> Micah also addresses the binary gender expectations of the reader, imploring them to "Please see me beyond gender. Please know that I don't fit into this stupid fucking system. Please remind me that there have always been people like me. Creatures who are not 'men' or 'women'".<ref name=":0" />

	In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>		In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>

			== 2000s ==
	In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She uses they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.		In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She uses they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.

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	In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She uses they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.		In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She uses they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.

	Some contributions to a 2001 zine by participants of Camp Trans, a gathering opposing the Michigan Womyn's Musical Festival's gender policies, show a non-binary understanding of gender or discuss gender neutral language. The zine's introductory piece names trans men, trans women, and "other genderqueer folks" as people made unwelcome by the festival's "womyn-born-womyn" policy.<ref>Strikeback, Simon, and Casey. "Welcome to Camp Trans". ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref> Another piece mentions alternatives to gendered pronouns such as "s/he" and "hir", which the writer considers awkward and difficult for outsiders to understand, despite their dislike of gendered pronouns.<ref>"pronoun theory". ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref> A poem by Aaron asserts that despite pressure to settle on one binary gender, the narrator is "both" and "neither".<ref>Aaron. Untitled poem. ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref>		Some contributions to a 2001 zine by participants of Camp Trans, a gathering opposing the Michigan Womyn's Musical Festival's gender policies, show a non-binary understanding of gender or discuss gender neutral language. The zine's introductory piece names trans men, trans women, and "other genderqueer folks" as people made unwelcome by the festival's "womyn-born-womyn" policy.<ref>Strikeback, Simon, and Casey. "Welcome to Camp Trans". ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref> Another piece mentions alternatives to gendered pronouns such as "s/he" and "hir", which the writer considers awkward and difficult for outsiders to understand, despite their dislike of gendered pronouns.<ref>"pronoun theory". ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref> A poem by a contributor named Aaron asserts that despite pressure to settle on one binary gender, the narrator is "both" and "neither".<ref>Aaron. Untitled poem. ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref>

	In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>		In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>

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	in a 1998 zine titled ''Lucky Star,'' Witch Baby/Jessica Max Stein asserts that-- despite Stein's use of he/him pronouns for God-- God "doesn't fit into that narrow binary conception of things". Stein also includes a "completely true genderqueer Brooklyn Hannukkah story", about meeting a stranger with a pleasing and androgynous voice.<ref>Stein, Jessica Max, writing as Witch Baby. ''Lucky Star.'' Queer Zine Archive Project. Created December 1998. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/175</ref>		in a 1998 zine titled ''Lucky Star,'' Witch Baby/Jessica Max Stein asserts that-- despite Stein's use of he/him pronouns for God-- God "doesn't fit into that narrow binary conception of things". Stein also includes a "completely true genderqueer Brooklyn Hannukkah story", about meeting a stranger with a pleasing and androgynous voice.<ref>Stein, Jessica Max, writing as Witch Baby. ''Lucky Star.'' Queer Zine Archive Project. Created December 1998. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/175</ref>

	1999, a zinester named [[Micah Bazant]] created ''TimTum: A Trans Jew Zine'', taking for their title a word used in early rabbinic literature for people of unclear/hidden sex. Noting that "timtum" accumulated pejorative uses over time, including "stupid" and "ineffectual" in Yiddish, Micah intervenes with their own definition, "a sexy, smart, creative, productive Jewish [[genderqueer]]".<ref name=":0">Bazant, Micah. ''TimTum - A Trans Jew Zine''. 1999. Accessed October 22 2024 via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/408</ref> Micah also addresses the binary gender expectations of the reader, imploring them to "Please see me beyond gender. Please know that I don't fit into this stupid fucking system. Please remind me that there have always been people like me. Creatures who are not 'men' or 'women'".<ref name=":0" />		In 1999, a zinester named [[Micah Bazant]] created ''TimTum: A Trans Jew Zine'', taking for their title a word used in early rabbinic literature for people of unclear/hidden sex. Noting that "timtum" accumulated pejorative uses over time, including "stupid" and "ineffectual" in Yiddish, Micah intervenes with their own definition, "a sexy, smart, creative, productive Jewish [[genderqueer]]".<ref name=":0">Bazant, Micah. ''TimTum - A Trans Jew Zine''. 1999. Accessed October 22 2024 via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/408</ref> Micah also addresses the binary gender expectations of the reader, imploring them to "Please see me beyond gender. Please know that I don't fit into this stupid fucking system. Please remind me that there have always been people like me. Creatures who are not 'men' or 'women'".<ref name=":0" />

	In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>		In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>

	In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She uses they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.		In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She uses they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.

			Some contributions to a 2001 zine by participants of Camp Trans, a gathering opposing the Michigan Womyn's Musical Festival's gender policies, show a non-binary understanding of gender or discuss gender neutral language. The zine's introductory piece names trans men, trans women, and "other genderqueer folks" as people made unwelcome by the festival's "womyn-born-womyn" policy.<ref>Strikeback, Simon, and Casey. "Welcome to Camp Trans". ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref> Another piece mentions alternatives to gendered pronouns such as "s/he" and "hir", which the writer considers awkward and difficult for outsiders to understand, despite their dislike of gendered pronouns.<ref>"pronoun theory". ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref> A poem by Aaron asserts that despite pressure to settle on one binary gender, the narrator is "both" and "neither".<ref>Aaron. Untitled poem. ''Camp Trans''. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/563</ref>

	In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>		In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>

TXJ: /* Collections and Archives */Added an example zine about xenogenders

2025-04-04T19:46:32Z

Collections and Archives: Added an example zine about xenogenders

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	* The Queer Zine Archive Project		* The Queer Zine Archive Project
	* Queer Zine Library<ref>"Tag searchː non-binary". Queer Zine Library,https://www.librarycat.org/lib/QueerZineLibrary/search/tag/Non-binary{{Dead link\|date=November 2024 \|bot=InternetArchiveBot \|fix-attempted=yes }}</ref>		* Queer Zine Library<ref>"Tag searchː non-binary". Queer Zine Library,https://www.librarycat.org/lib/QueerZineLibrary/search/tag/Non-binary{{Dead link\|date=November 2024 \|bot=InternetArchiveBot \|fix-attempted=yes }}</ref>

			==External links==
			* [https://ruffledgryphon.itch.io/my-gender-is-not-human-zine My Gender is [NOT] Human], a zine focused on [[xenogender]] experiences from [[alterhuman]]s and nonhumans.

	== Works Cited ==		== Works Cited ==

Zopilote at 00:25, 13 March 2025

2025-03-13T00:25:28Z

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	In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>		In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>

	In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She ~~using~~ they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.		In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She uses they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.

	In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>		In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>

Zopilote: Updated pronoun for Seeley Quest.

2025-03-13T00:24:43Z

Updated pronoun for Seeley Quest.

← Older revision		Revision as of 00:24, 13 March 2025
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	In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>		In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>

	In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She using they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how ~~they enjoy~~ getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> ~~They~~ also ~~express~~ a desire for an androgynous body.		In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She using they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how sie<ref>"Seeley Quest Biography". Tangled Arts. https://tangledarts.org/about-us/artist/seeley-quest/</ref> enjoys getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> Sie also expresses a desire for an androgynous body.

	In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>		In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>

Zopilote at 23:57, 12 March 2025

2025-03-12T23:57:51Z

← Older revision		Revision as of 23:57, 12 March 2025
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	In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>		In another zine from 1999, ''Mutate'' (issue 2), creator Milo Miller uses [[ze/hir]] pronouns for a person they dated and bemoans the lack of recent, high-quality zines for "kweer kids of all genders".<ref>Miller, Milo. Mutate issue 2. Published 1999. Accessed via Queer Zine Archive Project. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/166</ref>

	In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She using they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how they enjoy getting read as male and being "difficult to categorize".<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> They also express a desire for an androgynous body.		In an interview from ''Mutate'' (issue 5), Angelique (a member of the band Venus Bleeding), mentions dating a "crossdresser" who was "the sweetest man but a difficult girl". She using they/them pronouns to refer to her ex, noting that the relationship had problems because "they were still learning about themselves".<ref>Angelique. Interview with Milo Miller. ''Mutate'', issue 5. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> In a piece by Seeley Quest which also appeared in this issue, Quest talks about how they enjoy getting read as male and being "difficult to categorize" genderwise.<ref>Quest, Seeley. "The Sexual Underground". In ''Mutate'', issue 5, edited by Milo Miller. 2001. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/294</ref> They also express a desire for an androgynous body.

	In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>		In 2005, a short piece called "The End of Genderqueer" appeared in issue 2 of Rocko Bulldagger's zine ''Bleached Blonde Bimbos'', lamenting what the author saw as an exclusionary move away from an expansive and solidaristic definition of "genderqueer" to a narrower definition (not identifying as male or female). She observed that this newer, identity-based scene was only friendly to a small range of gendered embodiments and expressions, generally young, white, masculine female-assigned people who had not "fully" transitioned, conformed to specific fashion trends, and did not use she/her pronouns.<ref>Bulldagger, Rocko. "The End of Genderqueer". From ''Bleach Blonde Bimbos'', vol. 2. 2005. New York City, USA. Accessed via Queer Zine Archive Project on October 22 2024. https://archive.qzap.org/index.php/Detail/Object/Show/object_id/112</ref>