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Zines: Difference between revisions
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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> | ||