books

some links to follow up - mostly relating to the books i've recently purchased here in india - an ongoing list

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Asmita
ASMITA (literally, identity) was established in 1988 as a non-profitable, non-political and non-governmental organization by a nucleus of young enthusiastic women journalists. Its general objective is to fulfill the existing gap in participation, representation and access to media of women. It is committed to find new ways and directions for women's progress. Its major aim is to produce various publications on women in the media. ASMITA is the one and only feminist alternative media organization in the country, and it functions as a pressure group for the advancement of women through media activism. ASMITA Women's Publishing House, Media and Resource Organization (in short, ASMITA) was established in 1988 as a non-profitable, non-political and non-governmental organization by a nucleus of young enthusiastic women journalists, and started to publish the first feminist magazine of Nepal. The magazine was named Asmita which means "dignity" and "identity". In fact, this was the first movement of the organization for Nepali women's human right and empowerment through media.

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Women's World of India
Women's WORLD (India) was set up in July 2002. It is part of Women's WORLD (International), a free speech network of feminist writers, which has ongoing projects in Africa, Asia, Europe, Latin America and North America. The primary aim of WW(I) is to provide a space for women writers in South Asia to analyse the circumstances in which women write, are published and read in this region, to identify the issues facing women writers here, and to develop a strategy for working on them at the national, regional and international levels.

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Blaft Publications
Blaft Publications is a new independent publishing house based in Chennai, India. Their releases so far include an anthology of Tamil pulp fiction, a translation of an experimental Tamil novel, a book of drawings, and a book of English short stories. However, in the future, Blaft has much wider goals. They are planning to eventually branch out into translations of fiction from other regional languages of South Asia, English fiction, comic books, graphic novels, children's books, non-fiction, textbooks, how-to-manuals, encyclopedias, and kitchen appliances.

The Blaft Anthology of Tamil Pulp Fiction
- selected & translated by Pritham Chakravarthy
- edited by Rakesh Khanna

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Feminist Fine Print
A moderately priced, handy new series that offers two, three or four core essays on a single issue, from a critical feminist perspective. The essays may be single-authored or have multiple authorship depending on the issue, its significance within India and South Asia, and its theoretical and political implications.
- http://www.womenunlimited.net/catalogue2.htm for list of book details currently available

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Zubaan Books
An imprint of Kali for women

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Women's resources in Delhi
- a list of organisations

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Yoda Press
YODA PRESS is an independent publishing venture based in New Delhi. With a view to developing dynamic non-fiction lists, both academic as well as popular, which can make available interactive spaces for further discussion, scholarship, and writing, this young venture is currently focusing its attention on areas like urban studies, sexuality and the body, gender, cinema, contemporary art and popular culture, and new perspectives in history. In doing so, the larger YODA PRESS list hopes to effectively capture the non-mainstream, alternative, yet critical reality of contemporary India. The Press invites feedback, constructive criticism, and the ever enriching exchange of ideas, which can often lead to a stunning new publication.

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Sarai
http://www.sarai.net/about-us/introducing-sarai/overview
Sarai researches the urban experience, the city, the publics and practice of (old & new) media, "information and society", free & open source software, language and digital cultures and the interface between urban transformation, contemporary culture, and development. Sarai research has flowed into conferences, books, articles, art Installations and even school textbooks. Our researchers Include scholars and practitioners. Sarai places a premium on the research process as a whole, rather than just the final outcome. This means that Sarai research material continually reaches the public domain through collaborative mailing lists, CD's, small essays, apart from conferences and research articles.

Sarai publishes books (The Sarai Readers, The Deewan-e-Sarai and the Series), pamphlets (The Media Nagar Series), broadsheets (Sarai.txt, Cybermohalla Broadsheets) and occasional publications ('By Lanes', 'The Book Box' etc.) on paper as well as on the web. All Sarai publications are copyleft and maybe freely downloaded for non commercial & edycational use from the Sarai website.

Sarai embodies a continuing engagement with creativity in urban neighbourhoods through the 'Cybermohalla' Project in collaboration with a 'Ankur' Society for Alternatives in Education, a Delhi based NGO with a proven track record of more than two decades of work in the field of critical pedagogy and community mobilization in poor neighbourhoods in the city.

Sarai supports a growing network of independent researchers, practitioners and students all over India through fellowships and stipends. Over the last five years we have supported more than 400 independent researchers from all over the country.Many of these come from small towns such in the hinterland and in spaces marked by conflict such as Jammu and Kashmir and the North East. Half the proposals that have been supported have been sent in by women, a significant proportion of supported candidates belong to ethnic and religious minorities and oppressed communities. All the proposals investigate areas that would find little or no support, either in academia, or in mainstream media, although several of the candidates have gone on to make further meaningful work in academia and the media, to a large measure due to the ground that they were able to cover in the course of the Sarai independent research proposal.

Sarai invites critical reflections on the nature of the contemporary moment, by holding regular screenings and discussion of curated programmes of fiction, documentary and experimental films and video, and by acting as a convivial context for online and offline conversations through discussions, mailing lists and blogs in English and Hindi at the Sarai space and on the Sarai website.

Sarai engages with the Hindi/Hindustani public domain through publications, translation, lists, web content, software localization, events and workshops.

Sarai organises events such as - conferences, seminars, workshops, summer schools, colloquia, colloquia and hosts occasional residencies around themes thatthemes that reflect the programme's intellectual and creative interests.

Sarai produces media (video, audio, print, web) and contemporary art works, CDs, radio and software. Works produced at the Sarai Media Lab have been exhibited in several international venues such as Documenta11, and the Venice, Liverpool and Taipei Biennales.

Sarai collaborates with organizations and initiatives locally, regionally and internationally/globally on events, processes, networks, projects and publications.

Sarai reaches out to students and faculty in colleges, institutes, university departments and student societies to organize talks, discussions, readings, screenings, screenings, informal interactions and conversations.

Sarai archives different facets of contemporary popular culture, urban space and media forms with a view to making information about them available to a wide public of researchers and practitioners.

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I visited the Sticky Institute in Melbourne yesterday and bought a few zines and recorded a video asking the team a few basic questions about zines. The store has a wide selection of zines, and there's a membership / mail list where you can sign up and receive zines in the mail. If you're a zine-writer, you can contact the store and have them stock your zines. Their website also includes an impressive "Zineopedia" of Melbourne based zines which is a great resource for anyone wanting to find out more about zines. Though the best way would be to visit the store if you're in Melbourne, their website if you're not in Melbourne, or a local zine-festival and buy & read some zines. Or even better, start your own!

visit http://www.stickyinstitute.com for more details
store details :
Sticky Institute
Degraves St Subway
Shop 10 Campbell Arcade Melbourne
stickyshop @ gmail.com (remove the spaces)
(if you're not from Melbourne like me, it's opposite the train station on Flinders St, about half way (Flinders between Swanston & Elizabeth) - go downstairs towards the station subway and you'll see it)

PO Box 310 Flinders Lane Vic Australia 8009

One of the zines I bought was the "Anyone can.. " zine (anyone can make a zine) which launched the same day by the City Library Street Press. The City Library Street Press are quite active, having a few projects on the go and regular meetings at the library for zinesters and writers to get involved with. The "Anyone can.." zine also includes a MAP of Melbourne city showing writers & zinester spots of interest eg libraries, stores, artist spaces.

I also bought Anna Poletti's book "Intimate Ephemera : Reading Young Lives in Australian Zine Culture" whilst at Sticky. I've been to some of her panel sessions at the National Young Writers Festival in Newcastle & Critical Animals as part of This is Not Art (TiNA) over the years, so was glad to find her PhD book in the store too. The book is also available as an e-book (pdf) or d-book (pod / print on demand) from Melbourne University Publishing e-store

I haven't finished the book yet, but here's one passage about what a zine is [pg 11-12] :

"Personal zines do not share many of the characteristics of he texts that make up the bulk of sources studied in literary or cultural studies and, more specifically, scholarship on auto/biography. Of central importance to these non-traditional texts is the fact that sines are not mass-produced; they are not published by a professional publishing house, and thus not 'sanctioned as significant by [their] status as a mass produced commodity' (Huff 510). Moreover, zines are not easily available, do not participate in standardised modes of presentation and distribution, and are not well recognised within literary communities or among the reading (most commonly constituted as 'book-buying') public. Zines are homemade, ephermeral and amateur. They circulate among communities of readers through the mail, in out-of-the-way spaces, and are passed around hand-to-hand among social groups. They are also non-traditional because of the modes of emplotment that characterise them; in the case of personal zines, we find a unique mixture of established modes of life writing, such as the diary, alongside zine-specific narratives such as cut'n'paste collage. These material and textual idiosyncranasies challenge the literary critic to practise 'connected reading', which Gillian Whitlock describes as a practice which 'pulls at the loose threads of autobiography, and uses them to make sutures between, across and among autobiographical narratives' (Intimate Empire 204)".

I also like this definition by Richard A Stoddart and Teresa Kiser in Poletti's book [pg 27]
"Zines are a written product of the human need for self-expression. Beyond that, zines are hard to define."

on page 7-8, Poletti gives Duncombe's list for a 'zine taxonomy'. I thought this was very similar to the original definitions of video blogs when they'd first started (video blogs came after zines of course!) - my attempt was this video blog mind map before I realised it was crazy to try and define all the combinations - a simple all encompassing definition of 'video on a blog' was more appropriate, and did it matter anyway.. every now and then the videoblogging list starts up a new 'what is a video blog' thread - I suppose it is the same for all sub-communities that are less commonly known / new. the response below also reminds me of the videoblogging list arguments towards a simpler definition (or no definition), and at least a step away from a taxonomy.

"genres of zines: fanzines (broken down into subcategories by subject, that is music and sports), political zines, personal zines, scene zines (covering local and community events in the zinester's area), network zines (which review zine publications), fringe culture zines (covering UFOs, conspiracy theories and so on), religious zines, vocational zines (detailing 'life on the job'), health zines, sex zines, travel zines, comix, literary zines, art zines and 'the rest'"

... "the collapse of Duncombe's taxonomy into 'the rest - a large category' underscores the futility of attempting to solidify or organise a definition of zines based on their content. As Kirsty Leishman argues: 'Duncombe's work reveals that zines are ill contained and thus it is useful because it relieves subsequent researchers from pursuing such an arduous, yet futile, endeavour'(7)."