Thursday, November 29, 2012

New Interview by Lauren Denitzio

I have had the honor of sharing a feminist collective and a friendship with Lauren Denitzio for years now, and am always amazed at their consistently powerful analysis of the intersections between art and social justice, and the way that d.i.y. projects can be a way to enact our feminist values in our communities.  I was so excited to answer their interview questions, and found that several of them are related to my progress with putting together Issue 3 of the zine, so I thought I would share.  Excerpts are provided below; the full interview is here.  

<< One of Lauren's in-studio pieces from this year.  Check out their other visual art and design projects here at Black and Red Eye.


Interview with Kathleen McIntyre

I first met Kathleen McIntyre when she joined For The Birds, a feminist collective I have been a part of since its inception five years ago. Among our many activities is maintaining a zine distro of feminist titles ranging from personal zines, to resource guides to compilations of various topics. Kathleen’s compilation zine on grief and loss, The Worst, is regularly a best-seller and is scheduled to have its third issue released later this year. While not involved in feminist organizing or zine-making, Kathleen is also a social worker in New York City. Her work is a constant inspiration and I was excited to ask her about the many intersecting facets of her work.

What were the original inspirations for the zine, or what was your original goal in editing a compilation zine like The Worst, as opposed to writing a personal zine or essay on the topic?

My inspirations were personal zines where the authors would devote a handful of pages or a full issue to exploring the losses they had undergone.  (Cindy Crabb, Sascha DuBrul, Timothy Coleman and Ciara Xyerra are some crucial writers who addressed grief in this way).  I realized I wanted to hear more stories from folks who somehow identified with radical, activist or d.i.y. communities about how they were engaging with the grief process.  I also wanted to create a forum for ideas about how we might push these narratives into a larger, community-level grief praxis, which took the form of introductions and “commentary pieces,” suggestions for grief groups, and resource lists in each issue of The Worst.  So ultimately I wanted to merge these intensely personal accounts of loss from many different voices with more over-arching narratives that we might begin to engage with at the larger community level, and the compilation zine format seemed to fit these needs the best.

In the words of Audre Lorde: Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare. I’m interested in the aspects of your zine where contributors discuss coping mechanisms and elements of self-care in the grieving process. Is this aspect of the zine political to you?

This aspect of the zine is perhaps the most political to me and I hope for most readers.  My radical feminist anti-capitalist lens includes a critique of interpersonal relationships and emotional lives as a crucial “site” of reproduction of capitalist value systems, and likewise as a potential location from which we can struggle against the intrusion of capitalism into our most precious human experiences.  In other words, neoliberal capitalism depends, not only on people accepting an economy based on wages and alienated labor, but on us internalizing certain capitalist values and dynamics in our home and personal lives, in our “social factories.”  This presents us with a mainstream narrative of the grief process as something that should be silenced, contained, time-limited, and proscribed by capitalist psychiatric “science” (for example, the DSM 4 alots a time period of just two months after a loss occurs in which a person may be diagnosed with “Bereavement,” after which they must be diagnosed as having either Major Depression or Adjustment Disorder).   Within this climate, any enactment by a griever of the authentic experience of their loss becomes a useful counter-narrative to speak back to the narratives that are imposed upon us.  Oftentimes, these authentic articulations of grief expose peoples’ ongoing needs for care—both from themselves, and from their communities.  Self care in this context becomes a radical assertion that our relationships matter and that the loss of a relationship therefore requires care.  Enacting this care, or claiming one’s own need for care within an often uncaring system is a powerful refusal of capitalism’s “business as usual” in our relational lives.  It can be quite a source of power for someone who is grieving to truly be cared for by themselves and their community.  My strongest intention for the zine is that it be a tool for helping all of us learn and re-learn how we might struggle to make this very personal and very political process happen.

In that same vein, how is community response to grief and loss a feminist issue?

My own feminism emphasizes that everyone deserves a place at the table, so to speak.  A pervasive myth in capitalist culture is that everyone starts from a level playing field, and the things we gain are all possible if we simply work hard enough for them.  In fact, this myth seeks to erase our culture’s long legacy of structural inequality; slavery, economic oppression, gender-based violence, disenfranchisement of the poor, people of color, and immigrants, violence against the mentally ill, and biased legal systems and policies which enact social control differentially based on what should be non-relevant factors like race, gender, and language ability, etc. (Stop and Frisk is just one example of why our country is not and has never been a true meritocracy).  On top of all this, we all have “normal life events” to deal with that impact our emotional lives, such as loss, aging, physical and mental illness, and the maintenance of relationships and families through carework.  Grief is exhausting and requires time and energy to process in healthy ways, but all too often, it gets suppressed or de-legitimized in the face of so many other pressing issues of survival.  We grieve within historical and political contexts.  Trayvon Martin’s parents, for example, are not simply grieving the loss of their son, but also trying to cope with the fact that his murder was racially-motivated and is being processed by a judicial system seeped in white supremacist rhetoric and practices.  So feminism provides us with a complex analysis of all of the factors that shape a person’s grief experience and thus becomes a tool for validating the many permutations that grief can take, rather than imposing a “one-size-fits-all” model of what grief “should be.”

Feminism also has such a rich history of praxis around struggles for marginalized groups to gain access to resources and community support they have previously been denied.  Because the experience of loss cuts across ALL social and class divisions, it is crucial that in our feminist organizing we understand how grief can affect us, how it can interface with other life issues to create specific realities, and how leaving grief and other emotional needs unaddressed only weakens our movements.  Within a culture that suppresses and contains the authentic expression of our emotions, a griever who does not feel supported in their grief does not have a place at the table until we do the work to make one.

After putting together two issues of the zine, and now a third one on the way, are there similar themes that contributors want to change about popular thought surrounding grief and loss? How are you feeling the impact of the discussions started by the zine?

A compilation zine is interesting because the authors are not necessarily in dialogue with each other as they write and contribute.  Thus, any themes which emerge end up having a coincidental undertone to them, which can be quite exciting, or, scattered.  What seems to have emerged is a need to not be silenced or contained by others; a need for others to understand, in depth, the contributors’ pain.  And that until this kind of safe acceptance is achieved, many contributors seem to have been blocked in their healing, or stuck in a pattern of complicated, persistent grief.  I’m excited to say that, quite by accident, issue 3 is dealing a lot with suicide and the tremendous intense anger that we often feel when someone dies.  Both of these themes are some of the more “taboo” topics in grief and as an editor watching the submissions come in, I had the sense that people were really working hard to get to some of these more stigmatized emotions.  So whereas the first two issues had explored meanings around sadness, shock, depression, confusion, and hope, this issue is tackling the rest of it;  when the person you died was someone you also hated, who may have been abusive, who you’ve had a complicated relationship with.  When the person chose to die, and all of the complicated feelings that arise from being left to pick up the pieces without them.  When families and friends had a different experience of the person we lost and we feel isolated and silenced as we try to process what their death means to us vs. what it means to others around us.

So I would argue that all of these themes are important, but the great thing about a compilation zine is that you can take what you want to take from it and leave the rest.  So in terms of discussions being started or supported by the zine, I’ve heard of some radical grief groups that formed using the zine as a starting point; of friends learning about friends’ experiences with loss for the first time through the zine and that leading to conversations; family members reading a submission and being able to broach different divisions or mis-communications around a loss for the first time, and people using readings or gatherings to share their pieces publicly for the first time as a way to heal.  While I’m not sure what larger themes have come out of these interactions, the biggest function of them seems to be making grief okay to talk about.  This theme, while simple, is probably the most important goal of the zine, because if we are able to engage with each other around these things there is no limit to what we can build, and how much more support we can receive/offer.

Monday, November 26, 2012

New Distro Carrying The Worst!

I'm excited to announce that Mend My Dress Press will now be carrying both issues of The Worst!

From their website:

"Mend My Dress Press is a small publisher and distributor based out of Tacoma, Washington. We are purveyors of anthologies of zines, small art books, investigative social pieces, and local authors.
Mend My Dress Press was born out of grrrl love and the need for more small, independent publishing houses on the west coast that focus on preserving zines in the form of anthologies. We believe these forms of writing and art should be preserved as part of our collective cultural history and look forward to our active roll in this effort."

Aside from how exciting it is to watch a new project gradually build a kick-ass distro, these rad ladies and veteran zinesters have also been printing and distributing some amazing anthologies, like Shotgun Seamstress, Mend My Dress, and Telegram.  Distro co-founder Miss C. Bean is a also contributor to The Worst Issue #2!!  Check em out.