Christopher Todd
2008
My Time Annihilator is a zine I procured for a dollar from Microcosm Publishing distro. This zine takes as its focus the phenomena of science fiction fanzines that were published by proto-nerds of the 1930s, 40s, and 50s. These publications were perhaps one of the more immediate ancestors to the practice of zine production of the 1980s and 90s (with radical pamphlets, avant-garde art journals, and the underground press as more distant predecessors in either time or in practice).
According to the author, Christopher Todd, the science-fiction fanzine emerged as a kind of distributed message post to enable communication between sci-fi fans about their favorite genre of literature when few fellow fans existed in their immediate environs.
The writing in My Time Annihilator, like the writing in most zines, is far less formal and much more personal than most other forms of published material. Christopher Todd’s opinions about his subject matter are casually expressed through the zine, letting the reader know that even though he considers sci-fi fanzines to be interesting as a broad topic, he found that the particular content of each publication was boring. Furthermore, the zine describes Todd’s experience of conducting research into the fanzines, where he gained access to an archive of fanzines held at Temple University in Philidelphia through the using a found student ID. Todd also gives his opinion on zines in general, and despite his efforts as a zine producer, he primarily sees the amateur publications as disposable and unworthy of widespread attention.
Todd’s zine focuses on three aspects of the fanzines, their content, formats and methods of production. Of these aspects, content is specifically science-fiction related, which Todd describes in broad generalizations. According to the author, fanzines were made up of book and event reviews, letters and responses, and criticism of other fanzines. Todd claimed to find many zines difficult to read as they developed their own linguistic forms and sets of inside jokes, thus bringing up issues of cultural capital as Todd relates these language issues to analogues found in the jargon deployed in many modern punk zines. Todd also briefly describes methods of printing production in a pre-xerox era (1930s-1950s), including the spirit duplicator and the more popular mimeograph technologies. Most interesting was Todd’s discussion of formatting ideas that have been lost in current self-publishing practice, such as the fanzine printed on a single postcard.
Books about zines, such as Stephen Duncombe’s Notes from Underground: Zines and the Politics of Alternative Culture do mention the science-fiction predecessor to the zine phenomena. With that being said, Christopher Todd’s short zine about the early fanzines is the most attention that I have seen given, in print, to that material. Todd also includes in his zine an appendix featuring a number of covers of old fanzines, and some examples of text, to give the reader some idea of the materials he discusses. Some of his examples look as though they could be contemporary zines rather than 1930s artifacts.
No comments:
Post a Comment