Zines, the DIY booklets often overlooked by mainstream media, have quietly shaped communities, sparked political movements, and defined subcultures for decades. Born from the radical spirit of 1930s and 1940s art scenes, these handmade, self-distributed publications have evolved into powerful tools for self-expression and activism, particularly within punk and indie music circles. Zines grew in popularity during the 1960s and 1970s when the copy machine was invented, which allowed for an easier dissemination of creative works. They feature artwork, oftentimes collages, and writing. Zines can either be made independently or as part of a collective which may outsource printing. They may be persuasive, reflective or anything in between, and their DIY nature appealingly sets a low barrier to enter into zine-making. They are similar to other forms of self publishing, except they’re non commercial–if individuals decide to sell their zines, they may sell them for three to five dollars.

Zine communities thrive both in cities and online, with platforms like Instagram providing spaces for creators to share their work, exchange ideas, meet like-minded individuals, and inspire future creations. There’s even a strong community in the Twin Cities that hosts the Twin Cities Zine Fest, which celebrated its 20th anniversary last summer.

“It’s kind of punk in a way, because you’re making your own stuff and distributing it yourself, rather than having someone else do it for you, or some other group do it for you,” said junior Taryn Karasti, who rediscovered her love for zines in English class this year.

Straddling a hazy line between art and literature, zines are not often discussed in academic settings. The English class Contemporary Culture broke that mold.

“I don’t know so much about zines, other than through friends. My partner makes zines, and I know other people who do too. When I lived in Chicago, I went to zine fests and read other people’s zines, but I’ve never made one myself,” said Andrew Inchiosa, one of two instructors teaching Contemporary Culture. Inchiosa was inspired to add zine-making to the curriculum as a result of one of the books part of the class curriculum, Stay True. A coming-of-age memoir by New Yorker staff writer Hua Hsu, in Stay True, Hsu describes the role zines played in discovering his identity.

For class, students made small zine drafts before submitting their final product. They were free to explore any topic of their choosing, and for some, like Minh Tran, that gave them the opportunity to explore a personal hobby. Tran’s zine dove into the subject of journaling.

“I thought it would be interesting to take a closer look at why I journal, how it affects me, and why I do it. I also chose to write about journaling because it seems like a small thing that would be interesting to share with others, and it felt personal to write about,” said Tran.

Meanwhile, Maeve Duncan, co-president of the Fashion Club, created a persuasive zine focused on fashion sustainability. “I’ve always been really into fashion and design, and it’s something I want to pursue in my career. But the fashion industry is one of the biggest contributors to climate change, and I don’t want to add to the problem. I want to be part of the solution,” she said. Her zine served as an educational tool aimed at raising awareness about sustainable fashion.

While most students in the class were entirely new to zine-making, the zine assignment was as much of a rediscovery as it was a reawakening for Karasti. The only person with previous experience making zines, making a one in English class was the first time since middle school that she’d toyed with the art form.

“I think I first made a zine in seventh grade. I think I did actually make a few zines, just because I was so bored. And they were just about random things, and they were kind of almost like comics in a way, just like really short and just kind of fun. But then I also started to make them about, my favorite things…and then I kind of just made scenes from then on, whenever I felt like it, or whenever I had an idea, and I had stopped for a while, and I finally made another one after, like, years in the Contemporary Culture class, and it was way more fun than I remember it being,” said Karasti.

Karasti was originally inspired by the riot grrrl movement, where feminist women used zines and punk music as a way to document their activities, address social and political issues and challenge news coverage of them. Her early zines were never shared, and sharing her zine from class with her peers felt like coming full circle.

While non-conventional, students found the experience worthwhile. “It was fun because it didn’t feel like an assignment, really,” said Duncan. “It didn’t have to be perfect, either. Like, yeah, you were graded on it…but there wasn’t pressure to make it perfect,” said Duncan.

Over the last century, zines have been a powerful driver of change and a voice for marginalized groups. In the digital age, they continue to provide a unique sense of tangible connection, offering an outlet for creativity and a meaningful way for students to express their ideas.