5/7/23, 6:15 “Fuck It Let’s Do it, Despite the Odds” — A Very Eclectic Survey and Some Thoughts on Contemporary

Contemporary Magazines - Post45

Post45
Little Magazines

“Fuck It Let’s Do it, Despite

the Odds” — A Very Eclectic
Survey and Some Thoughts
on Contemporary Magazines
Sophie Seita
06.06.23

PRINT

I'
m tired. (Without formality, wouldn't every academic article
begin like this?) Because of my tiredness, which is both
physical and conceptual, I devised a ruse to get me out of
this rut. To begin writing, I involved other people.

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"We started Chain because we wanted to talk to more people"

(Chain, issue 1).
"Limited Space but Unlimited Desire for Dialogue" (from the first
postcard section in HOW(ever)).

I was happy to receive the invitation to contribute to this special

issue for Post45, but having read and written quite a lot about lit-
tle magazines over the last few years, I didn't want to repeat my-
self more than necessary. Besides, I realized quickly when I
started my research on small-press culture about 10 years ago
that editors and contributors have always debated the nature
and purpose of the little magazine long before scholars came
along, sometimes explicitly, sometimes less so — and so any
scholarly attempt to describe magazines must begin from the
ground up. It's important to me to acknowledge this generative
power of magazines and "generative" is also, perhaps unsurpris-
ingly, a word that writers often use to explain why we still need
magazines. So, I decided to send a questionnaire to some editors
I know (or know of) as a sure-fire way to boost my enthusiasm
before the imminent deadline in the hope that this would create
a more dynamic contemporary archive; to get us a little closer to
practice, to community, to conversation, in other words.  
My choice of an eclectic survey isn't accidental. Surveys, forums,
and questionnaires are popular forms found in magazines them-
selves (see Cole 2018, Seita 2018). In 1981, the Bay Area-based
newsletter Poetry Flash published "The Flash Mag Survey," sent
to 70 writers and editors asking them what their five favorite
magazines were. 1 The editor Steve Abbott, a gay writer who
died of AIDS-related illness in 1992, introduces the section with
his own selections, some of which I'd like to quote at length, to
give you a flavour of Abbott's editorial style and what I see as his
and many magazine editors' characteristic generosity:
Locally, Beatitude is one of the oldest, started 25 years ago by
Bob Kaufman, Allen Ginsberg and others. Editors traditionally ro-
tate to sporadically present a slice of current gutsy writing . . .
Oboe was a platform for new voices before it closed after four is-
sues. Generally a mag has to appear consistently & frequently if

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it hopes to build a steady readership. Unfortunately, the Bay

Area has no eclectic mags such as Telephone or Mag City of NYC
which inexpensively and frequently present a large range of new
and established voices . . . Gay Sunshine is an internationally re-
spected journal of gay male writing and Bridging (ed by
Oakland-based J. Vern Cromartie) publishes new Black writers.
Metamorphosis, Maize, and Xhisme Arte are excelent [sic]
Chicano/Latino mags, the last having an unusual punk format. . .
. The last issue of The New Commercialist was also quite
provocative," "Paper Air's last two issues, on John Taggert and
Jackson MacLow respectively, were quite good," "Poetry Comics
offers comic relief for the weary. 2

Already, we're right in the middle, a real thicket, of a rich sociol-

ogy of magazine culture I will refrain from delving into here be-
cause my intent for this piece is to  show  and  make
available and put in conversation rather than to (over-)analyze.
Barbara Einzig picked "Montemora, for its solidity, though I like to
shake it while I read." 3
Jessica Hagedorn: "People, lotsa pictures, gossip and highly en-
tertaining while you're sitting in your favorite xerox gallery wait-
ing for your manuscript to get done." 4
Dennis Cooper: "Peeping Tom, a British mimeo mag mixing un-
even but hard-working poetry with gossip and slander about the,
apparently, oppressive & ultra-boring British lit establishment.
Terribly silly but its verve & integrity are impressive." 5
Abbott ends his introduction to the survey with a call to new mag
editors, offering to "help get the word out." 6 Criticism, in the
best sense, is also a kind of "getting the word out." It can, like
editing, be a way of giving back to a community that has nour-
ished you. From the beginning, part of my motivation in doing re-
search about magazines was to share the voices of those editors
and contributors who so often don't make it into the canon, and
if they do, probably not with their supposedly peripheral com-
ments in magazines, which is why I admire them even more.

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In my own mini survey, my first question to correspondents was:

"why print?" By this, I meant to distinguish print from digital pub-
lishing, but also had in mind "print" as in "publish." Why do we
continue to publish, contribute to, and read magazines? What's
this desire about? I was aware of the slightly ham-fisted nature
of this question or indeed "debate," in which I am not invested —
and as the editors of DreamsTimeFree put it, the "digital is over-
rated," perhaps precisely because it "dominate[s] the architec-
tures of our lives" 7 — but it was a conversation starter that al-
lowed editors to declare their magazine's raison d'etre. 8
SPAM, for example, started as a print zine and ran for 10 issues,
initially with the intention of "putting the internet on the page."
The result was refreshing: "to see a YouTube comment posted on
a black-and-white page, in a poetry zine." While the editors con-
tinue to publish print anthologies and single-author pamphlets,
the zine reincarnated as the digital SPAM Plaza, which was
founded "out of a perceived lack of spaces (especially in the UK)
for critical review, experimental nonfiction and essays centred on
poetry and poetics. Crucially we wanted this to be a space that
took poetry off its pedestal." I hear resonances here of
Bernadette Mayer's desire for her magazine 0 To 9 to resist the
"precious" object, the "perfection of the poem with white space
around it, set off from other things" by a luxurious margin. 9 To
create new or alternative spaces and opportunities, in turn, is a
common and almost perennially true motivation for small-press
publishing. Similarly, Linda Kemp, the editor of Futch, a creative-
critical digital magazine centred around neurodiverse and / or
LGBTQI*+communities founded in 2020 just before the pan-
demic, speaks about the need for "conversation," "social space"
— not just replicating a community, but also leading to new
"community formation."
Kashif Sharma-Patel, editor of theHythe, the digital arm of the
87Press, also mentioned "dialogue, discourse and aesthetic in-
terplay" as crucial to its vision. 10 With this focus on community
comes what the editors of SPAM have identified as a unique
sense of "generosity" and "intimacy." 11 There's a discovery ef-
fect through magazines (more so than books) where readers
find new writers and vice versa. Magazines continue to provide,

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as Jess Chandler of Prototype puts it, precisely such "an outlet"

and "purpose," 12 each potentially becoming "a platform to inter-
esting artistic practices that use the written word." 13 As
Sharma-Patel put it, theHythe "resides to my mind somewhere
between network and infrastructure, providing service, amplifi-
cation and access." Along similar lines, Bricks from the Kiln,
founded in 2015, "came out of, and is continually fuelled by, ne-
cessity, need, curiosity and frustration — our own more than
anyone else's. A perpetual itch" to generate a dialogue between
research and practice across art, literature, and design, not
"widely available in the design circles we operated in at the
time." 14
This attention to the magazine as a community-forging organ is
for me the strongest link between contemporary magazines and
historical avant-garde and small-press projects. In my survey, I
asked the editors if they identified with this tradition and pretty
much everyone did, some with hesitation (is it "grandiose and
presumptive" to identify with the avant-garde today? Matthew of
Bricks from the Kiln asked), some with a firmer embrace.
TheHythe, for example, hopes to challenge the avant-garde's im-
age "as a sanitised, formalist vessel, one retroactively purified of
its dissident edges (queer, poc, neurodivergent)," asking how it
can "still bear a subaltern insurgency in the contemporary."
In their sometimes less tame or tameable formats, magazines
push back against the publishing establishment. Sometimes they
do this simply by not fitting into a given format or even a book-
shelf and this "anti-publishing-establishment" spirit can bring a
certain "freedom." 15 (Jess, Prototype and Test Centre).
Sometimes a lack of archiving or relative ephemerality shows
how magazines have always been "open to the problematics of
appearance/disappearance, control/randomness" (Mau Baiocco,
SPAM). And yes, as Maria Sledmere/SPAM, put it, "There's a 'fuck
it let's do it, despite the odds' vibe to small press publishing."
Whether or not magazines identify with the term "avant-garde"
or with a history of small-press publishing more broadly, it's easy
to spot how a similar language circulates that also defined ear-
lier, historical publishing projects, many of which talked about
experimentation and process. (I'm particularly fond of Agnes

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Ernst Meyer's phrase ''Nothing but a laboratory, a place for ex-

periments' in the proto-Dada 291. 16 ) Jess Chandler's Prototype,
and also the now discontinued Test Centre, bear witness to those
ideas even in their titles. Sometimes this identification or affilia-
tion might also be formal (Test Centre's stab-stapled and spine-
less A4 paper deliberately had a "very DIY feel") or conceptual
(Aspen provided inspiration for Inscription; Icteric for Bricks; Zarf,
TYCI, and Object Permanence for SPAM).
This question of identification or affiliation is interesting to me
because I sense a slight shift here from earlier magazine com-
munities. While there is an ongoing emphasis on community,
there's less of a magazine identity to which you as a contributor
subscribe. (We've come a long way from William Carlos Williams
declaring that the magazine "Others got them all", meaning: all
his good poems. 17 ) Things feel more dispersed right now. You
might send a piece here, then there; the same goes for reading.
In my questionnaire, I asked if any of my interlocutors subscribed
to other magazines, perhaps out of an underlying guilt that this
is what we ought to be doing to keep small-press publishing
alive. In conversation with Margarita Athanasiou, an artist and di-
rector of the Athens Art Book Fair, we wondered about this de-
crease in subscriptions. 18 I speculated that it's because of easier
access to opportunities and the kind of work you want to read
and look at. Subscribing to a magazine from the 1970s all the
way to the early 2000s was a way to stay in touch with experi-
mental art and writing practices. Looking at numerous letters to
editors and other archival correspondence, I noticed that those
readers who subscribed to a magazine were either very aligned
with its vision or felt they should subscribe to stay on top of the
news as it were. Subscription shows commitment. Margarita re-
membered the excitement that came with waiting for a new issue
to arrive in the post, which creates a very different temporality
to the (often though not always) instantaneous allure of digital
publishing.
There is certainly a different temporality and embodiment of
publishing and reading a print magazine: "You can also carry it
around and read it again and again, whereas if I read a great
poem on some website I might forget where I read it, because I'm
terrible with organising bookmarks. You can sort of splay a mag-

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azine out on the breakfast table and read it with someone else,
you can pass it around." 19
Many of the editors I corresponded with highlighted the obvious
advantages of digital publishing as allowing (hypothetically)
greater access, and the possibility for sound and video to comin-
gle with text. And yet, as the Inscription editors pointed out with
reference to their own journal and their inspiration Aspen, there
are many ways in which a print journal can become multimedia
through the inclusion of tapes, LPs, MP3 sticks, visual art or text
across different inscription surfaces, etc. (I've yet to find a print
magazine that includes video — I envision a miniature version of
Joan Jonas's My New Theatre installation. If anyone is inter-
ested in trying such a thing, get in touch with me.)
Print, as Matthew Stuart and Andrew Walsh-Lister of Bricks from
the Kiln highlighted, is "a longer, more difficult and expensive
process, which, truth be told, can be perversely advantageous,
on an editorial and formal level. The labour and the costs in-
volved are inherently restrictive, they seemingly raise the stakes,
yet force upon us valuable questions. We find this friction pro-
ductive and generative, it keeps us on our toes and requires a
deep consideration of the value of each issue and piece of mate-
rial we publish — is it worth it and why? The inbuilt slowness is a
benefit to us as well; there's time to reflect, test, allow things to
percolate and bubble to the surface that might otherwise be
missed, for connections to grow organically." 20
Inscription,  Prototype, and  Bricks  all emphasised that their
choices of design, paper, and layout crucially affect how we un-
derstand the content. Inscription, especially, is all about the ma-
teriality of reading: "what pages do other than simply convey in-
formation." Quite literally these pages gradually rotate in the
first issue (you have to turn the magazine in order to read it).
Issue one also sports a hole in the center that allows you to put it
on your LP player (that is, if you're willing to rethink what "play-
ing" or listening to music might look or sound like); issue two has
two beginnings, and you can start from either end. The editors'
notes were "translated" into computer punch tape. The maga-
zine is "a capacious container with lots of extraneous parts." 21

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Interested in the container metaphor (perhaps one of the most

pervasive in our linguistic toolkit), I asked editors to find a meta-
phor either for their own magazine or for magazines more
broadly:
"A review of the first issue from a now defunct blog described
BFTK [Bricks from the Kiln] as 'an odd duck slanted towards the
oblique.' This remains, still to this day, the best and most accu-
rate description." 22
"SPAM is a giant, hyperobject of a watercooler (environmentally
friendly version) around which lovers of poetry and cool content
gather to plot against the ills of capitalism and swap friendly dis-
course on words, against the sultry drip-drip of poetic
(anti)metre. Magazines are big rolls of astroturf you can lay out
to lie upon, build upon, share lunch upon, play upon. They are
portable gardens. Their grass is made of recycled plastic words
from everything." 23
"Hythes are small river jetties, the idea being small parcels of
poetic material passes through, landing and departing. There's a
sense of wistful serendipity as well as a well-rehearsed chore-
ographed logistics." 24
"An unusual oddly shaped stone on a beach of round
pebbles." 25

I've elsewhere described contemporary magazines as

"vivariums" 26 which I would now revise given this watery expan-
sive driftwood turned poetic picnic sur l'herbe, so it's more mer-
rily uncontained.
Several editors saw the act of publishing as "generative," "re-
sponsive," or even "addictive." As Maria Sledmere puts it (SPAM):
"There's an addictive quality to making zines, because they have
this magic power of making contact, of proliferation. Zine pub-
lishing is a rapidly changing ecosystem but its accessibility and
low budget means there's almost always room for more
contributions." 27

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To end my mini survey, I explained that I've always been fasci-

nated by how many historical little magazines used to list other
magazines they had an affinity with, a practice that continued in
early blogging culture (blogs linking to other blogs). Whenever I
think about magazines and their linkages, I'm also always think-
ing about Juliana Spahr's and Jena Osman's first issue of Chain
for which the editors created a forum on small-press publishing
and magazines edited by women and invited a series of chain
poems by yet another group of women, both of which were in-
tended to expand their community and function as "a gesture to-
ward conversation." In that spirit, I asked, which magazines
would you — or do you — list on your (imaginary) back pages? 

Inscription:
Each article in the issue is typeset and laid out according to the
conventions of a previous journal or magazine. Some are high-
brow and avant-garde, some pulpy and low brow: Blast; The
Egoist; Art Monthly; Cabinet; Amazing Stories; Spare Rib.

Futch:
Ah yes, listings, those were the days . . . Amberflora, datableed,
the Journal of British and Irish Innovative Poetry, Litmus, LUDD
GANG, Manifold, Shearsman, SPAM, Splinter, Tenebrae,
Tentacular, Tripwire, the ZARF archive ( ), would all be and per-
haps will be on/in the Futch Press Journal listings page.

Margarita Athanasiou:
—A) GLIMPSE) OF), an experimental lit and art journal based in
Athens, edited by Dimitra Ioannou.

—Yusra magazine, which exists in print, has no website, only an

Instagram account, and is, as Margarita put it, very political in
the way it talks about gender.
(Margarita Athanasiou also self-publishes her own zine, one of
them is called Having sex with spiders made me an intergalactic

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princess. Other zines and pamphlets are available on the artist's

website: https://www.athanasiou.club/publications)

TheHythe:
Spamzine
Datableed
Zarf (defunct)
Ludd Gang
Tenebrae (Fathomsun Press)
MOTE
Erotoplasty
Paratext
Tripwire
Amberflora
Adjacent Pineapple

Bricks from the Kiln:

> The Last Books
> Ugly Duckling Presse
> Spam Magazine
> Counter-Signals
> Prototype
> Happy Hypocrite
> Serving Library
> Design Writing
> A Circular
> MA Bibliotèque
> SICV
> Black Chalk & Co.
> BOOKS (Peckham)
> Inga
> Good Press
> Map Magazine

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Prototype:
Curtains
Floating Bear
Angel Hair
Poetry
clinic
The White Review
Hotel

DreamsTimeFree:
https://wormsmagazine.com/
https://stickyfingers.cargo.site/
https://www.limbomagazine.com/

SPAM:
Zarf used to do something similar on their backpages. We're cur-
rently making a section of our website called Archive Fever which
is sort of in the spirit of this but also webrings. I miss when you'd
go to someone's blog or GeoCities and they'd list a bunch of
websites they liked and you could navigate in this rhizomatic
network of shared interests, scenes or tags, as opposed to algo-
rithms that organise things for you (making it really hard to
stumble upon lesser-known gems).
Adjacent Pineapple, -algia, Amberflora, Blackbox Manifold,
Bluehouse Journal, Datableed, Erotoplasty Gutter, Ludd Gang,
Tender, Wet Grain, Wonder and Zarf.
SPAM also recommended: Glasgow Zine Fest, Glasgow Zine
Library, and Good Press

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For me this short exercise in community constellations highlights

the enduring importance of such gestures of connection. I want
to conclude with my own list of magazine metaphors (or
metonyms?, as Linda Kemp asked me once), the list being itself
a favorite among a certain type of proto-conceptual or New York
School magazine:
Magazines are:
— "the silent pillow of a generation" (subtitle of Jennifer
Moxley's 'Permanent, Xerox Edition' of The Impercipient)
— "an institution that is not a home or house" — Susan Gevirtz
on HOW(ever) in: "postcard," HOW(ever), 6.4 (January 1992), p.
14.
— an "exception" to (whatever they perceive to be the norm)
(Frances Jaffer, "Why HOW(ever)?," HOW(ever), 1.1 (May 1983), 1.

— "dreams of painters" (Panda's Friend, issue 1)

— maps (0 To 9)

— assemblages

— germs (as in the Pre-Raphaelite The Germ and the revived

Germ published by what is now the Poetic Research Bureau be-
tween 1997 and 2005)
— chain letters

Some magazines are defined by what they are not:

— "not a neighborhood magazine; not a New York magazine;
and certainly not a Kingston, Ontario, magazine." 28
— "Nepantla is not an apolitical literary journal . . . We do NOT
believe in the notion of 'craft' as an excuse to justify oppressive
language." 29

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I will end with a line from Bernadette Mayer, found in her list of
Experiments handed out during one of her Poetry Project work-
shops (ca. 1988):
"Please add to this list" 30

Notes: I want to thank all the magazine editors who corresponded

with me — Kashif Sharma-Patel, Mat Jenner, Jess Chandler, Maria
Sledmere, Mau Baiocco, Alice Hill-Woods, Margarita Athanasiou,
Matthew Stuart, Andrew Walsh-Lister, Linda Kemp — as well as
those who didn't have time, but whose input and small-press work I
value: Carlos Soto Román, Brinda Bose, Sophia Le Fraga, Brandon
Brown, Emma Gomis, and Jenny Cookson.

Sophie Seita is an artist, writer, and researcher who works with

language as a material across expansive writing projects, perfor-
mances, lecture performances, videos, sound installations, and
textiles. She's presented, performed, and exhibited her work na-
tionally and internationally at venues such as the Royal College
of Art, Nottingham Contemporary, Flat Time House, UP Projects,
LaMaMa Galleria (NYC), Printed Matter (NYC), Queer Art
Projects, Cafe Oto, JNU (New Delhi), Kettle's Yard (Cambridge),
a.p./Callie's Berlin, and elsewhere. She's the author of, most
recently,  Provisional Avant-Gardes  (Stanford University Press,
2019) and  My Little Enlightenment Plays  (Pamenar, 2020).
Upcoming projects include an exhibition at Mimosa House,
London (Oct-Dec 2023) and a book of experimental
essays,  Lessons of Decal, forthcoming from the 87 Press. She
teaches in the Art Department at Goldsmiths and, alongside Alex
Rehding, runs the Sound/Text Seminar at Harvard's Mahindra
Center. 

References
1. "The Flash Mag Survey," Poetry Flash, no. 100 (July 1981): 1, 3, 6.[⤒]
2. "Flash Mag Survey," 2.[⤒]
3. "Flash Mag Survey," 3.[⤒]

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4. "Flash Mag Survey," 3. I recently came across a newspaper clipping in which Barbara Baracks, a lesbian
magazine editor and writer, recommends a double bill of performances at the Kitchen in New York:
Jessica Hagedorn's play Tenement Lover: (no palm trees/ in new york city...) and Ntozake Shange's Mouths:
A Daughter's Geography, both directed by Thulani Davis, in 1981. See
<https://onscreen.thekitchen.org/media/literature-at-the-kitchen>.[⤒]
5. "Flash Mag Survey," 1, 3.[⤒]
6. "Flash Mag Survey," 3.[⤒]
7. Sophie Seita, "Survey" (2021), no page numbers. Maria Sledmere (SPAM), response in Seita, "Survey",
November 4, 2021.[⤒]
8. DreamsTimeFree is an annual artist magazine published by TACO!,  an artist led space in South East
London. https://taco.org.uk/PROJECTS-1.[⤒]
9. Bernadette Mayer, letter to author, January 2014; Bernadette Mayer, "Rock, Paper, Scissors," in 0 To 9:
The Complete Magazine; 1967-69 (Brooklyn: Ugly Duckling Presse, 2006), 13-14 (13).[⤒]
10. Kashif Sharma-Patel, theHythe, response in Seita, "Survey."[⤒]
11. Editors, SPAM, response in Seita, "Survey."[⤒]
12. Jess Chandler, Prototype, response in Seita, "Survey."[⤒]
13. Editors, DreamsTimeFree, response in Seita, "Survey."[⤒]
14. Editors, Bricks from the Kiln, response in Seita, "Survey."[⤒]
15. Jess Chandler, Prototype, response in Seita, "Survey."[⤒]
16. Meyer, "How Versus Why," 291, no. 1 (March 1915): 2.[⤒]
17. William Carlos Williams, I Wanted to Write a Poem: The Autobiography of the Works of a Poet, ed. Edith Heal
(New York: New Directions, 1978), 19-20.[⤒]
18. Margarita Athanasiou, Instagram conversation in response to Seita, "Survey".[⤒]
19. Maria Sledmore, SPAM, response in Seita, "Survey." [⤒]
20. Matthew Stuart and Andrew Walsh-Lister, VENUE, response in Seita, "Survey."[⤒]
21. Simon Morris, Gill Partington, Adam Smyth (editors), Inscription, in response to Seita, "Survey."[⤒]
22. Matthew Stuart and Andrew Walsh-Lister (editors), Bricks from the Kiln, response in in Seita, "Survey."[⤒]
23. Maria Sledmore, SPAM, response in Seita, "Survey."[⤒]
24. Kashif Sharma-Patel, theHythe, response in Seita, "Survey."[⤒]
25. TACO!, DreamsTimeFree, response in Seita, "Survey."[⤒]
26. Sophie Seita, Provisional Avant-Gardes, 182.[⤒]
27. Sledmere in Seita, "Survey."[⤒]
28. Michael Andre and Cynthia Logan, "Editorial," Unmuzzled Ox, ed. Michael Andre and Cynthia Logan, Issue
One, unpaginated.[⤒]
29. Christopher Soto, "Introduction," Nepantla: A Journal Dedicated to Queer Poets of Color, ed. Christopher
Soto in collaboration with The Lambda Literary Foundation, (2014),
https://lambdaliterary.org/2014/09/read-the-inaugural-issue-of-nepantla-a-journal-dedicated-to-
queer-poets-of-color/.[⤒]
30. I'm referring here to a version of her experiments, which was long unpublished and then appeared in —
and also gave the title to — a teaching guide to Mayer, published by Tender Buttons Press in 2014.[⤒]

https://post45.org/2023/06/fuck-it-lets-do-it-despite-the-odds/ 14/14