P – T

Picture This


A5     32p     $2.50

“Deborah Harry is my favourite person. I’m too young to call her Debbie Harry. She was always Deborah to me. I’m too old to be writing a fanzine but maybe that’s not what this is.” This maybe-not-a-fanzine is an homage to Deborah Harry and to fandom. A collection of photographs of Harry with handwritten text stuck over the top, glorious cut ‘n’ paste style.



Piss Factory (various issues)

piss factory #10

$2 (per copy)     A5

Issues available: 2, 6, 7, 8, 9, 10, 11. Please specify in ‘note to merchant field’ in PayPal if you would like a particular issue.

“Every now and then I get a massive heartbreaking can’t eat can’t sleep crush on a band…” Piss Factory is an infectiously enthusiastic rock ‘n’ roll fanzine from Sydney. Issues typically contain fan art, gush-stories about latest musical discoveries and crushes, comics and collages. Issue #2: You Am I, Spicks and Specks, Skyhooks, Neu; Issue #6: RHCP, St Vincent, Os Mutantes, Emily Dickinson; Issue #7: Madam Acne and the Screw Ups, Henry Rollins, Proust; Issue #8: David Bowie, Half Japanese, Daniel Johnston; Issue #10: Lenny Bruce, You Am I, Swim Deep, Post NYC; Issue #11: The Uplifting Bell Ends, the Julie Ruin, the Cannanes, the Drones.



Plastic Knife #1

Plastic Knife #1

$3     A5     60p

“Freckles started to appear on my face. No matter how much water I drank they would not go away. The freckles were so heavy that my neck and back started to ache, the strain of holding my head up was too much. Eventually I fell down and died.” This is an example of the kind of stories that you’ll find in an issue of Plastic Knife: very short, odd, and oddly vivid. The stories in this issue are accompanied by photocopies that were found in the recycling bins at Officeworks.



Plastic Knife #2

Plastic Knife #2

$3     A5     72p

“The idea of recording everything on film was immediately appealing, for clearly many parts of everything had never been photographed, nor perhaps even seen.” Issue two of Plastic Knife contains stories with titles such as ‘Everything’, ‘Homeland’, ‘The Script’ and ‘The Brief’. It is illustrated with photocopies of clothing.



Plastic Knife #3

Plastic Knife #3

$3     A5     72p

“Before I ate breakfast I had woken up feeling emotionally close to the Amish, but after my second piece of toast I felt allied to the more liberal mainstream Mennonites.” The stories in Plastic Knife read like fragments snatched from longer narratives, which gives them an mysterious, secretive quality. Even something as small as the fact that, unlike the previous two issues, the titles of the stories in issue three are not underlined seems significant. Plastic Knife seems to be about leaving things out, stripping things back, making do with the bear essentials. But at the same time it’s very generous: new issues come out in rapid succession, it’s widely distributed, and you get a high page count for your $3. This issue is illustrated with photocopies of stuffed animals.



Plastic Knife #5

Plastic Knife #5

$3     A5     104p     Temporarily sold out

“Everything costs money.” The stories in this issue of Plastic Knife are the shortest yet, sometimes just a single sentence. As with previous issues each story is given a page of its own, so the brevity of this issue’s stories, and the absence of illustrations, amounts to a lot of white space. It’s this ‘absence of content’ which makes Plastic Knife so strange and compelling. Plastic Knife gives nothing away. In this issue, a high proportion of the stories and fragments, with titles like ‘Wet’, ‘Earthquake’ and ‘Lisa and Dezik’, are preoccupied with death and failure.



Plastic Knife #6/Black Paint Gold Wire #8

Plastic Knife #6

$3     A5     88p

This issue of Plastic Knife is a split with a zine called Black Paint Gold Wire. The Black Paint Gold Wire contributions are newspaper and magazine clippings, including: photographs of Farrah Fawcett chasing, or perhaps tripping over, a pig; call centre operators; Chuck Berry; the Spice Girls; random phone numbers in various fonts taken from random advertisements; etc. The Plastic Knife contributions resemble, in my mind, instructional art in the Yoko Ono vein, but from a darker sensibility.



Plastic Knife #9 / YOU

Plastic knife 9

$3     A5 (approx)     140p     208g

“Teenagers die in only three ways: suicide, drink driving, peanut allergy.” An epic issue of Plastic Knife split with YOU. Most zine splits start from the front and back pages and meet in the middle, but this is more like a proper collaboration (as with issue #6 of Plastic Knife, the split with Black Paint Gold Wire). The Plastic Knife contribution is a collection of lists and short stories that allude to death. The YOU contribution is a series of postcards from Luke about all the things he wants to do in life. The cumulative effect is moving; a weighing up of ways of dying and what happens to the traumatised body in death, against reasons to live, and to live every moment.



Couteau en Plastique No10 (Plastic Knife #10)

plastic knife #10

$3     A5     84p

“Assis dans un champ, une machette a la main.” This issue of Plastic Knife contains stories that have been translated into French by Giz Medium, of Cheaptoys zine.



Plastic Knife #11

Plastic knife 11

$3     A5     CD

This issue of Plastic Knife is a very special release from Fulsome Prism Recordings. Sub-titled ‘Music from the zine Plastic Knife #10′, it is a CD album featuring the words from that zine sung, accompanied by acoustic guitar and the atmospheric noises of a home environment. I’ve continually referred to the writing in Plastic Knife as ‘stories’, implying prose, but perhaps they’ve been lyrics to songs all along. Take Care had the pleasure of seeing Plastic Knife perform these songs live at The Festival of the Photocopier in February 2014. And it’s with great pleasure that I note that in iTunes, the music of Plastic Knife is tagged as ‘punk’.



Plastic Knife #12 / From Here to There

plastic knife #12

$3     A5     88p

“She moved close and whispered into my ear, ‘Emperor penguins’ she said, ‘When hunting, dive below thei prey so they can look up and see the fish in silhouette against the sea ice, before rocketing in for the kill.'” This split issue of Plastic Knife is illustrated with found letters and notes.The author of Plastic Knife is perfecting the craft of distilling the poignant, the disturbing and the hilarious into short – sometimes single sentence – stories.



Prison in Macedonia

$4      A5     28p     37g

“In prison, in Macedonia, you have to take your own bowl and cup and spoon. This is because, in Macedonia, it is your own or your family’s responsibility to provide you with the tools with which to eat. Your cutlery and crockery is not the problem of the state, the state feels.” Prison in Macedonia is a story from Tamara’s travels to her almost-homeland, Macedonia. It is a sad and happy story, and makes a great accompaniment to Tamara’s other recent, equally powerful, zine, I am Natasha, which you can find elsewhere in this catalogue.



Rhetorical #8

Rhetorical 8

$3     A6     16p     11g

“I find zines difficult to make. Well, to finish – I keep ripping them apart, starting over, re-writing & then giving up after getting too self-conscious. But I enjoy making them & I kinda need to make them; to create rather than to passively consume.” The introduction to issue #8 of Chiara’s Rhetorical zine sums up the problem of zine making. The problem that is also the purpose, maybe. In this issue Chiara writes about Reading Ellen Willis’ recent essay collection Out of the Vinyl Deeps and seeing Wild Flag play in Sydney. It’s about more than those things, too, but they’re the starting point, and it’s illustrated in Chiara’s distinctively cool/school notebook-scratchy style.



Rhetorical #9

Rhetorical 9

$3     A6     16p + foldout     16g    

“I’m not a singer. I was kicked out of school choir in year 5 (I snuck back in), failed at Singstar in high school (barely able to register any notes) and still mime my way through any rendition of Happy Birthday…” In issue #9 of Rhetorical Chiara writes about setting herself the challenge to sing in her band and more notes about pop/unpop music, with a special focus Mary Timony.



Sex Industry Apologist #1

Sex industry apologist  #1

$3.70     A5     Temporarily sold out

“From 2002 to 2009 I worked at a project for sex workers. I wanted to work there because it was non-judgemental about sex work and was user-led. I was aware that mainstream politicians, the mainstream media, and mainstream (as well as supposedly ‘radical’) feminism were generally uninterested in the diversity of sex workers’ experiences… [S]ex workers are frequently absent from discussions about what’s best for them… This zine uses media articles from the last several years as a springboard for me to articulate my issues with ill-informed portrayal of sex work – or those working to a specific political agenda, namely the eradication of sex work.”



Sex Industry Apologist #2

Sex industry apologist 2

$3.70     A5     32p     42g     Temporarily sold out

“I’m a white queer feminist with a degree in sociology and gender studies and a general interest in marginalised and misrepresented groups. I should note here that my zine, like my previous work, focuses on prostitution rather than porn, stripping, or other forms of sex work. I’m interested in those too, but they’re not my area of expertise so I’m not talking about them here.” The second issue of Nine’s zine that aims to bust your misconceptions, prejudice informed opinions and general wrong-headedness about sex work and sex workers.



Sing me to Sleep: An annotated bibliography of sad boy songs

sing me to sleep

$4     A5     28p

“This zine was written over two days in late January, 2010. As always, an experiment. Obviously not a comprehensive list, but a momentary trawl through a personal collection. The trawl of a sad man finding comfort and assurance in the sadness of men. I also listen to sad women. But here I look upon men because their sadness seems to me to be less spoken, more absent, and perhaps more likely to cause death.” Pop music can be a way to project our inner lives into the world, and our inner lives don’t necessarily accord with mainstream reality, particularly when it comes to questions of gender. This wonderful collection of writing on songs by sad boys and men goes some way to prove that men feel sadness, vulnerability, longing, loss, weakness and grief. The songs include Perfect Day by VU, Hope There’s Somebody by Antony, The Wild Ones by Suede and several songs by the queen of feeling too much, Morrissey. The author of the zine continued his experiment in writing about sad songs in Hello Sadness, which you’ll find elsewhere in this catalogue.



Strange: Seven Times with You

$2     A6     24p     15g    

“I saw his profile on gaydar. He was cute. A small build and a cheeky face. In one image he’s wearing white underwear and reclining strangely. I can’t tell if it’s serious or not. I message him. He replies. I don’t remember what was said but at some stage I gave him my number…” An account of a love affair that was never meant to last, but that the author can’t help but feeling emotionally caught up in.





$1.50     A6     56p     38g

An ambiguous, melancholy love letter to Sydenham, the (soon to be?) former industrial suburb of Sydney. This cut and paste style zine features a mix of original writing and quotes juxtaposed with images to explore identity through place.



Taking Things Too Far

$3     A6     40p+cover     30g    

“An anarchist zine about feelings & monsters. A feminist zine about violent protests & the song ‘Love is a Battlefield.’ An excessively constructed personal zine… This zine is about the same things I’ve been making zines about for however long. Anger, & how to use it without burning off all other emotions. What it is to move through this world in this body. What it is to live as a woman & an anarchist. The collective projects of trying to learn to live.”



The Arrivals

The arrivals

$5     A5     43p

“The weirdest thing about hosting Arrivals is that you can stand next to them and witness deep breathes and watch veins pulse above the wrist, and you can watch their gullets undulate as they eat, and you can almost feel like they’re about to say something…” The short stories in this collection by Shaun Prescott are set in deceptively ordinary environments: small towns, a beer garden, the town hall. In some of the stories, such as ‘The Arrivals’, and ‘House Requests To Be Demolished’, weird things happen. In others, Shaun focuses on a detail with such attention that it becomes weird. ‘Weird’ is an overused word, but I think it is accurately applicable to these stories: they evoke the uncanny, the properly strange.



The Collected Scathings of Ioana Poprowka

The collectd scathings

$2.50     A5     24p

“Who is Ioana Poprowka? She’s a pseudonym, and she’s someone of whom I am very fond, and that’s all I ought to say with regard to her identity. From 2006-2008, she wrote on transgender issues for The Skinny magazine’s late LGBT section, sharing her own experiences with the readership. Maybe I’m biased, but I’ve always found her writing both moving and hilarious…”




The Dream Libraries

The dream libraries

$1     A5     44p

“A library of fantastic and impossible ideas that are so far fetched they will never come to fruition.” This zine by Syd Terminal contains short pieces of writing that describe ‘imaginary’ libraries. It is illustrated with photographs of classical Roman sculptures.



The Dream of Maxen

The dream of maxen

$6     A5     32p

“I heard a woman’s voice; A voice from the mere fading away…” This cleanly produced zine by Syd Terminal contains collages made from torn map pieces photocopied onto delicate cream paper-stock. These collages are captioned with found text, printed on an Adana letterpress. Limited edition of forty, hand numbered.



The spade the spanner the work the worker

the spade the spanner the work the worker

$5     A4     48p

The spade the spanner the work the worker is a zine based on an exhibition Emma had in the window of Sticky. On each verso (lefthand) page of the zine is a photograph of Billy Casper (from Ken Loach’s film Kes) photocopied in tonal gradation from white to black.The recto (righthand) pages of the zine feature photocopier art, collages, drawings and found images. No digital processes were made in the making of the images in the zine. The zine is photocopied on white and yellow paper, and is a limited edition of forty.



The Wolves at the Door

the wolves at the door #2

$0.50c     A5     42p

“The strategy is suffocation. A slow squeeze of all our senses, smothering our cognitive capacity to perceive any way our actions might effect the crumbling of all systems of domination. Any way out of this social charade.” An irregularly published anarchist zine from Sydney. This issue is a bit out of date now, but it’s still worth reading. There is an interview with the editors of the (now defunct!) Mutiny zine, of which you can still obtain back issues through Take Care; a review of the Anarchist Summer School (2011); reports from Greece and Libya, and a critique of liberal tendencies in radical movements.



The Wolves at the Door #2

$0.50     A5     28p     38g

“We are some anarchists writing and living in Sydney. We are interested in exploring the particulars of our situation here while remaining connected to struggle everywhere. We are interested in reflecting on the spaces we inhabit within capitalism, on what cracks appear and what opportunities for resistance are present. When we return to anarchism, it’s not as an identity or a creed but as a space we move through, a point of abstraction, an accumulation of ideas of liberation and attack.”



Tomorrow’s Machine Today #2

$2.50     A5     16p     20g     Temporarily sold out

This issue of TMT uses UK band The Fall and author H P Lovecraft as an excuse to talk about class and other things. To quote a nice review of it that Thomas wrote for Three Thousand: “Of the thousands of articles written about both parties, I have read few that delve quite so deeply; the whole zine only discusses a mere twelve words from one Fall song, but never seems to be scrabbling around for new things to say about them. Even if you’re fairly well-versed on the two wordsmiths, Tomorrow’s Machines Today #2 is great window into the fanaticism they can both still provoke.” Thanks, Thomas.



Tomorrow’s Machine Today #3


$3     A5     36p

“I really wish I’d been born a boy; it’s easy then, ’cause you don’t have to keep trying to be one all the time…” I am going to steal the description my friend over at Disassembly Line gave for this zine in a recent blog post: “[A] view into their childhood and teenage years through the music they loved. It remembers how this music brought the possibilities of the world to them at the same time as showing the limitations of the world – music is used as a means to analyse the impositions and limits put on growing up a teenage girl by gender constructs and expectations.”



Tonight, Everybody in the Street!


A5     32p     $4     Temporarily sold out

“In 1976, it was a good time in Madrid. Franco was dead. The city, the whole country was coming out from underneath his heavy hand. I was nineteen, full of energy, full of desire. Like so many others, so many other young people, I had fled to the capital from the small town in which I’d grown up, from the sun and the seasons and the sheep and the dry, rocky hills. I had come hungry for my life to begin, to explode. And it did.” We have stocked a few of Tamara Lazaroff’s zines over the years and they just get better and better. This may be her best yet. The story of a young woman who travels around Europe after the fall of the fascist regime in Spain. It is about carrying hope, even after experiencing things that seem purpose-designed to break us.



Trabajar en una Tienda

Trabajar en un tienda

$5     A5     72p

Trabajar en una Tienda is a compilation of writing, comics, drawings and collages from zines that Emma D (Tomorrow’s Machine Today, Digging, Nearly Healthy, Underground Fairylands etc) made between 1999 and 2005, as a teenager and in her early twenties. Some of the zines excerpted include: Telly Narcosis, Penny Sentinel, Disobedient and By the Time You’re Twenty-Five. Trabajar en una Tienda focuses mostly on the illustrative and visual aspects of these zines and charts how Emma’s style evolved in a stop-start manner as she attempted to find time to make zines and art as an antidote to her unfortunate reliance on wage-labour. Over half the pages of Trabajar en una Tienda were printed in blue and orange/red on the Rizzeria, Sydney’s collectively owned risograph printer, with the remainder photocopied in standard black and white.



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