Page - 176 - in >mcs_lab> - Mobile Culture Studies, Volume 2/2020

176 Mobile Culture Studies. The Journal 6 2o20 (Travel) Tanja Kapp | Journeying the Page Etsy promotes itself as an alternative to industrialized e-commerce, explaining that it provides a marketplace for individual or one-of-a-kind objects. The popularity of Etsy itself reflects the ongoing proliferation of arts and crafts in DIY culture and its associated discourses of fairness and authenticity. As this article aims at understanding how contemporary narratives of radical walking are written and shared, it centres on two travelogues that were available for purchase on Etsy as of November 2019. It must be stressed here, however, that this costumer journey is only one option of many to come by zines on the internet, and that there are alternative ways to find them offline, too. Importantly, zines and the cultures they are embedded in are inherently heterogeneous, offering various ways of participation and appropriation. Rather than carving out one mainstream path to do ‘things’ (such as walking or creating art), zine culture is defined by a multitude of approaches to participation. Case Study 1: Emma Charleston’s Personal Geography (2019) The first zine that will be analysed is Emma Charleston’s Personal Geogra- phy. It was created for an event in the summer of 2019 that showcased each attending creator’s field of artistic pro- duction. Bound by staples, the small zine comes in a 10.5 to 15 cm format, with a green cardboard cover and 16 pages of white paper. The inner sides of the letter-pressed cover are screen- printed, and the regular pages with a risograph printer. As is custom with most zines, it is hand-numbered, detailing the total number of copies made and the respective number of the individual issue [see Fig. 1]. This tech- nique further highlights the unique- ness of each artefact, by not only mak- ing the owner aware of the limited number of copies available, but also by naming the individual number of the zine at hand, making the artefact even more distinctive. The ownership of the zine is thus not only rendered unique through its limited print run (50 cop- ies), but also by calling attention to its individual status therein (number 40).8 8 The following visual material is reproduced by the authors’ permission. Fig. 1: Letter pressed cover with handwritten number (Charleston 2019)8