ARC Unearths UK Small Press: History And Heritage Comics Panel

The ARC Contemporary Comics Festival in Peckham, London recently provided a platform to delve into the rich history and cultural significance of UK small press comics. A panel discussion entitled "UK Small Press: History and Heritage" brought together key figures who have shaped and preserved this independent sector of comic publishing.

The panel featured notable contributors including Blanca Garcia Paja, Ed Pinsent, Dr Ian Horton, Paul Gravett, Sarah Marhurter, and Woodrow Phoenix, under the moderation of Douglas Noble. Their dialogue illuminated the evolution of small press comics, emphasizing how photocopy technology democratized the medium, enabling creators to bypass traditional publishing barriers.

Paul Gravett, a pivotal figure in the British small press scene, recounted establishing the Fast Fiction table at the London Comic Mart during the late 1970s. His efforts created a vital hub for distributing small press comics domestically, reducing reliance on American mail orders and fostering a community among creators. Gravett’s curatorial expertise extends globally, having organized exhibitions like Queer As Comics, and advocating for the archival of these often ephemeral works in institutions such as the British Library.

Ed Pinsent, involved with Fast Fiction since 1982, highlighted the unique qualities of the small press movement. He traced its roots to poetic chapbooks and mixed-tale photocopies, noting how cheap reproduction methods facilitated rapid, direct connection between authors and audiences. Pinsent praised the movement's innovative storytelling and artistic styles, which diverged significantly from mainstream comics of the time. He candidly acknowledged the gender imbalances persisting within the scene during its early years.

Dr Ian Horton, both a longtime fan and archivist, emphasized the significance of photocopying as a tool for creative liberation. His discovery of the Raw anthology at age 18 profoundly influenced his appreciation for avant-garde comics, with works like Maus encapsulating the potential of small press to challenge narrative conventions.

Blanca Garcia Paja of University of the Arts London’s archives shared challenges related to preserving small press comics. The fragile, often disposable nature of photocopied comics and punk-era zines means complete collections are rare. Archival efforts focus on maintaining existing conditions without attempting restoration, respecting the original ephemeral intent. Garcia Paja also underscored the deeply personal content these works often contain, which can reveal intimate stories not widely intended for public dissemination.

Woodrow Phoenix offered a creator’s perspective, recalling how discovering comics by Eddie Campbell inspired him to produce his own. He viewed small press publishing as a practical necessity rather than a stylistic choice, using inventive methods to bring his comics to life despite limited resources. Phoenix’s anecdotes included unique production techniques like embossed covers and unconventional formats, highlighting the resourcefulness characteristic of the movement.

Sarah Marhurter, manager of the University Archives and Special Collections Centre, discussed the role of small press comics in addressing complex social issues. She cited the medium’s capacity to present multiple perspectives on conflict and difference, facilitating dialogue without violence. This capacity for nuanced storytelling makes small press comics a vital cultural artifact.

Throughout the session, the panelists referenced significant collections such as the Les Coleman archive at University of the Arts London, which includes North American underground comics from 1968 to 1989. These materials provide crucial context for understanding the transatlantic influences and evolution of alternative comic culture.

The ARC Festival’s focus on small press comics underscores the movement’s enduring relevance and the importance of archival work in safeguarding its legacy. The discussions revealed how these grassroots publications not only expanded narrative and artistic boundaries but also created communities and preserved diverse voices that might otherwise have been lost.

As the festival continues with further talks and events, it fosters greater awareness and appreciation of small press comics, situating them firmly within the broader history of graphic storytelling. Insights from the panel emphasize the need for ongoing preservation and study to ensure these unique cultural contributions persist for future generations.