Didi J. asked about the New Voyages Paperbacks. These books were one of the few moments when the commercial sector officially acknowledged the existence of fan writing and it is significant that it did so at a very early stage in the development of ST fanzines. Basically, two fan editors got a contract to commercially publish a series of early fanzine stories about the series. I honestly don't know whether these stories are still in print or not. My copies are old and moth-eaten. Didi asked whether I regarded them as representative of fan writing. Depends on what we mean by representative, I would think. Yes, they contain some important early stories by fan writers; they suggest some of the ways fan writing was emerging shortly after the cancilation of the series, but it is important to recognize that they underwent an official screening process which means that there was less room for rewriting and reworking the series and more pressure to produce "new episodes" which conformed to the old patterns. I don't think they represent what has happened to fan publishing since then, however, as writers have developed a more diverse and sophisticated range of genre formulas, a broader vocabulary of strategies of rewriting, a denser sense of the characters, etc. So, we are back where we started. While no one zine is going to be representive of the whole, I would think about getting the class to order a good zine from a cooperative editor. When I taught my initial ST essay, I contacted Jane Land and used DEMETER, a novel I discuss in "STAR TREK Rerun, Reread, Rewritten: Fan Writing as Poaching." and which reflects many forms of rewriting. I also would think about using Leslie Fish's THE WEIGHT, a recognized classic in the field, which I discuss at some length in TEXTUAL POACHERS. This time around, I am assigning some slash stories, since I am teaching my work in a course centering on Gender, Sexuality and Popular Culture. But, I will state it again, Do this with the cooperation of the editors and writers involved. I value the experience of having the class order from the writers since it allows money to come back into the fandom and it gives students a sense of the different dynamics of financial and cultural exchange that define the community. Didi also asks about "institutional collections of fanzines." I have heard rumors of archives beginning to collect zines, but have not received confirmation. One rumor centers on Bowling Green, another Austin. Do people with connections there know if there are indeed zine collections? The MIT SF Society has a collection of mainstream SF zines but its media zine holdings are minimal. There are some zine lending libraries emerging around particular fandoms. I don't have addresses handy but could provide them on specific request. If you wanted to work on THE PROFESSIONALS, you could tap into the rather extensive story circuit and get a large collection at the cost of postage and xerox. Probably your best bet is to do what I did to supplament my own rather extensive collection of zines and what many other fans did: I borrowed from other fans. There is no point studying or writing about fanlit without an active engagement with the community. Once you make contact, make friends, and ask about loans. Most fans are eager to share their collections and are cooperative with you if you treat them in a fair and ethical fashion. Then, there is the option of writing stories yourself so that you get contributors' copies of the zines, which is what most fans I know do to remain current within a particular fandom. --Henry