SNARL! Handbook Of Leeds ALF (1985. Leeds, England)
One of the great things about punk music is also one of the worst things about it: anyone can do it. On the one hand this encourages kids to destroy the adulation of rockstars and to make music (as well as zines, clothes, art, etc) themselves. That accessibility has brought us the voices of people we never would have otherwise heard, which is wonderful. On the other hand, punk doesn’t exist in a vacuum, it came into being in a culture afflicted with bias and brutality, patriarchy, capitalism, and so on. Those elements are ingrained in many of the creators of punk and are, at times, reflected in the works they produce. Those messages are then carried on to those who consume that media.
It isn’t hard to make the leap from an analysis of punk to an analysis of leaderless resistance. Without a hierarchy or organized recruiting mechanism, the A.L.F. has often spread through the same means as punk rock- DIY media, the passion and anger of youth, and at times, sensationalized mainstream media stories. People have heard the call and picked and up the banner, acting on their own initiative to make change. The downside, of course, is that without a training component that goes beyond a few words in a zine about security culture, these newly active saboteurs aren’t always left with the skill set needed to safely or effectively undertake underground actions. They may end up making their own publications which repeat the mistakes of the ones they first read, and these will be passed on to the consumers of that media.
If I were 16 years old and living in Leeds in 1985, I would have loved SNARL. It speaks from a place of youthful (and righteous) rebelliousness, and although the tone can be a little dogmatic, nearly everything else about the “handbook” is just plain cool. I laughed out loud to see license plates, makes and models of undercover police vehicles listed, and was encouraged to see the inclusion of human liberation struggles. That said, the young folks who made this zine were reproducing some of the worst aspects of other publications from the era as far as security and theatrical militancy goes.
SNARL is an interesting product of it’s time, written and distributed by well meaning, hard-fighting folks who no doubt had the best interest of non-humans in their hearts. That said, I hope readers at the time were cautious in following the advice it contained, because much of it was outright dangerous. Looking at the prisoner listings from this period, that doesn’t seem to be the case.
