Since the mid-1970s, punk has operated to fulfill the postmodern objective to destabilize and disrupt metanarratives. In the early days of punk, US and UK punks used their Do It Yourself (DIY) aesthetic and ethos to counter the aggressive capitalist takeover of music and media. With its roots in anarchism, egalitarianism, and individuality, punk’s philosophical and ideological base, methods for pushing boundaries, and monstrous aesthetics have made a lasting impression that can be clearly identified in many of the social justice movements of the past 40 years. This project examines punk publics and publishing praxes and argues that marginalized groups utilize punk’s disruptive strategies to disseminate culture beyond the boundaries of hegemonic systems of knowledge production. This dissertation focuses on punk not as a counterpublic but as what I call a parapublic due to its position alongside the dominant culture. As punk’s recognizable signifiers continue to be absorbed into and consumed by capitalism, these signifiers become part of the mainstream, leading to a reconfiguration of punk. The reconfigurations signal a shift in the dominant culture because punk seeks to make itself abject to appear monstrous. We can look at the abject as occupying a position between the subject and the object, and then we can see that punk allows us to examine culture’s fears and desires through the embodiment of its monsters. This project centralizes the figure and the function of the monster within the works and publishing practices of zines and the punk authors Dennis Cooper and Kathy Acker.