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AQC Release for Tuesday, May 18th, 2010

Over a decade ago my uncle and I were sitting around his rock-shack, out in the sticks of southern Oklahoma, nursing a cheap bottle of bourbon.  He had just completed his latest invention The Crack-Whore Barbie Doll Lamp: a six-foot, spinning Plexiglas cylinder about four inches in diameter, designed to look like a hypodermic needle (a filed down television antenna topping it off), equipped with colored lights, oil & bubbles and a floating 1970's Barbie Doll, wearing a sexy lace nightgown and a miniature syringe slammed into her arm, with a tourniquet tied around it with the other end glued to her lip.

"Jesus, Cedrick, what the hell is that?" I asked.

"That's my Crack-Whore Barbie Doll Lamp.  I'm hoping to sell it for a hundred bucks," he answered with a thick Okie accent.

"A hundred bucks?  We could sell that in a Manhattan art gallery for a thousand. How the hell do you think this shit up?"

"I'm an Antique Child, Jimmy," he answered.

The phrase never escaped my consciousness.  And though my sentiments differed from my uncle's I felt that I too was growing into an Antique Child.   

Many people have asked me what Antique Children means and I have no answer.  It is a name/phrase that is open to individual interpretation.  One might feel sick, lonely and weary of life while still being quite young.  Another might feel young and vibrant while not recognizing his or her aging face in the mirror.  Or maybe one simply understands the nature of those things and feelings which are vintage and antique, yet youthful and ever new.          

Six months ago (after having finished the Doppelganger issue, which will be available in print quite soon, for PARAPHILIA MAGAZINE) I was struck with an impulse to start a printed quarterly journal (drawing it's title from a memorable evening that occurred over ten years ago) ANTIQUE CHILDREN: A Mischievous Literary Arts Journal (AQC).  My main intention was to provide writings and art that swung with the pendulum from propriety to excess and in time find a balance, which we at AQC have yet to do.

It was my hope that the first issue titled SPIT would be a sort of purging, a throwing up of a difficult year (2009), where contributors could rant, make confessions and look to better days.  Or maybe we, as a collective, could contribute to the network of friends that PARAPHILIA MAGAZINE and CLINICAL BRUTALITY had already begun to bring together.

It has taken six months to get the first issue done.  Ty Gorton and I hit every branch while compiling SPIT.  The issue has gone through four drafts.  We had to make difficult choices and made numerous mistakes; nevertheless, here it is, SPIT, complete for you to judge whether it is a worthy distraction or not.

We are well into the Summer issue titled Duende: Latin American Writers and we are currently looking for contributors to cover some of the Latin American authors for that issue (See Quarterly Page). If interested email me at  

I wish to give a special thanks to AQC's Spanish Editor, Hero MacKenzie, and to all those who have contributed to both the online-zine and to the first printed quarterly journal, and most importantly I thank those who have visited our site.

~Jim Lopez

Words: Craig Woods, Xánath Caraza, Gonzo Michael Palmer, Greg Tropea, Guillermo Yáñez Tapia, Vincent Wright, JM.Persánch, evan lee ward, Kieth Flynn, Gregory James Wyrick, Patrick Wright, and Joel Mitchell.

Visuals: Chris Mars, Dale Keogh, Susan Eastman, Pier Darel, Scott Batty, David Whitlam, Meriel Longmore, Rick Grimes, Pierre Fudaryli, Dennis Sibeijn, Daniele Cascone, Alex CF, Ted Von Heiland, Dave Brown, and Doug Rathbun.

Films: Rabbit Punch by Kristian Andrews, Jan Švankmajer's Faust, The Astronomer's Dream by Malcolm Sutherland, Iran Contra Coverup: 1 of 8, and Accidents Happen Film Teaser Directed by Andrew Lancaster.

[ previews and content links below ]


Tuesday, May 18th, 2010

Works by Chris Mars, Dale Keogh, Susan Eastman, and Pier Darel.

Invisible Man Directing Traffic

Craig Woods

Some years ago I dreamt about a great war. I don’t recall the political details and, being a dream, those seemed of little relevance in any case. I do however remember a scene of great jubilation: a city like Barcelona, timid sunlight on cobblestones stained black with attrition. A child with a missing arm came running into my embrace, screaming: “We won! We won!” The child held in her frail grubby fingers the amputated arm of a plastic doll. She grinned feverishly and held the miniature artificial limb aloft, as though it signified her return to an unmolested state. It was enough to tell me the victory was real. From the walls and smoky shadows of the city, men and women emerged to rebuild and repair in a communal spirit of camaraderie and good cheer. We had won. Victory was ours. Hallelujah.

But something was wrong.


Sirenas en salsa de manzana
Una receta para intensificar la creatividad

Por Xánath Caraza

Los ingredientes:

4 ramilletes de sirenas recién pescadas
2 ½ libras de manzanas aurora boreal
3 pedazos de anís estrella
2 dientes de ajo porcelana finamente picado
3 cucharadas de miel de hierba del fuego
1 cucharada de salsa de soya intensa
6 pizcas de creatividad enaltecida
2 pizcas de imaginación
Sal y pimienta al gusto
1 chorrito de aceite de oliva verde
3 frutas dragón a la mitad para adornar
1 porción de amor también para adornar

Primero visita la orilla de mar más cercana mientras el sol aun brille.  Llega hasta el mercado de pescado y asegúrate de buscar las sirenas más frescas del día.  Hay una miríada de sirenas, obtén tu tipo favorito.  Las más sabrosas son las de la variedad de cola roja y dorada.  Puede ser que también las encuentres en tu supermercado local en la sección de congelados.  Sin embargo, prueba las recién pescadas; son las más exquisitas.

más leer...

[ translation ]

Mermaids in Apple Sauce:
A recipe to intensify creativity

By Xánath Caraza


4 bunches of freshly caught mermaids                                         
2 ½ pounds of Northern Lights apples
3 pieces of starfish anise
2 cloves of porcelain garlic finely chopped
3 tablespoons of fireweed honey
1 tablespoon of intensely savory soy sauce
6 pinches of heightened creativity
2 pinches of imagination
Salt and pepper to taste
A drizzle of green olive oil
3 dragon fruit halves for garnish
1 dollop of love as well for garnish

Firstly visit the nearest seashore whilst the Sun is aglow.  Encounter the fish market and make certain to seek out the freshest mermaids of the day.  There is a myriad of mermaids, obtain your favorite kind; the tastier ones are of the red and golden-tailed variety.   You may find them in your local supermarket in the frozen section too.  However, try the freshly caught ones; those are the most exquisite.


The Never Ending Cycle…
Gonzo Michael Palmer

They all know my name and call it out in unison when I enter. It feels good to be wanted, or at least known. A Miller High Life is my beacon. It guides me to my seat, the one in front of the mirror, so I can stare at the stranger that stares back at me.

I can always remeber coming to this place, but rarely remember leaving. I always come alone and leave even lonlier, even if I leave with some barfly that has temporarily landed there and decides to take a "regular" home.

Ghost of people surround me there. They are not dead, but they are certainly not living. They drowned in the bottle a long time ago. I feel as if I am one of those treading water in a bottle of booze. I could have sworn I heard someone yell, "MAN OVERBOARD!", many moons or noons ago.


Works by Scott Batty, David Whitlam, Meriel Longmore, and Rick Grimes.

Method and Metatheory

Greg Tropea

What looks like a digression is in fact the actual proper

movement on the way by which the neighborhood is deter
mined. And that is nearness.

- Martin Heidegger

"The Nature of Language"

Conflict and struggle come to dominate existence when apparently incompatible and inflexible purposes and symbol systems are thrown into contact and competition with each other. In situations of being-at-odds, there is reason to value understandings of self, other, and situation which promise to increase appreciation of the complexities of presence and foster awareness of the potential depth of the logics of difference, thereby conditioning impulses to violent exclusion and coercion. One way of favoring the development of a disposition toward appreciating or at least admitting the possibility of logics of difference calls for attention to the fundamental understandings and experiences that inform cultures and communities as ways of being in the world.

This formal study of two ontic fundamentals, religion and ideology, commences with an empowering observation of an aspect of change. We begin with the category of change because at whatever depth, the study of change is the study of existence. In this case we observe that cultures and communities come into being and inexorably develop upon the ecstatic initiatives of human beings, beings who exist as historical facts in the mode of Being-there (Dasein). The founding and renovating initiatives that are presented in history to history, which all cultures formally have in common, are properly called "ecstatic" because it is only by stepping outside their own historical-factical what-is that human beings (necessarily) participate in the creation of what-is-to-be. Of special interest for this study are the ecstasies that eventuate in socio-cultural creativity; mutatis mutandis, such ecstasies anticipate the irreducible differences which challenge understanding.


Teoría de la imagen: Apuntes para una ontología del sentido en la imagen técnica digital

Guillermo Yáñez Tapia

“Pero si nuestras imágenes nos dominan, si por naturaleza pueden provocar algo distinto a una simple percepción, su capacidad –aura, prestigio o irradiación – cambia con el tiempo. Nosotros desearíamos examinar ese poder, señalar su metamorfosis y sus puntos de ruptura. (...) No hay anticipación posible, pues la acción que nuestras figuras ejercen sobre nosotros varía con el campo de gravitación en el que las inscribe nuestro ojo colectivo, ese inconsciente compartido que modifica a sus proyecciones de acuerdo con nuestras técnicas de representación."  

~ Régis Debray

La cuestión del sentido:

Se hace necesaria preguntar por la imagen técnica digital en el intento de pensarla. El problema que presenta todo preguntar es el de configurar dicha pregunta para que pueda dirigirnos apropiadamente en la dirección de una respuesta. Heidegger indicaba que en el preguntar se presentaba un cierto conocimiento previo inarticulado en torno a eso por lo que se pregunta. En lugar de un conocimiento previo que se presenta en eso por lo que se pregunta, ocurre, en virtud de precisarlo, una demanda por abordar lo preguntado desde cierto sentido. Lo preguntado es resistencia al sentido, es cierto bloqueo de la dirección desde la que abordamos el mundo en tanto sentido común. Es la resistencia de aquello por lo que se pregunta en vez de situarse como transparencia del sentido en que se ubica. La pregunta es un descentramiento de aquello  que se obviaba por considerarse una transparencia incuestionable. ¿No sucede  esto de manera habitual en nuestro modo de comportarnos con los objetos y las personas? ¿Acaso nuestra aproximación ya no posee en sí misma  un orden previo que le da sentido a eso que no somos nosotros? ¿Incluso nosotros mismos no somos transparentes a la cuestión de eso que sería nuestra subjetividad? El mundo, ese exceso que nos excede, aparece ubicado frente a y con nosotros como algo dado en tanto sentido para recorrerlo, para escanearlo, parafraseando a Flusser. Basta un leve desajuste en algo en torno a nosotros para que se produzca primero la perplejidad y luego la pregunta. No se trata de que lo preguntado fuera, de cierta manera, conocido por nosotros, sino que debido a su descentramiento ya no poseemos la certeza de ese sentido que se nos aparecía.

más leer...

Works by Pierre Fudaryli, Dennis Sibeijn, and Daniele Cascone.

Vincent Wright

On the bed the transaction is about to be made
she’s waiting
The landlord creaking stairs underfoot
In bed she feels his teeth pushing into the nape of her neck all the way from the door.
The landlords mind going into somersault fantasy of how it’s going to be.
On the bed, undressed, the landlord excitement over rides all sensibility and breathing turns to a chainsaw quiver
Knees pushing back boobs the last five months rent is getting squared up and cleared


El pasado de los años

Me pidieron tantas cosas,
que decidí olvidarlas, todas,
una a una:
allí, junto al reloj,
donde los sueños se abandonan;
allí, junto al reloj,
donde el tiempo pierde su nombre,
allí donde, día tras día, muere el presente,
allí, donde el pasado encuentra dos caminos,
(caminos… aminos… inos…)
en los que siempre te apareces,
o yo siempre te encuentro, aún despierta,
al final del viaje, manejando los hilos
de una infancia avocada a su sino…

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Mi tiempo no es oro

Me das asco. Eres sucio, pares la guerra,
la envidia, la cerrazón, y matas a tu madre la tierra.
No contento con eso, nos haces esclavos,
¿Qué tendrás que a todos convences?

-¡Que vivan los vagabundos y los vagos!

-¡Que vivan!
-¡Que vivan!

más leer...

drippings from the inner beat heat
evan lee ward

nightime thumbs catch attention.
with a glance over, tires grate against the curb.
an armani wearing yuppie and his whore to be
climb onto the dark leather seat just cleaned.
off toward the upper east side sailing between lanes,
riding high whilst a sigh floats through the night in waves.
fast paces between acceleration and slowing momentum they play
the suit and his lay, the driver with his pay.
babbling lunatics begin to grunt in unison,
paranoia filaments seep within thoughts of desire.


Cinema Xanadu
Kieth Flynn

Reality is privileged, and for the cinephile,
it is not enough to make love to Rita Hayworth;
it must happen in black and white.
Peeling back the layers of the dream,
how could reality possibly compare?
Seeing life inside a frame intensifies its effect.
Is Art content or form? The decisive moment
is rendered less dramatic by the character actors
scurrying away across the street to their cluttered
apartments and heating bills, like some French
New Wave film, underexposed and lit badly,
revealing the schizophrenia and compulsion.


The Terrorist As A Shakespearean Character
Kieth Flynn

(A monologue minus the Elizabethan language)

Good news, Mother.
I have disfigured your finest products,
grouped all trademarks and obliterated
their communist intentions by granting
them a better future. I want to watch
the ignored software go through the roof. 
Father is subscribing to the nexus
of a second day of worship, making
Monday hot with religious fervor
and Sunday its reluctant precursor. 
What do you think, Mother?  Let's set it off.


(Dracula Jesus)
Gregory James Wyrick

Dracula Jesus
Both are resurrected beings 
Both rose from graves
Both use blood as the instrument for eternal life 
Both raise the dead
Both have supernatural powers
Both encourage blood drinking
Both are called "Lord" or "Master" by their followers.

[ click for full size image ]

Works by Alex CF, Ted Von Heiland, Dave Brown, and Doug Rathbun.

Bible Budgets

Joel Mitchell

Public budgets in the United States of America are decided using religious convictions. Bible budgets appropriate taxpayer monies to perpetuate religious based programs and services. Recently some expenditures included earmarks for projects related to AIDS and the environment to satisfy interest groups composed of homosexuals, nonwhites, and “dirty hippies.” Appeasing a few marginal demands, is a small expense compared with the $2.8 billion annual “No-Bid” contract given to KBR to keep Muslims in Iraq under America's Christian control.
Legislators deciding how to spend taxpayer dollars have to satisfy their closest constituents first. Constituents are those special interest groups that donate money to legislator's campaigns. Moreover, the largest taxpayers in a community also have the power to influence budget decisions through lobbying. When hedonistic homosexuals in some urban America cities such as Los Angeles, San Francisco, and New York City were dying of AIDS, the homophobic heterosexual legislators did not immediately appropriate funding for research, education, and prevention. From the bible budget perspective, homosexuality is promiscuously sinful behavior that does not result in procreation. Gay men were making a choice with their abominable behavior that went against the religious beliefs of legislators making budget decisions. To stop a horrifying public emergency, $30 million taxpayer dollars were eventually appropriated to fund health related programs and services like sex education (Waxman and Green 2009).


‘The Clown Picture’: An Analytic Fragment of a Childhood Phobia

Patrick Wright

Fig. 1, “The clown picture” (otherwise untitled),
artist initials F.I.,
date unknown, 32.5 x 25cm.


Among the debris of childhood is my notorious “clown picture”: the object of an arc-haic coulrophobia. My example isn’t famous; it isn’t not borrowed from the back-cat-alogue of the history of art where uncanny images are ubiquitous, from the nineteenth century on especially; nor is it publically accessible, stored, as it is, in the upper com-partment of my wardrobe. Though it is, indisputably for me, replete with meaning.  

This article can be understood as a partial self-analysis: what I want to present is tantamount to an analytic fragment, using myself or psyche as a case history, and in so doing, understand a little better the whys and wherefores of acute infantile anxiety. I wish at the same time though to explore, in a more universal sense, the things (I will resist for now calling them “objects”) that haunt childhood as phobias, and often lie at the origin of perennial adult fascinations. I am aware that such an approach may upset those who insist on scholarly reserve, or like to privilege the political and the historic-al over the personal and the sensate. Such an approach is necessary, though, if the ori-gin story of why certain images become totems or fetishes, or even why we choose to study the visual domain at all, is to be explained. Indeed, I suspect it may not be coin-cidental that I’ve been led to study modern art, particularly the grotesque element: the work of George Grosz, for instance, whose maimed and dismembered figures evoke a most devastatingly archaic past precedent: my clown, his influence stretching through a lifetime; a trauma returning, processed by way of the decoy of “academic research.” 


Showing: Rabbit Punch by Kristian Andrews, Jan Švankmajer's Faust, The Astronomer's Dream by Malcolm Sutherland, Iran Contra Coverup: 1 of 8, and Accidents Happen Film Teaser Directed by Andrew Lancaster.

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