Nick DiSpoldo, Small Press Review (on Children, Churches and Daddies, April 1997) Children, Churches and Daddies is eclectic, alive and is as contemporary as tomorrow’s news.

Children, Churches and Daddies

Volume 51 - ‘fly away’

The Unreligious, Non-Family-Oriented Literary and Art Magazine

ISSN 1068-5154

not love but something, by John Sweet allison says this is it packs her bags leaves calls two days later says i love you let me come back says you can hit me kiss me cut me anything says just let me need you i think no say yes feel like a junkie getting a fix this is something not love but something someone’s daughter naked, by John Sweet this is not a confession bout could possibly turn into one this is america or at least one version of it burning cross and blue blue sky and someone’s daughter naked on the kitchen floor with a serious gun to her head he says love what i say because i say so escape is what we do at times like this but never the way we planned take five, by Mike Lazarchuk When the sky shrieks steel & razors of snow slash deep When the wind slaps the Window howling black & dangerous with Mighty midnight Never deviating From its frightful Pattern of pirate blood Don’t let the world you’re in Infect your retinas With rotten doscourse Take five Pour a shot of silver From the bottle of Smashing illusion Fill up your lungs With the room’s Musty decaying aroma Ease down in your chair & doze Dreaming about Polynesian reefs & shoals & what lovely legs your lover has In this crummy motel tall man, by Janet Kuypers I can feel your presence across the room a movementa stir your long shadow stretches across the walls an occasional glance I’ll take whatever I can take a stranger yet I feel I know you all too well tell me about your dream, by Mark Sonnenfeld i was in africa i was in a churche the white people in front; black people in the back mandela comes in he has a machinegun he machineguns the wood to get the people’s attention that made the white people newvous he was saying he was fed up with the white people that they rule the country for so long and now he’s not gonna hurt anybody he just wants everybody to see what they’re doing so he machineguns the walls pews wood (he just machines away) and then he’s got everybody’s attention and then there was a film of gruesome murders that he made to white people watch; black people in the back were getting upset so i thought he was just creating trouble but he wasn’t there for trouble he just wanted the white people to know he wasn’t mad at me i don’t know why i was there there were gruesome murders it was a big film with slides that he made to people watch like the white people real mean to the black people like cutting off their feet real gruesome murders and he wasn’t mad at me he wasn’t gonna harm any of the white people there but the black people started to get upset i think they were more upset than mandela would realize and then he had a mess on his hands and then i woke up there I sit, by Janet Kuypers I sit alone separated isolated away from my only love my obsession I pull out a fountain pen I look at the lines the contours of his face defining the piercing eyes the pointed nose the tender lips I feverishly draw I sketch I capture his image I stare I gaze I memorize his every detail but he never looks back so I will draw until my fountain pen runs dry how to cry, by Alexandria Rand How to Cry: Introduction Although some may be interested in the most appropriate way to cry, the first obstacle that must be tackled is how to make oneself feel the need to cry in the first place. This is the most difficult of the tasks involved in crying; once it is achieved, it does not really matter how one actually goes about crying. How to Cry: Novice When one is in a generally in a good mood, or if they do not have the inspiration to cry, they must find the inspiration, otherwise instructions on the appropriate way to cry are fruitless. The initial task, as stated in previous essays on the subject, is to “steer the imagination toward yourself”. This generality and vagueness, however, hinders the imagination from doing just that. When one starts with specific problems to depress oneself with, the generalities will follow. To start is simple: take any one aspect of your life that you find important to you. Then, find the one largest thing that is wrong with it. Ponder that problem for a while: ponder the fact that this problem may never be solved, that it may never get any better. Decide whether or not it is because of a fault within yourself: if it is, then you can use that as fuel for the fire; if it is not, then you can cry because circumstance, or even the fault of someone else, is what is causing this problem in your life. After you have thought about this one problem in your life, it may occur to you that there is more than one problem with that aspect of your life. Only after you have exhausted contemplating about the one problem, however, is it appropriate to move onto another problem. You should make sure that you have uncovered all of the saddening thoughts about the one issue before you move on to another issue. The more material to work from, the better. After you have exhausted all of the problems that exist within this one aspect of your life, move on to another aspect of your life that is important to you. Repeat the above process. You may come to two different conclusions when you are doing this exercise. One is that you may realize that there were problems in your life that you did not even know existed. This again is good incentive to cry, because it makes you realize how many things are wrong in your life, so it is wise to mull this point over in your mind. The other conclusion may be that you will always have these problems, and that ultimately there is nothing you can do to help yourself out of this situation. This eternal helplessness is also good incentive. How to Cry: Intermediate After a while of using this method, it will begin to seem repetitive, and the subject material may become too familiar. In this case, a new twist has to be taken with the order in which the above tasks are accomplished. Originally, the thought processes are very methodical: take one aspect of your life, find a problem with it, exhaust its potential, find another problem, etc., then move on to another issue. Since, however, the subject by this time begins to have a feel for what all of the issues and problems are, a different approach has to be taken. First, think of all of the problems at once. All of them. Every last one. Family. Work. The dishes. God. Anything and everything. All at once. The thought of all of these at once will put a frantic, fierce panic into your head that alone may even make you cry. If this alone does not work, continue thinking of all of these problems, and also start to think of how many problems there actually are and how big the problems actually seem. Consider the quantitative and qualitative value of all of these problems, and they will undoubtedly seem much larger than would have originally been anticipated. Continue contemplating this, and crying will come easier. How to Cry: Professional By this time, the thought of all of your problems using the above methods will not even phase you. The focus of your attention must then shift to one of two things. First, it can shift to the fact the it seems difficult, or even impossible, to make any of these problems any better. When confronted with a mass pile of problems, it seems difficult to attempt to solve even one of the problems - and if you can, it is only one of many. Contemplate the fact that it seems like you are in a no win situation. If this attention shift does not work, then think about the fact that the pile of problems you have does not even succeed anymore in making you cry. This thought alone will make you think that any shred of humanness to you has now been ripped away from you. Poetry, by Alexandria Rand I remember my friend Diane, when she was judging work to be accepted into the literary magazine she was staffing, found a poem she liked. I can’t remember who it was by, or even what it was about, but the rhyme and the meter and the use of repetition was very good. I’m not one for liking rhyme, I prefer prose poetry or free-form, but I must admit that this was pretty good. But Diane - as she read this poem over and over again, she became more and more excited. “Just listen to this”, she’d say, and she’d rattle off the first verse again to me. She too preferred unmetered poetry, but she fell in love with this. She loved to read it aloud, and she loved going over it in her head. She just loved the sound of the poem, the pleasing quality it had to her ear, and not necessarily the message the poem had. But she loved it. That is what poetry is to me. It is something that charges a person up inside; it is something that you like reading the one hundredth time as much as the first. I doesn’t have to convey a deep, great message to all; it can hold a special place in your own heart because of a past memory, a dream, or anything. But it can have that meaning, too - and that is precisely why people may find poetry with deeper sentiment so appealing. And it can fill one person up with joy and do nothing for the next person; the important matter is that it thrills that one person. It can be rhyme, it can be prose - basically, I think anything can be poetry as long as it’s written - and if it’s not written, then it is merely poetry waiting to be expressed, or put to paper. I find myslef using the term “poetic” quite often in reference to things that are not poetry. Usually I refer to things that way that strike me and stir me, if they stir my senses or if they stir my soul. If I find a poetic scene like that, I suppose that if I were able to express in words what I see and make those words stir a person, then I’ve created a poem. I’d almost venture to say that the word ‘poetic’ is the quality of something that makes you utterly fall in love with it, and the word ‘poem’ are the written words that either evoke the imagery that made you fall in love, or evoke sounds that make you fall in love. Sometimes, when someone reads a poem of mine, they don’t get a reaction. They think it’s nice, or whatever, but the idea doesn’t stir them the way it stirrs me. Maybe this is because that idea wouldn’t stir them. Maybe it’s because the idea can’t be put into words. Maybe it can. what you could make me do, by Janet Kuypers I I remember when you and Brad and Joe and I decided to kill a bottle of champagne, Andre pink, two-for-five, on a building top in the December cold. I remember standing at the top of this building with this bottle of cheap champagne in my hand and not caring that it was cold, that I was breaking the law. I was young, and free. And I had friends. We stood in the shape of a triangle and made the person in the center drink. I said they had to spin while they drank, then belch when they were done. Brad and Joe were more than willing; the belching was a contest for them. And I became one of the boys for a night, to become closer to you. You didn’t want to belch, or spin, or really even drink. I didn’t make you. But you did. And I’d like to think that in your heart you did it because you wanted to follow me. I’ve always wanted to tell you that I wanted to follow you, too. II I got your watch engraved the day of my Christmas party. I didn’t want to bother with wrapping the thing, besides, I didn’t even have a box for it, so I just wore it. You never knew it was there. When you couldn’t take the suspense any longer, I told you that I had it on me. It must have been quite a sight to see you walking in circles around me, trying to figure out what I was hiding from you. But I wasn’t even hiding it. I was wearing it on my wrist, with my other watch, as plain as day. III So I made a full picnic and brought it to an empty theater. And I put on my best black dress, you know, the one that is off the shoulders, the one I wear to make heads turn. I set out the food, played slow music and put the champagne glasses you bought me on the center of the stage floor. When I sat down I was afraid splinters from the hard-wood floor would run my stockings. But I wanted you to see what you could make me do. I didn’t want you to think I was some nobody. And I wanted to see the look on your face when you opened the theater doors. That night you said that everything was perfect. But it was perfect only when you sat down to join me. park bench, by Janet Kuypers I saw you sit at the park bench. Every day you would go to that one bench, reading the paper, feeding the pigeons, minding your own business. Every day I would watch you. I knew how you adjusted your glasses. I knew how you crossed your legs. I had to come out of hiding. I had to know you. I had to have a name for your face. So before you came to the park bench I sat down and pulled out a newspaper. I looked up when I heard your footsteps. I knew they were your footsteps. You walked to another bench. No- you couldn’t sit there. That’s not how the story goes. You have to sit here. The next day I waited for you before I made my move. You walked back to your bench. I strolled up to the other side, trying to act aloof. I sat down, only three feet away from you. I pulled out my day-old paper. My eyes burned through the pages. I felt your breath streaming down my body. I heard your eyelids open and close. Your heat radiated toward me. I casually looked away from my paper. You were gone. Nick DiSpoldo, Small Press Review (on “Children, Churches and Daddies,” April 1997) Kuypers is the widely-published poet of particular perspectives and not a little existential rage, but she does not impose her personal or artistic agenda on her magazine. CC+D is a provocative potpourri of news stories, poetry, humor, art and the “dirty underwear” of politics. One piece in this issue is “Crazy,” an interview Kuypers conducted with “Madeline,” a murderess who was found insane, and is confined to West Virginia’s Arronsville Correctional Center. Madeline, whose elevator definitely doesn’t go to the top, killed her boyfriend during sex with an ice pick and a chef’s knife, far surpassing the butchery of Elena Bobbitt. Madeline, herself covered with blood, sat beside her lover’s remains for three days, talking to herself, and that is how the police found her. For effect, Kuypers publishes Madeline’s monologue in different-sized type, and the result is something between a sense of Dali’s surrealism and Kafka-like craziness. Debra Purdy Kong, writer, British Columbia, Canada I like the magazine a lot. I like the spacious lay-out and the different coloured pages and the variety of writer’s styles. Too many literary magazines read as if everyone graduated from the same course. We need to collect more voices like these and send them everywhere. Ed Hamilton, writer #85 (of Children, Churches and Daddies) turned out well. I really enjoyed the humor section, especially the test score answers. And, the cup-holder story is hilarious. I’m not a big fan of poetry - since much of it is so hard to decipher - but I was impressed by the work here, which tends toward the straightforward and unpretentious. As for the fiction, the piece by Anderson is quite perceptive: I liked the way the self-deluding situation of the character is gradually, subtly revealed. (Kuypers’) story is good too: the way it switches narrative perspective via the letter device is a nice touch. Children, Churches and Daddies. It speaks for itself. Write to Scars Publications to submit poetry, prose and artwork to Children, Churches and Daddies literary magazine, or to inquire about having your own chapbook, and maybe a few reviews like these. Jim Maddocks, GLASGOW, via the Internet I’ll be totally honest, of the material in Issue (either 83 or 86 of Children, Churches and Daddies) the only ones I really took to were Kuypers’. TRYING was so simple but most truths are, aren’t they? what is veganism? A vegan (VEE-gun) is someone who does not consume any animal products. While vegetarians avoid flesh foods, vegans don’t consume dairy or egg products, as well as animal products in clothing and other sources. why veganism? This cruelty-free lifestyle provides many benefits, to animals, the environment and to ourselves. The meat and dairy industry abuses billions of animals. Animal agriculture takes an enormous toll on the land. Consumtion of animal products has been linked to heart disease, colon and breast cancer, osteoporosis, diabetes and a host of other conditions. so what is vegan action? We can succeed in shifting agriculture away from factory farming, saving millions, or even billions of chickens, cows, pigs, sheep turkeys and other animals from cruelty. We can free up land to restore to wilderness, pollute less water and air, reduce topsoil reosion, and prevent desertification. We can improve the health and happiness of millions by preventing numerous occurrences od breast and prostate cancer, osteoporosis, and heart attacks, among other major health problems. A vegan, cruelty-free lifestyle may be the most important step a person can take towards creatin a more just and compassionate society. Contact us for membership information, t-shirt sales or donations. vegan action po box 4353, berkeley, ca 94707-0353 510/704-4444 C Ra McGuirt, Editor, The Penny Dreadful Review (on Children, Churches and Daddies) CC&D is obviously a labor of love ... I just have to smile when I go through it. (Janet Kuypers) uses her space and her poets to best effect, and the illos attest to her skill as a graphic artist. I really like (“Writing Your Name”). It’s one of those kind of things where your eye isn’t exactly pulled along, but falls effortlessly down the poem. I liked “knowledge” for its mix of disgust and acceptance. Janet Kuypers does good little movies, by which I mean her stuff provokes moving imagery for me. Color, no dialogue; the voice of the poem is the narrator over the film. Children, Churches and Daddies no longer distributes free contributor’s copies of issues. In order to receive issues of Children, Churches and Daddies, contact Janet Kuypers at the cc&d e-mail addres. Free electronic subscriptions are available via email. All you need to do is email ccandd@scars.tv... and ask to be added to the free cc+d electronic subscription mailing list. And you can still see issues every month at the Children, Churches and Daddies website, located at http://scars.tv Mark Blickley, writer The precursor to the magazine title (Children, Churches and Daddies) is very moving. “Scars” is also an excellent prose poem. I never really thought about scars as being a form of nostalgia. But in the poem it also represents courage and warmth. I look forward to finishing her book. MIT Vegetarian Support Group (VSG) functions: * To show the MIT Food Service that there is a large community of vegetarians at MIT (and other health-conscious people) whom they are alienating with current menus, and to give positive suggestions for change. * To exchange recipes and names of Boston area veg restaurants * To provide a resource to people seeking communal vegetarian cooking * To provide an option for vegetarian freshmen We also have a discussion group for all issues related to vegetarianism, which currently has about 150 members, many of whom are outside the Boston area. The group is focusing more toward outreach and evolving from what it has been in years past. We welcome new members, as well as the opportunity to inform people about the benefits of vegetarianism, to our health, the environment, animal welfare, and a variety of other issues. Gary, Editor, The Road Out of Town (on the Children, Churches and Daddies Web Site) I just checked out the site. It looks great. Dusty Dog Reviews: These poems document a very complicated internal response to the feminine side of social existence. And as the book proceeds the poems become increasingly psychologically complex and, ultimately, fascinating and genuinely rewarding. John Sweet, writer (on chapbook designs) Visuals were awesome. They’ve got a nice enigmatic quality to them. Front cover reminds me of the Roman sculptures of angels from way back when. Loved the staggered tire lettering, too. Way cool. (on “Hope Chest in the Attic”) Some excellent writing in “Hope Chest in the Attic.” I thought “Children, Churches and Daddies” and “The Room of the Rape” were particularly powerful pieces. C Ra McGuirt, Editor, The Penny Dreadful Review: CC&D is obviously a labor of love ... I just have to smile when I go through it. (Janet Kuypers) uses her space and her poets to best effect, and the illos attest to her skill as a graphic artist. Cheryl Townsend, Editor, Impetus (on Children, Churches and Daddies) The new CC&D looks absolutely amazing. It’s a wonderful lay-out, looks really professional - all you need is the glossy pages. Truly impressive AND the calendar, too. Can’t wait to actually start reading all the stuff inside.. Wanted to just say, it looks good so far!!! Dusty Dog Reviews: She opens with a poem of her own devising, which has that wintry atmosphere demonstrated in the movie version of Boris Pasternak’s Doctor Zhivago. The atmosphere of wintry white and cold, gloriously murderous cold, stark raging cold, numbing and brutalizing cold, appears almost as a character who announces to his audience, “Wisdom occurs only after a laboriously magnificent disappointment.” Alas, that our Dusty Dog for mat cannot do justice to Ms. Kuypers’ very personal layering of her poem across the page. Fithian Press, Santa Barbara, CA Indeed, there’s a healthy balance here between wit and dark vision, romance and reality, just as there’s a good balance between words and graphics. The work shows brave self-exploration, and serves as a reminder of mortality and the fragile beauty of friendship. Mark Blickley, writer The precursor to the magazine title (Children, Churches and Daddies) is very moving. “Scars” is also an excellent prose poem. I never really thought about scars as being a form of nostalgia. But in the poem it also represents courage and warmth. I look forward to finishing her book. You Have to be Published to be Appreciated. Do you want to be heard? Contact Children, Churches and Daddies about book or chapbook publishing. These reviews can be yours. Scars Publications, attention J. Kuypers. We’re only an e-mail away. Write to us. Brian B. Braddock, Writer (on 1996 Children, Churches and Daddies) I passed on a copy to my brother who is the director of the St. Camillus AIDS programs. We found (Children, Churches and Daddies’) obvious dedication along this line admirable. The Center for Renewable Energy and Sustainable Technology The Solar Energy Research & Education Foundation (SEREF), a non-profit organization based in Washington, D.C., established on Earth Day 1993 the Center for Renewable Energy and Sustainable Technology (CREST) as its central project. CREST’s three principal projects are to provide: * on-site training and education workshops on the sustainable development interconnections of energy, economics and environment; * on-line distance learning/training resources on CREST’s SOLSTICE computer, available from 144 countries through email and the Internet; * on-disc training and educational resources through the use of interactive multimedia applications on CD-ROM computer discs - showcasing current achievements and future opportunities in sustainable energy development. The CREST staff also does “on the road” presentations, demonstrations, and workshops showcasing its activities and available resources. For More Information Please Contact: Deborah Anderson dja@crest.org or (202) 289-0061 Brian B. Braddock, Writer (on 1996 Children, Churches and Daddies) I passed on a copy to my brother who is the director of the St. Camillus AIDS programs. We found (Children, Churches and Daddies’) obvious dedication along this line admirable. Dorrance Publishing Co., Pittsburgh, PA “Hope Chest in the Attic” captures the complexity of human nature and reveals startling yet profound discernments about the travesties that surge through the course of life. This collection of poetry, prose and artwork reflects sensitivity toward feminist issues concerning abuse, sexism and equality. It also probes the emotional torrent that people may experience as a reaction to the delicate topics of death, love and family. “Chain Smoking” depicts the emotional distress that afflicted a friend while he struggled to clarify his sexual ambiguity. Not only does this thought-provoking profile address the plight that homosexuals face in a homophobic society, it also characterizes the essence of friendship. “The room of the rape” is a passionate representation of the suffering rape victims experience. Vivid descriptions, rich symbolism, and candid expressions paint a shocking portrait of victory over the gripping fear that consumes the soul after a painful exploitation. want a review like this? contact scars about getting your own book published. Paul Weinman, Writer (on 1996 Children, Churches and Daddies) Wonderful new direction (Children, Churches and Daddies has) taken - great articles, etc. (especially those on AIDS). Great stories - all sorts of hot info! The magazine Children Churches and Daddies is Copyright � through Scars Publications and Design. The rights of the individual pieces remain with the authors. No material may be reprinted without express permission from the author. Okay, nilla wafer. Listen up and listen good. How to save your life. Submit, or I’ll have to kill you. Okay, it’s this simple: send me published or unpublished poetry, prose or art work (do not send originals), along with a bio, to us - then sit around and wait... Pretty soon you’ll hear from the happy people at cc&d that says (a) Your work sucks, or (b) This is fancy crap, and we’re gonna print it. It’s that simple! Okay, butt-munch. Tough guy. This is how to win the editors over. Hope Chest in the Attic is a 200 page, perfect-bound book of 13 years of poetry, prose and art by Janet Kuypers. It’s a really classy thing, if you know what I mean. We also have a few extra sopies of the 1999 book “Rinse and Repeat”, the 2001 book “Survive and Thrive”, the 2001 books “Torture and Triumph” and “(no so) Warm and Fuzzy”, which all have issues of cc&d crammed into one book. And you can have either one of these things at just five bucks a pop if you just contact us and tell us you saw this ad space. It’s an offer you can’t refuse... Carlton Press, New York, NY: HOPE CHEST IN THE ATTIC is a collection of well-fashioned, often elegant poems and short prose that deals in many instances, with the most mysterious and awesome of human experiences: love... Janet Kuypers draws from a vast range of experiences and transforms thoughts into lyrical and succinct verse... Recommended as poetic fare that will titillate the palate in its imagery and imaginative creations. Mark Blickley, writer: The precursor to the magazine title (Children, Churches and Daddies) is very moving. “Scars” is also an excellent prose poem. I never really thought about scars as being a form of nostalgia. But in the poem it also represents courage and warmth. I look forward to finishing the book. You Have to be Published to be Appreciated. Do you want to be heard? Contact Children, Churches and Daddies about book and chapbook publishing. These reviews can be yours. Scars Publications, attention J. Kuypers - you can write for yourself or you can write for an audience. It’s your call... Dorrance Publishing Co., Pittsburgh, PA: “Hope Chest in the Attic” captures the complexity of human nature and reveals startling yet profound discernments about the travesties that surge through the course of life. This collection of poetry, prose and artwork reflects sensitivity toward feminist issues concerning abuse, sexism and equality. It also probes the emotional torrent that people may experience as a reaction to the delicate topics of death, love and family. “Chain Smoking” depicts the emotional distress that afflicted a friend while he struggled to clarify his sexual ambiguity. Not only does this thought-provoking profile address the plight that homosexuals face in a homophobic society, it also characterizes the essence of friendship. “The room of the rape” is a passionate representation of the suffering rape victims experience. Vivid descriptions, rich symbolism, and candid expressions paint a shocking portrait of victory over the gripping fear that consumes the soul after a painful exploitation. Dusty Dog Reviews, CA (on knife): These poems document a very complicated internal response to the feminine side of social existence. And as the book proceeds the poems become increasingly psychologically complex and, ultimately, fascinating and genuinely rewarding. Children, Churches and Daddies. It speaks for itself. Dusty Dog Reviews (on Without You): She open with a poem of her own devising, which has that wintry atmosphere demonstrated in the movie version of Boris Pasternak’s Doctor Zhivago. The atmosphere of wintry white and cold, gloriously murderous cold, stark raging cold, numbing and brutalizing cold, appears almost as a character who announces to his audience, “Wisdom occurs only after a laboriously magnificent disappointment.” Alas, that our Dusty Dog for mat cannot do justice to Ms. Kuypers’ very personal layering of her poem across the page. Children, Churches and Daddies. It speaks for itself. Debra Purdy Kong, writer, British Columbia, Canada (on Children, Churches and Daddies): I like the magazine a lot. I like the spacious lay-out and the different coloured pages and the variety of writer’s styles. Too many literary magazines read as if everyone graduated from the same course. We need to collect more voices like these and send them everywhere. Fithian Press, Santa Barbara, CA: Indeed, there’s a healthy balance here between wit and dark vision, romance and reality, just as there’s a good balance between words and graphics. The work shows brave self-exploration, and serves as a reminder of mortality and the fragile beauty of friendship. Children, Churches and Daddies the unreligious, non-family oriented literary and art magazine Scars Publications and Design ccandd96@scars.tv http://scars.tv Publishers/Designers Of Children, Churches and Daddies magazine cc+d Ezines The Burning mini poem books God Eyes mini poem books The Poetry Wall Calendar The Poetry Box The Poetry Sampler Mom’s Favorite Vase Newsletters Reverberate Music Magazine Down In The Dirt magazine Freedom and Strength Press forum plus assorted chapbooks and books music, poery compact discs live performances of songs and readings Sponsors Of past editions: Poetry Chapbook Contest, Poetry Book Contest Prose Chapbook Contest, Prose Book Contest Poetry Calendar Contest current editions: Editor’s Choice Award (writing and web sites) Collection Volumes Children, Churches and Daddies (founded 1993) has been written and researched by political groups and writers from the United States, Canada, England, India, Italy, Malta, Norway and Turkey. Regular features provide coverage of environmental, political and social issues (via news and philosophy) as well as fiction and poetry, and act as an information and education source. Children, Churches and Daddies is the leading magazine for this combination of information, education and entertainment. Children, Churches and Daddies (ISSN 1068-5154) is published quarterly by Scars Publications and Design. Contact us via e-mail (ccandd96@scars.tv) for subscription rates or prices for annual collection books. To contributors: No racist, sexist or blatantly homophobic material. No originals; if mailed, include SASE & bio. Work sent on disks or through e-mail preferred. Previously published work accepted. Authors always retain rights to their own work. All magazine rights reserved. Reproduction of Children, Churches and Daddies without publisher permission is forbidden. Children, Churches and Daddies copyright through Scars Publications and Design, Children, Churches and Daddies, Janet Kuypers. All rights remain with the authors of the individual pieces. No material may be reprinted without express permission.