Red Door #28 - The TYPEWRITTEN issue


Featuring the art of Hal Wildson
Jessica Esch
Tim Youd
Danni Storm
Chad Reynolds
Kevin Stebner
Martin Andersen
Frank Singleton
Leo K.
Benjamin Paweshi
and illustrations by Richard Polt

Including poetry by
Michael Favala Goldman
Cristian Forte
Jack Thacker
Lani O'Hanton
Un Sio San
Hasso Krull
Simon Nastac
Pankhuri Sinha
Laurence James
and Pablo Saborio

As well as the official program of
Nature & Culture - International Poetry Festival

Red Transmissions Podcast:
The Typewriter Revolution

Chicano Tribune: Anniversaries
and more.

In dedication to Red Door correspondent
David H. Rambo.



FALL 2021

























Hal - 17


International Poetry-Film Festival ............. pg.06 - 09



RAMBO, you’re a star

In memoriam - 25


By Martin Andersen........................... - 31


TIM - 37

FRANK - 41


DANNI - 45

CHAD - 49

KEVIN - 51




Laurence James - Self Taught - 55


Michael Favala Goldman, United States

Cristian Forte, Argentina

Jack Thacker

Lani O’Hanton

Un Sio San, Macao

Hasso Krull, Estonia

Simon Nastac

Pankhuri Sinha, India

Pablo Saborio, Costa Rica/DK

Red Door Magazine #28

ISBN: 978-87-94003-04-9

Red Press, Copenhagen

Cover art by Hal Wildson

Back cover by Tim Youd

Illustrations in poetry segment by Richard Polt

Eyes of the Beholder art by Martin Andersen


Editor in chief, designer & art director:

Elizabeth Torres (Madam Neverstop)



Red Door Magazine releases digital & printed issues

quarterly with an emphasis on visual art and poetry.

It includes multimedia art, essays and articles, and

documentation of the activities by our network,

including you. The magazine always features a poetry

selection and occasional interviews by established

and emerging artists as well as upcoming events.

We’re here to give you a handful of essential pieces

you can digest in one sitting, yet of lasting flavor.

We’re currently seeking visual art, music, film reviews,

travel and media articles, poetry, fiction, and creative

nonfiction. Simultaneous submissions are always ok.

If you have a piece accepted elsewhere, please let us

know by adding a note to your submission; we’re not

aiming for exclusivity - but relevant, quality content.

Please send your submission to:


File specifications: Your article may be a maximum

of two pages. We accept a maximum of 4 poems per

submission. All languages are welcome but please

include English translation.

Also include a small biography of up to 10 lines about

you. All this must be submitted as .doc files . All images

must be attached as .jpeg images in a resolution of

1080 x 1080 px or its equivalent in format so it can be

used for print and hi-res for web.

ISSUE #29: the UNINHABITED issue

(Winter, 2021)


Nov 20, 2021




The highlight of having an independent magazine

is being able to take it by the hand towards the

subjects one favors. There’s no need for neutrality

here. In my eyes, typewriters are dream machines.

Icons of design and progress, communication and

disconnection, these beautiful objects have traveled

with us through time and helped us tell our

stories, document them and turn them into art.

Typewriters have accompanied me since I wrote my

very first poem as a child, and through time became

a constant, especially since the lucky day when Red

Door correspondent David H.Rambo gifted me a red

Olivetti in New York as he prepared to move back to

Mexico. It was also him who helped me get a custom

painted pink and black Lettera 31 in Mexico and

baptized her “Kitty Olivetti”, teaching me typewriters

had nicknames, like good friends do. Ever since,

I fell down the rabbit hole and now own around 20

Olivettis, an insane number for those outside of the

global typewriter collector club, but quite a humble

number for those within. Then came the typewritten

art and the posters, ribbons and collectible objects,

which now fill my home in Denmark and occupied

my lockdown days with clickety happiness.

When I asked the readers of Red Door to submit

content for this typewritten issue, I fell even deeper

into this ink-stained wonderland, admiring the

many stories, letters, photos and art that arrived,

and the roles typewriters play in our lives, from revolutionary

strategies for reclaiming our privacy, to

aesthetic attraction and mental health support.

These are some of the many ways these analog

machines lighten up our lives, and our pockets. But

oh, they’re worth their weight in poetry.

From aiding writers to focus in their projects and

others to disconnect from the constant buzz of this

current social media-obsessed world, to helping

express art and new ideas, and even serving as a

tool for activism, direct action and poetic existences,

(I read in a sticker they even kill fascists), these

dream machines are keeping many of us sane.

Thanks to everyone who submitted content to this

issue, but especially to Richard Polt, for his interview

on the Typewriter Revolution (a bible for collectors

and dummies alike) and for the beautiful

illustrations that accompany the poetry segment.

Rambo, the Red Door correspondent, patreon supporter,

typewriter collector, poet and photographer

fell endlessly asleep at the beginning of October, so

this issue, which would’ve been his favorite, is dedicated

to his memory. I have lost my great collaborator

and conspirator in all things Olivetti, but through

him I have learned of a world filled with incredible

artists, dreamers and collectors, who keep giving

back and helping me find the way.

To typewriters, to Rambo, to poetry, and to each

one of you: Thank you. May poetry and ink always

be near.

Elizabeth Torres / Madam Neverstop.


Madam Neverstop

& “Puma” Olivetti

Photo by Zarko Ivetic.






Nature & Culture – International Poetry Film Festival

takes over Islands Brygge this November


Performing arts and activism

often go hand in hand, used as

tools to deliver messages in need

of their voices being represented.

In this case, it isn’t a voice or a

minority, but an entire planet that

needs to be spoken for by those

inhabiting it… The main threading

line being poetry in interdisciplinary


That is the concept behind

“Nature & Culture – International

Poetry Film Festival”, an idea

that began during early spring

as a collaboration between Kulturhuset

Islands Brygge and Red

Door Gallery’s project The Poetic

Phonotheque. The festival

received almost 300 films, from

over 50 locations, such as Egypt,

Kosovo, Argentina, Iraq, Taiwan,

Australia, as well as many from


The selection of 128 f ilms, made

by artist Christina Jonsson and

lecturer Solveig Willum, is divided

into the genres of Poetry Film,

Animation, Short Film, Experimental,

and Documentary, and will be

screened at Kulturhuset Islands

Brygge in Copenhagen on Sunday,

November 21 and on Sunday,

November 28.

The event includes an exhibition

titled “Colors for Climate” by international

artist Rita Howis, as well

as a collaboration with Extinction

Rebellion who will do a talk on

each day of the festival.

Posters for the festival by artist

Leonardo Flores, and the visual

identity of the accompanying

book, as well as the illustrations,

by artist Rikke Winkler Nilsson.

A number of the filmmakers will

arrive to Copenhagen to talk

about their productions and give

insight into their creative process

as part of the program, as

well as as recorded interviews

for Red Transmissions Podcast

airing on Tremella Radio.

The general public is invited to

follow Kulturhuset Islands Brygge’s

website and social media,

and to save the date of the FREE

admission festival, which will be

screened virtually and onsite at:

Kulturhuset Islands Brygge –

Islands Brygge 18, 2300,

Copenhagen S, Denmark

November 21 & 28, 2021

See the LIVE program on the following

pages and add your voice

to the Poetic Phonotheque’s

growing collection of audio and

video, which now includes over

200 files sent from all over the

world. You can record your poem

directly at:

or send your files to

The official location for the phonotheque

in Denmark is Kulturhuset

Islands Brygge, and in

Sweden Litteraturcentrum KVU/

Kultiver in Tranås.

If you are a cultural organizer,

have a poetry/film festival or

would like to find ways to collaborate

and house the phonotheque

in your city,, please write to the

email above.








Focused on art, urban interventions

and creative projects that cause

a response and interactions

amongst people, as well as the

documentation of the stories of

his culture, Hal Wildson (1991) is a

writer and visual artist from Golás,

Brazil, taking the art world by storm

through his typewriter art.

Combining intense key work,

hidden messages and wordplay as

well as abstract spaces, dealing the

subjects of social consciousness

and memory, Wildson has

created his very own aesthetic

that surpasses the traditional

typewritten portraits and enters

into the realm of masterwork of

exceptional technical process,

diverse materials and a wide range

of thematic expressions.

Eloquent in his use of social

media to promote his work and

activism, the videos on his facebook

and instagram are hypnotic

scenes of Olivetti typewriters

slaving away rhythmically, ignoring

the bell sounds and spilling

ink over the edge of each intricately

colorful A4 page, creating

a puzzle of dozens of brightly patterned

pages which, once reconnected,

bring forth scenes of

contrasting beauty which simultaneously

encourage important

conversations, revealing visual

capsules from historic moments

to moving narratives of his people.

But his messages aren’t passive


Hal Wildson uses these platforms,

with over 50 thousand

followers, as documentation of

his artistic practice, behind-thescenes

process, and messages

of support to the indigenous people’s

struggle in Brazil against

predatory economic exploitation,

inequality and the memories

of the ancestors.

The texts, often autobiographical

letters, articles of interest,

or historical notations typed on

paper, build a weft of letters and

words that get lost in the immensity

of thousands of characters

which together reveal imagery

but separate are stunning pieces

of art. “We are made by what we

remember and shaped by what

we forget” says the artist, speaking

on the subject of “reconstructing”

the future, which

inspires his work.

Series and works with titles

such as “Letters from infance

and memory” (left) and “Amidst

the Ruins” (the scene of the

child reading the book on the

table of contents of this issue of

Red Door), hopefully but sharply

speak of our responsibility of

remembering, as an act of reconstruction

and rebuilding a future







A most exciting new project launched this summer in Denmark / Sweden, led by Red Door but

founded as a democratically run and managed community radio station, with a focus on literature,

sustainability, sound art, mental health and wellness, as well as performance arts and independent


Tremella is the name of a family of fungi that is often ear-shaped, but also sounds a lot like Tremello,

a modulation effect that rhythmically changes the volume of your signal... It all just seemed very

fitting for the name of a radio station with the aforementioned interests.

There’s a little bit of everything, from the classic Orson Welles plays for radio to a show by the

International Centre of Women Playrights, several shows by poets, including Foreignness and

Friendship by poet Morten Ranum, Monday Madness by Claus Andersen, the Poetic Phonotheque

and Red Transmissions, as well as various sound art shows, talk shows about mental health and

wellness, and playlists by venues and DJs in our network. Tune in via:

Or even better, join us with your own show! Write to for more info.







An interview

with Richard Polt

by Madam Neverstop.

An interview released this spring

via Red Transmissions podcast

announced the open call for this fall

TYPEWRITTEN issue of Red Door,

with a very special guest, who spoke

to me from Ohio, with typewriters on

his desk and in the background, in

case there was any doubt on the subject.

Professor of philosophy, Associate

Dean of the College of Arts and

Sciences at Xavier University in Ohio,

author and typewriter collector Richard


Originally from California and raised

bilingually due to his Spanish background,

Polt shares that his father

used a Smith corona so his upbringing

in Oakland was always surrounded by

typewriters. That is to say, we jumped

straight to the important subject.

Speaking of his collection, Polt shares

that he has approx. 300 typewriters,

which have always been a part of his

life but which he began seriously collecting

once he dug into the history of

early typewriters and the strange original

designs and concepts of these

machines, leading to him to create a

website called the Classic Typewriter

Page, which has served to connect

fanatics/collectors around the world.

The number of the collection is a bit

uncertain, as in reality his attempt to

cut down failed or was put aside for a

better cause, as apart from his personal

collection, his basement is full of

typewriters which he is restoring and

preparing for literacy programs for the

youth in his city.

The Typewriter Revolution came out

in 2015, a beautiful publication visually

and rich in content, which started

due to a typewritten blog, (a practice

called typecasting) which he started

in 2010 and which connected him to

typewriter users of the 21st century,

something which felt rebellious, inspiring

and hopeful, and which showed

him simultaneously all the negative

ways in which digital technologies are

occupying our lives.

He typed up the typewriter manifesto

about the rebellion and revolution

as a tongue-in-cheek text. This turned

into a movement of supporters which

he chose to encourage through the

book, which many of us consider “the

bible” for the typewriting subculture.

Polt shares that there are aren’t yet

book versions in other languages but

that there’s talks of releasing it in Italian.

I In addition to this publishing project,

Polt has also been publishing academic

texts, but there is now a whole

other collection of typewriter-themed

books, a series called Cold Hard Type,

to encourage people to use their typewriters

through various themes, such


as fiction, horror and time travel, which

invite people to share stories, poems,

art and texts written on typewriters.

I asked Polt about the strange stories

involving typewriters in our real

world, such as the German government

beginning to use typewriters

once they realized the US was spying

on their digital communications,

and he shared that during OCCUPY

Wall Street there were events occurring

of people lending their typewriters

to the crowd to share their experiences

and thoughts, in part because

of the novelty, in part because of the

anonymity. “It’s a sort of combination

of privacy and public communication”

he explains, which is useful for activism,

while also remaining connected

to practical or more romantic matters.

“Love and friendship letters are very

common, just the fact that you and

the receiver are the only people who

have ever seen this, because it’s one

and the same object, same ink, which

is no longer true in digital technology.

It is a single copy rather than multiple

copies that who knows who else can

read... it creates a self-consciousness

about others looking over your shoulder.

Just the act of sending a physical

object that took trouble and time to

create is an expression of care, even is

the content is a trivial ‘Hello, How are

you?’, people really appreciate them.”

Other uses in our current international

community in public spaces, such as

poetry by request, allows for conversations

amongst strangers and new


connections, writing on typewriters to

disconnect completely, and of course

art, as you can see long these pages.

The resurgence of typewriting, Polt

explains, is probably due to the extensive

expansion of digital communication

in our lives, so that these typewriters

aren’t just part of the subculture

but currently playing an active part in

writing our stories.

Typewriters history is connected to

many aspects of our own society,

from war to feminism, as some of the

first opportunities for women to enter

the workforce were due to the need

of secretaries in offices and government

places. Polt explains that he isn’t

just collecting typewriters because of

their aesthetic beauty. He is interested

in the process of cleaning them, fixing

them, using them, understanding

them mechanically, looking into the

history of the people who made them.

This episode of the Red Transmissions

Podcasts can be heard on the

website of Red Door magazine, as well

as on iTunes, Spotify, and most podcast


Special thanks to Richard Polt once

again for this interview, as well as for

the typewriter photos in this magazine

and the beautiful illustrations included

in the poetry section of this publication,

which were originally created

for the Typewriter Revolution, but having

not made the cut, have found their

new home within these pages.



The streets of the city

grab me

I go out to step on them for no reason

I find myself

I hide in the masses

I lose myself in their presence


is erased

I go on by pure inertia

day by day I consume

it consumes me

the truth is so far away

I try to understand

my own fiction

words that form lines

lines that form streets

I step on again

I flee searching

I seek to flee.




The chair and Penny Olivetti

My dearest:

Death is knowing that today you are


And tomorrow you’ll be

an uncomfortable chair.

Nomad, amateur artist and experimental-ego,

Rambo sealed his entrance to the

world on the 47th day of 1983; He participated

in countless poetry and cultural

intervention events internationally and

was a correspondent of Red Door Magazine

since 2012. He dedicated his life to

enjoying the world, typewriters and his

friends, to art, hyper-absurdist alterations

of social spheres, professional translation

(Spanish, English), and writing. He validated

his return ticket to the cosmos on the

276th day of 2021 and is already gravely

missed by those who loved him.

Here I begin,

from the middle.

I open pages

among a past

full of a person long gone,

I illuminate a light year;

I come to a point:




Methodical time machine:

a past;

the present.


Comfort resides in a free space,

a small intimate space

that relaxes the moments,

caresses the seconds

floats in the unknowing,

flirts with the arrival of Morpheus;

dreams loose in space;

cushions the walls:


So many nights supporting my



Thank you chair, for everything.

Sincerely yours:

Penny Olivetti

Left: illustration by Madam Neverstop

Right: self-portrait.




Michael Favala Goldman

United States

Trees are not greedy.

They collaborate,

make just enough leaves.

Cheetahs are not greedy.

They don’t hunt

any more than necessary.

I am not greedy.

I just don’t know the difference

between need and want.

A delightful



Illustrations by

Richard Polt.

Cristian Forte


I never thought about

the particles that don’t come out of

power plants and automobiles

it was an astounding place

full of wonder, magic, and exquisite personal


I was delighted by the decorations and the way i

was treated

and the people i was travelling with were also


I had been using my hydrating lotion for normal

skin types

but when i set off for home for christmas

to visit my family, i immediately noticed that my


was again getting irritated

I never thought about cosmetic pollution

the particles that don’t come

from power plants and


What is grass?

There’s a god in the grass

and it tells us our purpose

which is to tear it all up, bit by bit.

All day we take our communion.

We inhabit a holy carpet.

There’s a voice in the trees

and a drone in the sky. To eat,

to sleep, to stand and try to die

is our purgatory. It’s easy enough

to say it – ‘weather’ is a verb.

We go along with rituals.

We entertain possibilities.

Dust rises. Fresh grass. We know

where we are going and will go

in our time – unless pushed.

We are held. We are patient.

The operation is tolerated.

Resistance is offered – otherwise

it would be obvious. We are

handled. We struggle. We dig in.

There is a thing we learn and

it comes to us naturally.

Jack Thacker

United Kingdom

Going to the Well

Lani O’Hanlon



we return freely to the green

of our eyes, of our minds

and lower our heads to it.

We understand how to suffer –

maggots, blindness, foot rot, worms,

loneliness, yes, and mastitis.

We are, despite it all, used

to it all and its violence.

Three wells,

as in a fairytale;

the first well is dry,

the second well is dry,

the third well is dry.

A woman asks if there is a well committee

someone to tell us where the water went.

We are thirsty then,

desperate for a drink.

A woman climbs down into the well

begins to dig with an old tin cup.

We wait for a trickle

some hint of moisture to wet our lips

with whatever cure is here.

She holds it up,

we lean forward to see

but in the cup there is only money.



I dreamt I was watching

a disaster film

Un Sio San


Translated by Jeremy Tiang

I bought popcorn and picked my seat –

slightly left of center –

No one had brought a kid along.

Anyway, this wasn’t real.

Close up: a Mumbai track shoe factory,

a child worker.

He’s learned Math, the English alphabet,

this world and the third world,

the bleeding of his fingers a red pen correcting

his worth.


The woods

Hasso Krull


Translated by Adam Cullen

It’s very still here today.

No saws rumble today, no harvester whines,

there’s no one here. Not even trees.

Can anyone spot an animal anywhere?

No. No animals tread here.

It’s long since any beasts have prowled this


not even werewolves. Only

the forest.

In this forest, there’s not even wind.

This forest doesn’t rustle. No twigs snap,

no leaves fall, no splintered trunks squawk,

not a single bird sings anywhere.

This is an Estonian forest.

Listen to the sound of silence. Listen in


Listen to the way it softly whines, to the way

it whimpers,

to the way it wishes to say something but


to the way it buzzes like a mosquito.

Listen to the booming of silence. The rustling

of silence.

It haunts you.

Haunting silence. Haunt, golden beast.

The frozen river, in its bottomless depths

completes its burial rites.

Wide shot: the scorching winds blow,


resounding farts from corn-fed cattle.

At this moment, someone called out:

This is blatantly an art house film!

This storyline is so dreary—

You’re killing me here.

The film drew to a close, a hundred

years had passed.

Production credits began their crawl.

We slowly departed.

Everyone seemed immensely satisfied

That their names appeared right at the


Illustrations by

Richard Polt.


Simona Nastac

United Kingdom

At the end, you handed me an apricot,

originally from Asia, after Plinius.

A thousand years later,

I smashed stone with stone

on the block’s stairwell.

The words leaned, arbitrarily,

to the left.

A thousand years later still,

flowers blossom before leaves -

the only gesture in a city


Spring again

Pankhuri Sinha


Waiting to burst into a million colours

Spring is jutting out of my shoulder blades and

finger tips!

Oozing out of this mother earth, the ground we

walk on, its ready to take the town!

The wind told me and turned into breeze

Red winged black bird asked me to keep a


The buzzing was of bees and the silence of

migrant butterflies !

Its daffodils and tulips will sing for you

Grass will bloom yellow but before that

muddy patch wears green

lets look up at the sky clearing,

Trees blushing

redness sweeping the fleshy branches!

I imagine the poplars

The maple show, the chandeliers of the willow

Tell me o dears! Of the first day, the sun melted

the snow!

There is spring here too

Surrounded I am!

Imported might be some flowers, but who


How organic is Spring?

Its here and real, native, authentic

The pollen laden, tangy scented, mango blossoms

Filling the air and your senses!

But this cuckoo call from the other hemisphere?

You ask me, what is it dear?

How can I forget, I was just going to plant

apple trees?

There are many things you can forget

But not the way, cherry blooms

Pears dangle and the path leads straight

To that house from the lake

that was once yours!



and by treading

we will expand

and by proliferating

we will accelerate

and with this speed

we will compete

and with this voracity

we will possess

and from these resources

we will devour

Poem: The Future Question by Pablo Saborio


and after this destruction

we will question

the meaning of dust

and the purpose

of ash.

Illustration by: Martin Andersen



Tim Youd is a performance

and visual artist working in

painting, sculpture, and

video. To date, he has

retyped 66 novels at various

locations in the United

States and Europe. Residencies

at historic writers’

homes have included William

Faulkner’s Rowan

Oak with the University

of Mississippi Art Museum

(Oxford, MS), Flannery

O’Connor’s Andalusia with

SCAD (Milledgeville and

Savannah, GA), and Virginia

Woolf’s Monk’s House

(Rodmell, Sussex).

His work has been the subject

of numerous museum

exhibitions, including

CAMSTL, The Frances

Lehman Loeb Art Center

at Vassar College, Hanes

Art Gallery at Wake Forest

University, The New Orleans

Museum of Art, Monterey

Museum of Art, Hemingway-Pfeffer


Museum of Contemporary

Art San Diego, University

of Mississippi Art Museum

at Rowan Oak, and the

Lancaster Museum of Art

and History.


He has presented and

performed his 100 Novels

project at the Ackland Art

Museum, Weatherspoon

Art Museum, Art Omi, Los

Angeles Contemporary

Exhibitions (LACE), and

LAXART, and retyped Joe

Orton’s Collected Plays at

The Queen’s Theatre with

MOCA London. He lives

and works in Los Angeles.









Born in Ohio, Frank Singleton

studied history at Ohio State and

philosophy at the State University

of New York at Buffalo. He had little

interest in art until after college he

hitchhiked around Europe for a

year and spent much of that time

visiting art museums. His passion

for typewriter art began on a holiday

Thanksgiving in November, 1983.

While waiting for a turkey to come

out of the oven, he pulled out his old

college typewriter—which is still in

use today—and on impulse began

typing designs. Singleton’s typework

is in the permanent collection of

the Perez Museum in Miami and

the Sackner Archive in Iowa. His

typework was prominently featured

in the book The Art of Typewriting by

Ruth and Marvin Sackner.









Jessica Esch is a writer and illustrator who

uses art, craft, and good humor to spread

ideas and build community. For more than

20 years, her concise yet profound words

and clean images have expanded people’s

hearts, minds, and way of being in the world.

She co-founded and co-owns Shinebolt.

Esch lives happily in Portland, Maine. Tour

Jessica Esch’s Fill in the Blanks exhibit at












Chad Reynolds is a poet and visual artist from

Oklahoma City, OK. He is the co-founder of Penny

Candy Books, an independent book publisher

that highlights diverse issues and life experiences

in children’s books. Reynolds was once an

insurance broker and an English and composition

teacher and adjunct professor. He holds a Master

of Fine Arts in poetry from Emerson College in Boston,


Reynolds is the author of five chapbooks of poetry

and a co-founder of Short Order Poems, a performance-art

poetry experience that used typewriters

to create poetry on demand for strangers. His

typewriter art is held by private collectors across

the U.S., as well as in the U.K. and Australia, and

has been featured or is forthcoming in ArtDesk,

Mikrokosmos Journal, Afternoon Visitor, ToCall

Magazine, and Ugly Duckling Presse’s Second

Factory Magazine.

You can see more of his work at his website








Kevin Stebner is an artist, poet and musician from Calgary, Alberta. He produces visual

art using old videogame gear, and produces music with his chiptune project Grey-

Screen, post-hardcore in his band Fulfilment, as well as alt-country in the band Cold

Water. His first book of poems, Sunshine Policy, is out from Straw Books. Stebner has

spent the quarantine prparting two new manuscripts, his first novel, and a large amass

of typewriter visual poems, many of which are appearing in chapbooks (recently from

Blasted Tree, NonPlusUltra, No Press). He is also the proprietor of Calgary’s best bookstore

that’s in a shed, Shed Books.




Leo K. was raised in Port Elizabeth, NJ

on Marshall Street. Being Medically diagnosed

with severe depression, Anxiety,

and A.D.H.D. Leo K. had struggled to stay

focused and motivated throughout his

college experience. Writing was more of a

necessity than a hobby as he began keeping

both Journals and well-documented

notebooks to retain information.

Over the years Leo K. has held several

jobs to help cover the expenses of his prolonged

associate’s degree. Many years

after enrolling in college he eventually

graduated with a respectable GPA and

2 years of field experience. Unfortunately,

both writing and art were both casted

aside in an attempt to hold employment.

During the global pandemic of 2020, Leo

K. was reminded of his 1949 “Smith and

Corona Manual Typewriter” that he had

acquired when he was 7 years old. After 2

days of dusting off the machine and lubricating

all the parts he began typing his first

adventure novel “The Game Operation

Bonsai”. Leo K. also wrote a guided planner

published under the name “;Personal

Assessment Logbook” In response to the

coronavirus offering organizational assistance

to both work from home employees

and students during the global pandemic.

“Having a learning disability makes writing

a bit of a challenge, but my Smith and

Corona typewriter has helped to improve

both my grammar and eliminate most

modern distractions long enough to make

writing possible.” -Leo K.

Follow his life and writing:

@simple_man45 on Instagram.





Although Benjamin Paweski does not

consider himself an artist, he responded

to Red Door’s typewriter call to share

the work he has created during the last

18 months, while being in a “bubble”. He

explains that he has a severely compromised

system, and bought himself a typewriter

on eBay at the beginning of 2020

to have something to play with... quickly

realizing that he didn’t have much to write,

but really enjoyed the process of typing,

which then turned into typewriter drawings.

An educator originally from Arizona,

Benjamin can be followed at:




I live in a small fishing village in west

Wales, Glan y fferi, or Ferryside. The

village lies on the edge of the mudflats

of the Tywi estuary. Steep hills

rise quickly from the east and west

banks of the river’s mouth. The sunset

silhouetted Llansteffan castle

imposes its view from the headland

across from Ferryside and above my

village perched on the top of the hill

is another, Llansaint. Over centuries

the location of Llansaint has been

as impermanent to the pencil of the

cartographer as the tide from Carmarthen

Bay, into which three rivers

flow, the Taf and the Gwendraeth

being the sisters of the Tywi. This

landscape limits internet access

in our village as it does in much of

rural Wales. During the pandemic

in 2020 the spoken-word open-mic

that I have hosted in The Queens

pub in Carmarthen took to the airwaves,

the poetry and zoom revolution,

not in Llansaint however.

Llansaint is the home of one of my

dearest friends, the poet Laurence

James. Laurence has been one

of the most stalwart supporters of

our spoken word events since they

began in 2010. Weaving his way by

foot in summer and by public bus in


Laurence is not a traditional poet;

he is the tradition. As a young man

he travelled to the Greek island of

Paros where he served an apprenticeship

with his hero and mentor

the Irish poet and translator Desmond

O’Grady. O’Grady … was arguably,

with the exception of Yeats,

the most international of twentieth

century Irish poets. (Obituary: Irish

Independent August 2014). Laurence’s

bardic education, an immersive

lived experience on Paros and

across mainland Europe finally led

him to an extended creative period

in Berlin.

Laurence has never owned a computer

or a smart device, never had

an email address and is a long-time

devotee of the radio. He has a career

in translation and poetry publication

outside Wales and the village

that has been his home for so many

years, but his craft is analogue; his

communication the postal service,

I am the owner of several precious

letters; his poetic tools longhand

and his typewriter.

Making unreliable connections

at cross-roads of narrow winding

Welsh lanes, travelling ten miles to

arrive at the event with just enough

time to spare for a cwrw bach, a

small beer. The concept of ‘poems

and pints‘ was not new to Laurence,

he already had over a decade’s history

of organising a monthly poetry,

story-telling and folk music night at

The Kings pub in Llansaint. What

is alien to Laurence is the notion of

social media, email and word processing






This recent poem from Laurence

tells of youthful adventures in his

early use of a typewriter.

Laurence is the son of a minister

and a shared experience we have

as boys is typing up the weekly parish

newsletter. My typewriter was

electric, Laurence’s never, always

mechanical and, these days, he has

even put aside that technology,

reverting to longhand in his outdated

desk diaries.

A Z makeshift fingering method all my own

I’m ahammering out the alphabet at Dad,

Padres Parsonage desk

which office hours

have witnessed the birth of sermons

underlined prompts for a Lord’s Day airing at

the pulpit launch

of each missal

and once a month the creation via his hand

cranked duplicator contraption of vicar’s

parish notes

hypnotic the power my new medium has to

take a thing out of itself

out of my hand for itself and put it, so to

speak, out there

nice and impersonal like

that sudden readability of it all astounds

soon I’m flying up, down and across the tiers

of letters making those

clarifying marks of the grammarian

playing the numbers game

going through hoops of scale arpeggio and

triad like a training church organist

rehearsing the prentice piece

in due course naturally

as vocabulary selection I can spell

even an entire first line

a bell on the thing going off in recognition

here and there inevitably the family name


and my own three fore names

the last the call name

with a u

Laurence, Lawrence James

black on white needless to write but

using the full two-tone band width one flick

of a colour coded lever also the red

under one spool of eight up ribbon

unreeling it’s twins spool reeling back in

à la Beckett

à la last tape

of crap

and I did notice that loudhailer gizmo of


do you think one day

I could have a go on it?




The Red Door



Red Door Magazine is a quarterly Arts

& Culture publication meant to document

the work of creators everywhere,

as well as facilitate new conversations

on important matters for our communities

in a local and international platform,

through the linking of themes, collaborations,

interviews and hybrid events that

can expand the reach of independent

voices and remarkable projects.

Red Door counts with the help of correspondents

in Australia, Mexico, the US

and Denmark.

Red Door also functions as a gallery

and independent space in order to serve

as a platform for the same purposes.

In expanding its reach, Red Door also

counts with:

-A podcast called the Red Transmissions,

where creatives, activists and cultural

organizers share their process, projects

and initiatives.

-A Poetic Phonotheque, which serves

as an online collection of poetry in many

languages in the voice of its authors, created

to break the barriers of distance and

facilitate free access to poetry in households

around the world.

-A publishing project called Red Press,

which focuses on the publication of

poetry (and illustration) in translation.

Bilingual books, handmade, limited edition


-The Red Door Gallery located in the

cultural hub of Copenhagen on Møllegade,

Nørrebro, where talks, workshops,

exhibitions, performances and other

events are often on the calendar, as well

as limited edition books and prints, original

art, miniature books and other art

related products, often with a focus on

poetry. See them also on the online shop:

The Partners:

Litteraturcentrum KVU:

Litteraturcentrum KVU is an international

literary initiative we often promote as

a league of publishers in Scandinavia.

Red Door is published through this



operates international cultural programs

that are physical, social and creative;

that stimulates and inspires both the

artists and the local community. It is the

organization in charge of the Tranås

Fringe Festival and their curriculum of

activities can be seen on the issues of

the Red Door Magazine.


Is a West Wales community organization

with a focus on language arts. Its

director, Dominic Williams, is a frequent

correspondent of Red Door.

La Libélula Vaga:

is a spanish literary magazine published

in Sweden documenting the work of

poets all over the planet, as well as

encouraging translations, talks and

other collaborations.

Keith FM:

is a Berlin-based community radio. Red

Transmissions Podcast airs on the 1st

Thursday of each month at 15, the 3rd

Sunday of each month at 12, and the last

Thursday of each month at 3am (for the

early birds or those in other timezones).

Trafika Europe Research

seeks to help renew the role of literature

in nudging along the European

conversation in culture, This is done

through a bookshop, a journal, and

a radio, where Red Transmissions

Podcast is also on rotation, as well as a

selection of its poets / musicians.

Kulturhuset Islands Brygge

This cultural space in Copenhagen

is now the headquarters of the Poetic

Phonotheque, and co-organizer of

Nature & Culture - International Poetry

film festival.

To say it bluntly, everyone knows

artists do not live off creative

juice and compliments. This

independent magazine, all the

Red Door publications, events are

other cultural initiatives, are pulled

out from thin air with very limited

budgets and no private sponsors,

grants nor corporate influences of

any kind, so that the content you

receive is pure and comes directly

from fellow creators like you.

But this all costs money. The

printed publication, the hosting

of the websites, the programs

to stream and the digital online

versions, among many other costs,

which is why the Patreon account

was created. To ask you to give

your support to these projects and

be part of the magic happening

here. It isn’t a donation. It is an

exchange you benefit from, through

exclusive access to unreleased

content, prints, postcards, posters,

music albums, videos, and the

possibility to become a collaborator

when opportunities appear.

Have you enjoyed the content of

this issue or the other publications

and shows, the podcast and the

Poetic Phonoteque? Show your

support via PATREON.

WIth a membership starting at 3 EU

a month, yo too can ensure these

projects keep existing. What’s more,

now Patreon allows for one yearly

payment, if you’re not into monthly

fees. So, what do ya say? Wanna

help keep making this happen?


Eternal gratitude to the current

patrons of this magazine:

Andreas Frostholm, Valeria

Schapira, Valentina Upegui, Juan

Pablo Salas, Ulla Hansen, Tamar

Tkabladze, Sergio Guzman, Jaider

Torres, Mikkel Vinther, Melissa

Albers, Maria Nielsen, Melanie

Perry, Juditch Schaecther, Malene

Boeck thorborg, Juana M. Ramos,

Jenny Gråf, Mambe&Danochilango,

Dominique Storm, Devin Fairchild,

David Miller, Crox Pow, Dharma

Agustina Padron, Doktor Hansen,

Aleisa Ribalta Guzman, Alan Pallais

and you, who are reading this.

Love and poetry always,

Madam Neverstop







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