Red Door Issue #31 Featuring the art of Jessa Dupuis New titles by Red Press coming this spring 2023 I KNOW WOMEN by Ly de Angeles ............ pg. 15-16 VISUAL POETRY BY Sofia del Carmen Rodriguez Fernandez...... pg.17-18 THAT DAY ARRIVED In memory of Knud Sørensen By Michael Favala Goldman ...........................pg. 20-23 IN THE EYES OF THE BEHOLDER By Martin Andersen.............................................pg. 30-31 POETRY .................................................pg.32-34 IN THIS ISSUE BY Dr.Alex Van Huynh Beatriz Seelaender Rey Fairburn Rose Menyon Heflin ART, FILM & MUSIC by: MEANWHILE, IN AUSTRALIA The Neon Rebel ...................................................pg.24-29 WHY YOU DON’T KNOW A THING ABOUT UKRAINIAN MUSIC By Olene Pohonchenkova ...............................pg.36-39 FEATURED ARTIST Jessa Dupuis .........................................................pg.40-45 The Poetic Phonotheque presents: New poetry films added to the collection: pg.46-52 (from the Nature & Culture - Poetry Film Festival) and more! www.reddoormagazine.com Pre-order your copy at www.reddoormagazine.com/shop

Red Door Issue #31

Featuring the art of Jessa Dupuis

New titles by Red Press coming this spring 2023

I KNOW WOMEN by Ly de Angeles ............ pg. 15-16

Sofia del Carmen Rodriguez Fernandez...... pg.17-18

In memory of Knud Sørensen
By Michael Favala Goldman ...........................pg. 20-23

By Martin Andersen.............................................pg. 30-31

POETRY .................................................pg.32-34
Dr.Alex Van Huynh
Beatriz Seelaender
Rey Fairburn
Rose Menyon Heflin


The Neon Rebel ...................................................pg.24-29

By Olene Pohonchenkova ...............................pg.36-39

Jessa Dupuis .........................................................pg.40-45

The Poetic Phonotheque presents:
New poetry films added to the collection: pg.46-52
(from the Nature & Culture - Poetry Film Festival)

and more!


Pre-order your copy at www.reddoormagazine.com/shop


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<strong>RED</strong> <strong>DOOR</strong> <strong>31</strong><br />


2022-2023<br />

WWW.<strong>RED</strong><strong>DOOR</strong>MAGAZINE.COM<br />



EDITORIAL: PUT IT BACK TOGETHER ............. pg.06<br />

Founder & Director:<br />

Elizabeth Torres<br />

(Madam Neverstop)<br />

Poetry Editor:<br />

Pablo Saborío<br />

Correspondents:<br />

Melaine Knight<br />

The Neon Rebel<br />

Australia<br />

Brandon Davis,<br />

Germany / DK<br />

Mario Z.Puglisi<br />

Tanya Cosio<br />

Mexico<br />

Miller Almario<br />

Red Visions<br />

Colombia<br />

Kultivera<br />

Sweden<br />

Martin Andersen<br />

Denmark<br />

Cover & Back cover<br />

by Jessa Dupuis<br />

<strong>RED</strong> PRESS presents......................................... pg. 08-13<br />

I KNOW WOMEN by Ly de Angeles ............ pg. 15-16<br />



Sofia del Carmen Rodriguez Fernandez...... pg.17-18<br />


In memory of Knud Sørensen<br />

By Michael Favala Goldman ...........................pg. 20-23<br />


By Martin Andersen.............................................pg. 30-<strong>31</strong><br />

POETRY .................................................pg.32-34<br />


Dr.Alex Van Huynh<br />

Beatriz Seelaender<br />

Rey Fairburn<br />

Rose Menyon Heflin<br />

ART, FILM & MUSIC:<br />


The Neon Rebel ...................................................pg.24-29<br />



By Olena Pohonchenkova ...............................pg.36-39<br />

FEATU<strong>RED</strong> ARTIST<br />

Jessa Dupuis .........................................................pg.40-45<br />

The Poetic Phonotheque presents:<br />

New poetry films added to the collection: pg.46-52<br />

<strong>RED</strong> <strong>DOOR</strong> MAGAZINE #<strong>31</strong><br />

Winter Issue<br />

Celebrating 13 years<br />

Red Press, Copenhagen<br />

ISBN: 978-87-94003-13-1<br />

02<br />

www.reddoormagazine.com<br />

All rights reserved to the<br />

corresponding authors.<br />

In loving memory of Mikkel Feirskov Knudsen,<br />

member of Red Door Copenhagen, musician,<br />

photographer and worldthreader, whose support<br />

and love for Red Door were fundamental during<br />

the relocation of the project to Denmark. Your fire<br />

and curiosity will remain in all of us who loved you.


<strong>RED</strong> <strong>DOOR</strong> MAGAZINE:<br />

Red Door Magazine releases digital & printed issues<br />

quarterly with an emphasis on visual art and poetry.<br />

This includes multimedia art, artistic research, essays<br />

on projects, reports on festivals and activism, as well as<br />

relevant media articles and documentation of the activities<br />

by you and your network. The magazine always features<br />

a poetry selection, prose, and occasional interviews by<br />

established and emerging artists, plus relevant upcoming<br />

events. We’re here to give you a handful of essential<br />

pieces you can digest in one sitting.<br />

We’re currently seeking visual art, music, film reviews,<br />

travel and media articles, poetry, fiction, and creative<br />

nonfiction. Simultaneous submissions are always ok,<br />

but if you have a piece accepted elsewhere, please let<br />

us know by adding a note to your submission; we’re not<br />

aiming for exclusivity - but relevant, quality content.<br />

Please send your questions to reddoorny@gmail.com<br />

________________________________________<br />

File specifications: Your article may be a maximum of<br />

two pages, and we accept a maximum of 3 poems per<br />

submission. All languages are welcome but please<br />

include English translation. Also include a small<br />

biography of up to 5 lines about you. All this must be<br />

included as .doc files . All images must be attached<br />

as .jpeg images in a resolution of 1080 x 1080 px or<br />

its equivalent in format so it can be used for print<br />

and hi-res for web. Please note we currently accept<br />

poetry submissions only via our submittable platform:<br />

https://redpress.submittable.com/submit<br />


(SPRING 2023)<br />


March 05, 2023<br />


WWW.<strong>RED</strong><strong>DOOR</strong>MAGAZINE.COM<br />


<strong>RED</strong><br />




30-<strong>31</strong><br />




36-39<br />

FEATU<strong>RED</strong> ART BY<br />


40-45<br />


Happy 13th anniversary, and to all a joyful 2023!<br />






32-34<br />

17-18<br />




Dear worldthreaders,<br />

2022 came and went filled with rediscovery and<br />

turmoil. It saw us grieving from personal losses and<br />

a global pandemic, economic imbalances and that<br />

which we do not mention publicly but remains an<br />

open wound in each of us individually, whatever<br />

it may be called. We all have it and it shows in our<br />

eyes when we lift up our heads now and try to start<br />

a conversation in a crowded room once again, as if<br />

we naturally remembered how that functions.<br />

But this year also saw us as a species of resilience,<br />

reinventing ourselves and reconstructing, from the<br />

ashes of that we no longer are and no longer have,<br />

so as to build a world, no, let’s be honest, so as to<br />

build room for ourselves in this world, with what<br />

we envision as ours manifesting itself in front of our<br />

awe-struck faces. Such is life, such is poetry, such is<br />

our existence. A constant invitation to put ourselves<br />

back together.<br />

Suddently, Red Door Magazine turned 13 years old.<br />

From its beginning as a solely digital magazine, to<br />

what this all encompasses now, it is ironic that our<br />

13th year finds us printing physical magazines and<br />

expanding our publishing project Red Press, while<br />

simultaneously continuing our online operations,<br />

in a time when AI is causing so much controversy<br />

and the future of art seems so uncertain to many in<br />

our community. I personally believe that artists are a<br />

breed of creativity, curiosity and resourceful capacity<br />

who know how to adapt, rebuild and interpret with<br />

the singularities that a computer cannot, with the<br />

ingenuity and tenderness, kindness and passion<br />

that a computer cannot, so I am not worried... but<br />

while I say this I click save since this entire issue is<br />

dependant on a computer to get to your hands.<br />

Let us move on to the subjects that we know.<br />

Our cultural operations are flowing with delight<br />

like sweet poetic honey, including an open call<br />

for our first environmental poetry international<br />

anthology, as well as for the upcoming issues of<br />

Red Door Magazine, all of which you can find on the<br />

SUBMITTABLE platform by searching for: Red Door.<br />

Additionally, Litteraturcentrum KVU, Kultivera and<br />

all its partners busily prepare Tranås at the Fringe,<br />

an incredible Performing Arts Festival taking place<br />

this summer in Tranås. Sweden, which Red Door<br />

not only helps curate but also documents.<br />

Additionally, Red Door joins IMMART for a festival<br />

of Nordic magnitude that aims to connect and<br />

inspire those involved in arts and organizing.<br />

We have several art and poetry books coming out<br />

this Spring and Fall through Red Press, including<br />

Abstrakt Maskine by Lazlo Taboli and an art<br />

publication by Danish artist Nikolaj Jacobsen.<br />

Our collective of publishers / performers /<br />

translators / cultural organizers <strong>RED</strong> THREAD will<br />

meet for its second year this April in Copenhagen,<br />

as part of the OUTSIDER BOOK FAIR, which we are<br />

organizing in collaboration with HUSETS BIOGRAF<br />

and which is done thanks to the support of NORDISK<br />


...And Red Transmissions Podcast will soon reach<br />

its 100th episode, with a new season documenting<br />

artistic researchers and practitioners in the Nordic<br />

Region, as well, of course, as all the previous<br />

activities mentioned.<br />

As if all of this weren’t enough reason to look<br />

forward to 2023, I am honored to share that this<br />

Fall, the Academy of American Poets named me<br />

the recipient of the Ambroggio Prize 2022, with my<br />

upcoming book Loteria: Nocturnal Sweeptsakes,<br />

which comes out this February with University of<br />

Arizona Press. I will be touring the US this March,<br />

and Europe through the Spring, so please stay<br />

tuned via instagram, facebook or patreon so we<br />

can meet and discuss collaborations and other<br />

opportunities.<br />

Red Door Gallery, Red Door Magazine, and all<br />

the other projects that are part of the Red Door<br />

operations eagerly aim to support your existing<br />

projects, document them, share them, and hopefully<br />

help you connect with others in our communities<br />

with similar enthusiasm and interests, in whatever<br />

cultural field you might be seeking. That is the<br />

idea of the worldthreader. To seek and receive in<br />

constant flow, for this is how art and universe exist.<br />

My gratitude to all our partners, collaborators,<br />

and to everyone who participated on this issue of<br />

Red Door., and who slowly but surely has helped<br />

us see the world put itself back together in new<br />

ways, with our renewed energy. I look forward to<br />

being marveled constantly in 2023 by your poetic<br />

endeavours and to learning from every single one<br />

of you.<br />

Love and poetry,<br />

Madam Neverstop.<br />


Art by Jessa Dupuis<br />


BOOKS!!!<br />

<strong>RED</strong> PRESS PRESENTS:<br />

Created in Scandinavia during 2018, Red<br />

Press is an independent publishing project<br />

of Red Door, distributed as limited editions<br />

in Denmark, Sweden, and by mail via our<br />

Red Door online shop.<br />

Red Press is a collection of publications of<br />

art, essays, photography and poetry in its<br />

varied spectrum of styles, subjects, voices<br />

and languages, by emerging or renown<br />

writers, with quality and uniqueness as the<br />

base criteria.<br />

The current focus is in Spanish, English,<br />

Swedish and Danish, as well as bilingual<br />

books in other languages with one of the<br />

mentioned languages as the original text.<br />

Operations are based in Copenhagen and<br />

Malmö, but the books are also distributed<br />

by mail-orders, through fairs and partner<br />

organizations in other cities of Europe, as<br />

well as in the US and South America during<br />

poetry festivals or other events wherever<br />

Red Door representatives may be.<br />

This is not a print-on-demand project, and<br />

we reserve the right to reject proposals<br />

which do not fit the criteria and aesthetics<br />

previously mentioned. No funds are<br />

currently received from any government,<br />

private, nor public institution, so the project<br />

is independent and self-funded with the<br />

purpose of maintaining transparency and<br />

manageable logistics in the name of poetry<br />

and our belief in worldthreading.<br />

The publications of selected books, are<br />

based on time availability and the strong<br />

belief on the work being published.<br />

As books are either handmade or printed<br />

locally (and every time through the most<br />

sustainable solutions), the editions are<br />

limited, often numbered, and also serve as<br />

art objects with poetry, art and translation<br />

as the connecting threads.<br />

If you’d like to submit a book proposal,<br />

please write to:<br />

redpresspublishing@gmail.com<br />

We currently have an open call for<br />

an environmental poetry anthology<br />

(international, all languages welcome,<br />

as long as the English translation is<br />

included), and you can join by visiting our<br />

SUBMITTABLE platform and sending your<br />

poetry.<br />

We look forward to reading you, and<br />

celebrating your work.<br />

Follow us on instagram @ redpress.eu<br />




By Lazlo Taboli, Red Press, 2023<br />

Den nomadiske krigsmaskine<br />

De forbinder sig gennem familier og slægter<br />

Med en helt særlig form for korpsånd<br />

De er ikke en fundamental celle<br />

En kønnet form for solidaritet<br />

I periferien ligger den hemmelighedsfulde magt<br />

Den nomadiske krop er en krigskrop<br />

En hvirvlende krop i et nomadisk rum<br />

---<br />

The nomadic war machine<br />

They connect through families and lineages<br />

With a special kind of esprit de corps<br />

They are not a fundamental cell<br />

A gendered form of solidarity<br />

On the periphery lies the mysterious power<br />

The nomadic body is a warrior body<br />

A whirling body in a nomadic space<br />


Danish Collective Lazlo Taboli,<br />

is a compilation of poetry and<br />

AI art responses, created as<br />

a commentary on our current<br />

society’s inner struggles, the<br />

machinery of our world and what<br />

fuels it.<br />

This book is already in the printers<br />

and will be available from April<br />

through Red Door, Red Press, and<br />

our partner distributors overseas.<br />

Get your copy via www.<br />

reddoormagazine.com/shop<br />


Den organfrie krop<br />

Du er allerede ovenpå kroppen<br />

Uden organer suser kroppen som et skadedyr<br />

Jeg famler som en blind i lyset<br />

Er du den sindssyge løber?<br />

Vi vil gerne forenes som ørkenrejsende<br />

Er mit liv, nomadens liv?<br />

Vi sover på kroppen uden organer<br />

Vi lever vores vågne liv<br />

Og søger vores plads<br />

---<br />

The body free of organs<br />

You are already above the body<br />

Without organs, the body rushes like a pest<br />

I grope like a blind man in the light<br />

Are you the crazed runner?<br />

We want to unite like desert voyagers<br />

Is my life the nomad’s life?<br />

We sleep on the body without organs<br />

We live our waking lives<br />

And seek our place<br />

Den imperiale Stat<br />

Der foregår en overkodning af befolkningen<br />

Fangeapparatet fængsler<br />

kontrære individer<br />

Er det en maskine af slaver?<br />

For den imperiale stat er intet privat<br />

I udkanten finder vi den befriede slave<br />

I skabelsen af den private krop<br />

Er dissidenten kollektivets outsider?<br />

---<br />

The Imperial State<br />

There is an overcoding of the population<br />

The prison system imprisons<br />

recalcitrant individuals<br />

Is it a machine of slaves?<br />

For the imperial state nothing is private<br />

On the fringes we find the freed slave<br />

In the creation of the private body<br />

Is the dissident the outsider of the collective?<br />



A CONVERSATION, Red Press, 2023<br />

Texts by Nana Anine, Tam<br />

Vibberstoft, Elizabeth Torres<br />

and Sonja Ferdinand.<br />

Workshop facilitated by<br />

Andreas Liebmann, in the<br />

framework of Den Danske<br />

Scenekunstskoles Writing<br />

Specialization, written in<br />

Aarhus 2022.<br />

The formal premise for this<br />

book is a writer’s dialogue,<br />

which has a long tradition in<br />

the creative writing process.<br />

Thinking is different when<br />

thinking together, when<br />

thinking for each other, and<br />

with each other. In this case,<br />

the common threads are the<br />

writers’ experiences with<br />

school, with life in Denmark,<br />

and with the Danish society.<br />

Unfinished thoughts, open<br />

statements, open states.<br />

It is an invitation for you<br />

to think along. An instant<br />

publication. An exercise.<br />

A document of a certain<br />

moment in time.<br />

Coming out in May, 2023<br />

via Red Press.<br />


LET’S ROCK!<br />

An art book by Nikolaj Jacobsen, Red Press, 2023<br />

Let’s Rock! by Danish artist Nikolaj<br />

Jacobsen is the first art publication<br />

by this creative being, who uses<br />

fragments of memories from the<br />

parties, concerts and punk scene<br />

of Copenhagen, and colorfully<br />

illustrates them in small square<br />

format, usually available for<br />

viewing only through his instagram<br />

@ nikolajxxjacobsen<br />

Nikolaj is not in it for the fame<br />

nor the money, but because it’s<br />

part of his existence and a way to<br />

immortalize or at least temporarily<br />

capture otherwise futile scenes of<br />

the city’s nightlife, and the stories<br />

they inhabit.<br />

Available as a limited edition from<br />

April.<br />

Reserve your copy via www.<br />

reddoormagazine.com/shop<br />





When we look into a mirror we seek flaws.<br />

In our faces we see lines or open pores<br />

or dry skin or broken capillaries; we see<br />

a nose too big or too pointed; chins that<br />

sag or bags beneath tired eyes. In body<br />

we see thighs too fat, too droopy, too big;<br />

waists and bottoms that are never right;<br />

wobbly upper arms; love-handles (that they<br />

hide beneath long tee-shirts) – and always<br />

we secretly or fearfully talk about what<br />

we ought to do about it, despairing and<br />

casually embarrassed.<br />

Ask yourself, you who see these things and<br />

sense distress: Why do I see myself so? Ask<br />

yourself whether the secret condemnation<br />

you feel about your physical form is of your<br />

own making?<br />

Don’t you give of your strength and<br />

compassion to the world around you?<br />

You strive to meet the challenges and<br />

responsibilities of merely living from day to<br />

day, don’t you? You suppress the urge to<br />

desert your kids. To have sex with strangers.<br />

Maybe. Sometimes? Don’t you understand<br />

that by simply being alive you make a<br />

difference to the way the world is?<br />

Do you compare yourself to others? Do<br />

you compromise your choices because<br />

someone thinks you’re too something? Do<br />

you yearn to be loved? Honored for your<br />

worth? Respected for no reason other than<br />

that you are fabulously alive? To feel good<br />

about—fill in the dots? To be really liked?<br />

And do you feel that only someone else can<br />

make things better for you? Oh, what lies<br />

we’ve let ourselves believe.<br />

We can be merciless upon ourselves for<br />

not fitting someone else’s idea of what is<br />

acceptably beautiful.<br />

Ask yourself:<br />

Who defines<br />

our concept of<br />

beauty?<br />


Someone ask me who defines the concept.<br />

Go on, someone ask me!<br />

I do.<br />

It took me over forty years to be certain that<br />

I understood.<br />

I learned about the truth of things when I<br />

decided to do exactly what I wanted with<br />

my life; when I decided that it’s me who<br />

should like the way I look; when I decided<br />

that I would never lie to myself about my<br />

motives in any matter, no matter what the<br />

repercussions; when I determined never to<br />

have to try to have someone like who I am.<br />

I look at the Earth with her ragged mountains<br />

and her deep gorges; her canyons, her<br />

caves, her forests, her seas and her rivers,<br />

her vast tracts of desert, and my body is that.<br />

I know my moods of thunder and lightning,<br />

intolerable winds, hazy, smoky autumn<br />

evenings, days of grey stillness, hot and<br />

sweaty mid-summer afternoons, and the<br />

times when I’m ice on the water-tank.<br />

I’ve got scars and stretch-marks and<br />

muscles on a tiny woman-body; I’ve got<br />

wrinkles from too much sun or too little<br />

back-up in times of trouble; a mane of hair<br />

that knows no comb – and yes, attitude.<br />

I consider the Earth; I feel her, and we’re the<br />

same. Her mirror. You’re her mirror. Do you<br />

understand? Do you recognize you among<br />

all the people you try to be, for all the others<br />

you try to be someone for?<br />

You see, I’ve worked it out. It’s not what you<br />

do in life that matters, or even who you are,<br />

but that you are – that’s the important thing.<br />

To understand that is to set yourself free to<br />

know that everything that you say and do<br />

is an expression of you that you share with<br />

life itself.<br />

The dirty, sweaty, grunting, sighing,<br />

howling at the moon-ness of women—<br />

LY DE ANGELES—LORE (she/her)<br />


Ly de Angeles (Lore) is an elder, healthy<br />

living activist, anarchist, linguistic<br />

anthropologist and psychic, with 18 books<br />

in print, including THE SKELLIG with Red<br />

Door’s own Melaine Knight. She has lived<br />

for 71 human years in December of 2022.<br />

She is mostly known for TAROT. A wildmedicines<br />

practitioner, seer, wordcrafter<br />

and scholar de Angeles is a proud Celto/<br />

Scandinavian knowledge-holder and<br />

practitioner of witchcraft, maintaining<br />

strong genealogical taproots to an Irish<br />

and Breizh ancestry as well as being the<br />

descendant of Albanach/Irish gypsies (na<br />

lucht siúil), the term being considered, by<br />

some, a racial slur. De Angeles, however,<br />

embraces the word used by her father’s<br />

mother, and the women before her.<br />


Known by the name LY DE ANGELES,<br />

Lore was a stolen child—trafficked—only<br />

gaining her ancestral identity through<br />

the high courts in Australia as recently as<br />

December, 2020. She is an anti-slavery/<br />

trafficking advocate and a practitioner of<br />

many arts, from tarot to healing, relationship<br />

counselling, writing, strength training to<br />

immersive trance/shamanic-style voyages<br />

into the deep-time lived experience.<br />

De Angeles lives with high functioning,<br />

lifetime, complex PTSD as a result of birth<br />

trauma and is working on a thesis called<br />

Natal Alienation and the effects on those<br />

affected for 5 generations.<br />

SAVAGE, the full workbook associated with<br />

this article and previously published under<br />

a different title, is expanded and made more<br />

relevant as the questions keep rolling in.<br />

Release date, worldwide, February 2nd<br />

2023. Focus: health, nutrition, resistance<br />

training, relationships, sex, taboos, scarlet<br />

women and a touch of witchcraft.<br />

016<br />



Art by Sofia del Carmen Rodriguez Fernandez<br />

Instagram: @sofivolart<br />


WE<br />

WANT<br />

YOU!<br />








If you’d like to join us with your show,<br />

write us now:<br />

tremellaradio@gmail.com<br />




020<br />

The funeral of Knud Sørensen, great<br />

Danish author of more than sixty works<br />

of poetry and prose, was held today, and<br />

the sky cried. It poured, not out of sadness,<br />

I suspect, since Knud was 94, and had<br />

had a life in all respects fully lived. But it<br />

is fitting to mourn the passing of a man<br />

who illuminated many of his brothers and<br />

sisters by the way he held and expressed<br />

himself.<br />

Knud entered my life through his books in<br />

1996, when I was living in Denmark, and<br />

not too far from a library, where I chanced<br />

on his work in the poetry section. I was<br />

immediately struck by his intimacy with<br />

the agricultural way of life and landscape,<br />

the farmers’ experience which he gained<br />

through his daily work as a land surveyor.<br />

Unfortunately, he often was surveying<br />

small family farms which were being sold<br />

for development or impacted in other ways<br />

by industry and society. He communicated<br />

both the dignity and the tragedy of the<br />

farming life in his poems, stories, essays,<br />

and novels.<br />

When I first read Knud’s depictions of small<br />

farms, and their clash with modernization,<br />

I realized that I was a product of this<br />

evolution. The house and the housing<br />

development I grew up in stand on the<br />

land of a previous farm. My hometown<br />

once had 83 farms. There is only one left<br />

today, but there are numerous shopping<br />

centers and tens of thousands of houses.<br />

While still a surveyor, Knud published his<br />

first poetry book in 1965. He went on to help<br />

found an author’s collective publishing<br />

house, Atticus Press, and he was a prolific<br />

book reviewer. He also became an active<br />

mentor of younger Danish writers and a<br />

literary historian. Like a walking museum,<br />

he researched and documented the<br />

important writers from the rural area where<br />

he lived, winning particular notoriety for<br />

his biography of Steen Steensen Blicher.<br />

In a country often dominated by the rich<br />

cultural life in the capital, Copenhagen,<br />

Knud was a tireless advocate for rural art<br />

and culture, serving on the board of the<br />

library and arts council in his hometown,<br />

Nykøbing Mors.<br />

I first met Knud in 2014 in the gardens<br />

and grounds outside the mansion of<br />

Sofienholm, near Copenhagen. They were<br />

holding a gallery show of art accompanied<br />

by poetry, and Knud’s poems were among<br />

them. I was lucky enough to get a free<br />

ticket to the reception from poet Benny<br />

Andersen, who was invited, but not<br />

attending. At the time I was in Denmark<br />

working with Benny on translating his<br />

poems.<br />

I located Knud standing alone outside<br />

the mansion and approached him. I<br />

introduced myself in Danish as a literary<br />

translator working with Benny Andersen. I<br />

told Knud that he was my second favorite<br />

Danish poet, and that I loved his farming<br />

poems especially. I recited a poem that<br />

was a particular favorite, Only the Middle of<br />

May, and he never forgot that. Many years<br />

later he would bring up in conversation<br />

how surprised he was that a stranger from<br />

the US would come up to him and recite a<br />

poem that he could hardly recall himself!<br />

I told him I was interested in translating<br />

his work, and he seemed happy about the<br />

idea.<br />

After a few email exchanges and receiving<br />

a rights permission letter, I set about<br />

selecting from Knud’s poetry a collection<br />

of agricultural themed poems, which<br />

became our first book of translated<br />

poetry, Farming Dreams. It is a thin<br />

volume that packs a historical, poetic<br />

punch. You can read more about it here:<br />


For the past two decades, Knud took daily<br />

walks to the fjord near his home, where<br />

he would sit on a bench and ‘receive’<br />

poems that he felt were waiting for him<br />

there. These walks resulted in collections<br />

of poetry nearly annually for the last<br />

years of his life, many of them conveying<br />

a sense of connection to nature and the<br />

fact of aging and mortality. These poems<br />

I selected from for the 2020 bi-lingual<br />

poetry book, New and Selected Poems of<br />

Knud Sørensen. You can check that out<br />

here: michaelfavalagoldman.com/books/<br />

knud-sorensen-new-and-selected-poems/<br />

Besides these two books, Knud’s<br />

poetry and prose also appeared in such<br />

esteemed pages as The Harvard Review,<br />

The Columbia Review and Rattle.<br />

be King of Sweden. But now I have a book<br />

for sale in the United States.”<br />

It was meaningful for Knud to have a<br />

connection outside of Denmark, and to<br />

have his writing translated. And I think it<br />

has been meaningful for his readers too. I<br />

imagine that other readers, as I have, find in<br />

his writing an awakened sense of valuing<br />

history and of our tenuous and bittersweet<br />

place in nature.<br />

When I learned of Knud’s death, I wrote<br />

the following poem in his honor, and the<br />

poem was read today at his funeral. I hope<br />

you will find in my words a bit of Knud’s<br />

spirit.<br />

Ære være hans minde.<br />

Knud kept careful track of his steps on his<br />

walks, tallying at least 8000 steps each<br />

day into his 90s, with the excess of 8000<br />

steps going towards his ‘bank,’ from which<br />

he carefully withdrew as his walks became<br />

shorter and less frequent. I have often<br />

wondered this past week how there is no<br />

one to receive the poems at the fjord now.<br />

Maybe someday someone new will come<br />

along to take up where Knud left off.<br />

One day I was visiting Knud, and we were<br />

getting ready to go out. It had rained<br />

earlier, and we were on the second floor<br />

of his house. As we were about to leave,<br />

I slipped past Knud to exit first, onto the<br />

little patio, which had quarry tile, as did<br />

the stairs down to the walk. The tile was so<br />

slippery my feet went right out from under<br />

me, and I nonchalantly grabbed the railing<br />

with both hands to keep from sliding down<br />

the stairs. I turned back to Knud without<br />

making a fuss, suggesting that we go<br />

through the door downstairs, since it was a<br />

bit slick. I have often thought back on that<br />

moment as the time I saved Knud’s life.<br />

As Knud’s poems become available in<br />

English, he and I performed together at<br />

his hometown library. It was a lively crowd.<br />

After the readings, an audience member<br />

asked Knud how it felt to be translated.<br />

This was late in his career, when Knud was<br />

88. Knud responded, “My father used to<br />

say, if you keep at it long enough, you can<br />

become King of Sweden. I never wanted to<br />

That Day Arrived<br />

for Knud Sørensen, 1928-2022<br />

We do not come from nowhere.<br />

There was someone here before us<br />

who planted seeds<br />

put down roots<br />

looked at the sky<br />

and tried to predict the future.<br />

It is so easy to forget<br />

or assume<br />

that everything starts now.<br />

We are all that came before,<br />

however shameful and joyful,<br />

which we may never live up to.<br />

The story is indelible,<br />

closer than our fingerprints<br />

we are constantly leaving<br />

on everything,<br />

barely a thought to the future,<br />

so caught up in now,<br />

until redeemed by a story.<br />

Knud was a storyteller.<br />

He knew<br />

when a narrative bears weight.<br />

Knud did not write for himself.<br />

He wrote for the story.<br />

He wrote for the timelessness<br />

in the story<br />

so that we would remember<br />

we are more than just this.<br />



Aften<br />

I et langstrakt forløb<br />

trækker solen et stykke mark<br />

hen over sig<br />

og langsomt svinder<br />

det nære lys<br />

som gav os endnu en dag<br />

og som nu efterlader os<br />

dybt under<br />

den stjernebestrøede evighed<br />

deroppe.<br />

Evening<br />

In a drawn out sequence<br />

the sun pulls a section of field<br />

over itself<br />

and slowly the enveloping light<br />

which gave us one more day<br />

and which now abandons us<br />

dissipates<br />

deep below<br />

the star-strewn eternity<br />

up above.<br />

By Knud Sørensen, from Horisonter ©2019<br />

Translated by Michael Favala Goldman<br />

Ved Geddal Enge<br />

På denne varme augustdag<br />

hvor sollyset simrer<br />

dernede i græsset<br />

er nogle køer<br />

vadet ud i fjorden.<br />

Og der står de nu<br />

i vand til bugen<br />

og køler den mælk<br />

som tankvognen<br />

henter i morgen.<br />

At Geddal Meadows<br />

On this hot August day<br />

as the sunlight simmers<br />

down in the grass<br />

some cows have waded<br />

out into the fjord.<br />

And there they stand<br />

in water to their bellies<br />

cooling the milk<br />

which the tanker truck<br />

will pick up tomorrow.<br />

By Knud Sørensen ©2015 from Mere Endnu<br />

Translated by Michael Favala Goldman<br />

Efter halvanden måneds tørke<br />

Ledsaget af tordenfanfarer<br />

regner glæden nu ned over os<br />

og jorden åbner<br />

sine tusinder af tørre munde<br />

så de halvdøde rødder dernede<br />

kan genvinde troen på liv.<br />

After a month and a half of drought<br />

Accompanied by fanfares of thunder<br />

happiness rains now over us<br />

and the earth opens<br />

its thousands of dry mouths<br />

so the half-dead roots below<br />

may regain their belief in life.<br />

022<br />

By Knud Sørensen, from Horisonter ©2019<br />

Translated by Michael Favala Goldman

Drømmen<br />

By Knud Sørensen “Drømmen” ©1972<br />

Translated by Michael Favala Goldman<br />

Jeg vil ha at det skal være enkelt<br />

og let at forstå:<br />

Man begynder med at bearbejde sin jord og bagefter sår<br />

man. Så skinner solen og det regner og solen skinner igen<br />

og en dag er de grønne spirer kommet frem. Så ser man at<br />

spirerne vokser til planter og at planterne vokser og<br />

blomstrer og sætter frø og solen skinner og frøene modnes<br />

og det er tid at høste.<br />

Så høster man. Så tærsker man og nogle af frøene gemmer<br />

man for at så dem næste forår og nogle af frøene gemmer<br />

man for at bruge dem i vinterens løb og resten af frøene<br />

sælger man.<br />

Om vinteren passer man sine dyr.<br />

Sådan lever man til man dør. Alt andet er kun krusninger<br />

på overfladen. Mejerisammenslutninger fabrikker revolutioner<br />

forretningsprocenter kødkvæg kontra mælkekvæg alt det<br />

er uvirkeligt. Det virkelige er jord sol regn og luften<br />

som er varmere om sommeren end om vinteren.<br />

Så enkelt.<br />

The Dream<br />

I want to make it simple<br />

and easy to understand:<br />

You start by preparing your land and afterwards you<br />

sow. Then the sun shines and it rains and the sun shines again<br />

and one day the green shoots come up. So you watch<br />

the shoots grow into plants and the plants grow and<br />

flower and set seed and the sun shines and the seed matures<br />

and it’s time to harvest.<br />

So you harvest. So you thresh and some of the seed you save<br />

for sowing next spring and some of the seed you save<br />

to use during the winter and the rest of the seed<br />

you sell.<br />

Over the winter you take care of your livestock.<br />

In this way you live until you die. Everything else is just ripples<br />

on the surface. Dairy consolidations factories revolutions sales<br />

percentages meat cattle versus milk cows all that is unreal.<br />

What is real is earth sun rain and the air<br />

that is warmer in the summer than in the winter.<br />

So simple.<br />




Amyl And The Sniffers, Adalita,<br />

The Velvet Lovers,<br />

+ Nick cave & Warren Ellis’<br />

Carnage<br />

& a chat with legendary producer<br />

+ honorary Aussie Nick Launay …<br />

Iconic mullet smoking Melbourne pub rock with<br />

punk thrusters!<br />

They like to get sweaty + are unapologetically real.<br />

So here we are Red Doorians… on this 13th day<br />

of December, we are 13 lucky years in + going<br />

stronger than ever.<br />

In this Neon Rebellion I salute Red Door<br />

Magazine as a mage of records, that documents<br />

over a decade of ever changing times + the<br />

artists that shape our culture + inspire us to dare<br />

to be different + authentic, to the calling of our<br />

true natures.<br />

Here’s some of Australia’s latest offerings …<br />

Invite them into your ether …<br />


Comfort To Me LP<br />

Amy Taylor has the qualities of all the outcasts +<br />

punk chics I grew up loving from Wendy O’Williams<br />

(The Plasmatics) to Poly Styrene (Xray Specs) but she<br />

actually reminds me more of a female Bon Scott …<br />

Raw + Aussie with those crazy eyes and crooked<br />

teeth!<br />

She could be Bon + Cherie Currie’s (The Runaways)<br />

bastard child asking for love.<br />

Their latest record Comfort To Me is full of riffs + raw<br />

power. Songs like Hertz + Choices have got the type<br />

of grooves that will start a skank + turn into a mosh pit<br />

in seconds.<br />

Taylor’s lyrics are bloody great!<br />

She thunders through with such honest vigour + her<br />

sense of rhythm + phrasing is right on, begetting to<br />

punk music ...<br />

“... good energy and bad energy<br />

Ive got plenty of energy<br />

It’s my currency ...” (Guided By Angels)<br />

This kind of punk is so familiar to me, it reeks of the<br />

music I loved growing up when I used to go to punk<br />

picnics or sneaking into pubs when I was a young<br />

tacker. There are real moments of it in the rhythm<br />

guitar sound, reminiscent of UK’s Conflict or Crass.<br />

The big difference is AM+TS can really play well + the<br />

record is mixed superbly.<br />

Pal + acclaimed music producer NICK LAUNAY was<br />

at the mixing helm + you can hear it.<br />

He has The Midas Touch.<br />

This record is next level for the genre coming out<br />

of Australia + the band’s growing global success is<br />

testament of that.<br />



I asked Nick to describe the band in 10 words or less<br />

…<br />




I also asked Nick what it was like working with the<br />

band + given his very poignant background with post<br />

punk music, how does AM+TS fit in there …?<br />

‘It’s interesting because they weren’t even born when<br />

Punk happened in 1977, yet the essence of what they<br />

do is exactly the same.<br />

They are simply letting out what they feel 100%<br />

inside, and that’s what Punk was about back then.<br />

Amy is extremely real and honest, which is very<br />

refreshing in the era of “AUTOTUNE”...’<br />

(more from Nick Launay below keep reading ...)<br />

This is balls out rocking music that Amyl + The<br />

Sniffers are known for, backed by their intensity you<br />

feel at live shows.<br />

This record has been allowed to simmer through a<br />

pandemic + come out with some thoughtful lyrics +<br />

more sophisticated guitar slinging than simple power<br />

chords.<br />

This feels like Australia to me … Let’s go ...1-2-3-4!<br />

Dark beauty Adalita, has just released her 3rd solo<br />

record, Inland.<br />

The songs are hauntingly beautiful but with ever<br />

catchy hooks + melodies that get stuck in your<br />

head for days, something Adz is reknowned for.<br />

A Darling of Australia’s rock scene in the 90s<br />

fronting band Magic Dirt, she wrote hits like Plastic<br />

Loveless Letter + Dirty Jeans + the incredible<br />

Vulcanella.<br />

Adalita’s songwriting + the voice is stronger than<br />

ever.<br />

The foundation is a stark landscape of an<br />

emotionally troubled guitar with a yearning vocal.<br />

The opener Private Feeling has a movement<br />

musically + lyrically will take you out of the<br />

mundane + transport you somewhere in your heart<br />

for a while … like a truly good song ought to do.<br />

The whole album has this quality + sits out of time,<br />

on its own, lovely + iconic.<br />

I asked Adalita to describe her new baby in 10<br />

words or less …<br />

“ INLAND is a world within, of vast and vibrating<br />

memories, and slow realisations. It is also born from<br />

the external influences of electric connections,<br />

vanished love and the epic wilds of the Australian<br />

landscape.”… Adalita<br />

If I was to put money on any of the songs, it would<br />

be Equations.<br />

I can hear it as the perfect theme track for a show<br />

with it’s anthemic quality.<br />

My fave tho is Savage Heart.<br />

“I wanted you right from the start …<br />

are you beating for me Savage Heart?”<br />

“Is my body too plain?<br />

Am I unaware, too involved or insane<br />

In a moment too hot for your brow<br />

I’m just one of many for now”<br />

The melody stays with you for days, let alone the<br />

raw honesty of a woman bearing herself, tinged<br />

with the possibility of rejection.<br />

I cant.<br />

And Blue Smoke.<br />

Give me a tremolo any day.<br />


Go deep … go Inland...<br />



After Fires, floods + global pandemics, this writer<br />

finally got her own record out with a fine band of<br />

compadrés. We are The Velvet Lovers.<br />

This record was designed to be listened to like a<br />

cinematic soundtrack + as a complete body of work,<br />

as a painter or other visual artist would produce.<br />

The record has 11 tracks with musical interludes<br />

tying each track together creating a musical narrative.<br />

“We wanted to make a record that was like when we<br />

were kids … An LP. Where you put it on + just listened<br />

from start to finish + pawed over every part of the lyrics<br />

+ photos + immersed yourself in a world for a time…”<br />

The album was recorded over different sessions<br />

between an old farmhouse in Wildes Meadow on<br />

the south coast of NSW in Australia + Legendary Sun<br />

Studios in Memphis USA.<br />

It was pressed to vinyl at Jack White’s Third Man<br />

Pressing in Detroit USA.<br />

It was an honour + a privilege to be able to record at<br />

SUN, to capture the essence of the room + the energy<br />

that it provoked from all the legendary musicians<br />

that had recorded there before us … We got to record<br />

vocals on one of Elvis’ 1940’s ribbon mics he had<br />

used to record in there.<br />

Personally, it doesnt get better than that, I can die<br />

happy now!<br />

AND....<br />

The music has been described as ...<br />

“Dark tremolo with post punk gothic influences<br />

in cinematic soundscapes …”<br />

“It’s like and I mean this in a fabulous way, David<br />

Lynch had a baby with Nick Cave who had a<br />

baby with Patti Smith who had a baby with Elvira<br />

who had a baby with Liza Minnelli” …<br />

Ben Pierpoint (Head A+R Wise Music Aus/NZ)<br />

We wanted to make some music you’d find in<br />

the back of a scene in a Lynchian film where<br />

some band plays in a music box while some<br />

creature from a parallel dimension does a<br />

dance in tapshoes … You can find opening track<br />

Hypnotized on The Twin Peaks Night Times At<br />

The Roadhouse playlist.<br />

The vinyl comes with a handmade art songbook,<br />

made during lockdown. Laid out old stylee +<br />

placed with a blade + glue + a photo printer,<br />

with edits + illustrations done in fine liners. It<br />

was a sheer joy to make + in the strangest of<br />

times. Being able to get lost in this space out of<br />

time just creating was an absolute pleasure + an<br />

artist’s pure freedom.<br />

Nocturna invites you to come dream in that<br />

place for a little while … x<br />


LIVE<br />

Gold Coast 10.12.2022<br />



This show felt like Nick + Warren coming home,<br />

Carnage, the album they made during lockdown<br />

played host to Ghosteen, the Bad Seeds tour<br />

cancelled because of covid times.<br />

The last time I saw Nick + Waz play here in<br />

Australia was in 2019, they were playing their<br />

soundtracks with The Melbourne Symphony<br />

Orchestra, it was a most magnificent moment.<br />

The looks they cast at one another from across<br />

the stage were of elation. They had finally<br />

arrived. All their musical dreams come true.<br />

Seeing them now was so casual, it felt like we<br />

were with them at home. The 2 boys from Victoria<br />

taking the piss out of the Gold Coast … still.<br />

The humour.<br />

The diabolical balanced next to the devastating<br />

beauty is what they do best … Bright Horses into<br />

Night Raid to Carnage + bombing into White<br />

Elephant.<br />

Nick commands the stage like a preacher giving<br />

sermon + these days he gets up close to the<br />

audience taking their hands before returning<br />

them to the piano keys which also feels like a<br />

place he sits now with confidence + ease.<br />

Warren spent a good deal of the show<br />

horizontal on his chair when on violin, he strikes<br />

a mephistophelian pose with abs of steel.<br />

They mostly hurtled through Bad Seeds songs,<br />

which of course were wonderful, there is a magic<br />

however that I really do love most, when its all of<br />

The Bad Seeds playing.<br />

I realised the other nite that Nick Cave is the<br />

artist Ive consistently gone to see live more than<br />

any other in my lifetime, Ive been going to his<br />

shows since I was a teenager. Its been quite a<br />

ride.<br />

And quite an honour to witness his music +<br />

artistry develop from the sweaty mess of black<br />

hair looking like he’s having a seizure shouting<br />

at the heavens to the eloquent pianist in a fine<br />

cut suit whispering to me to “just breathe, just<br />

breathe …”<br />

I do miss seeing the sweaty mess though!<br />

They closed a 2 hour show with the ethereal<br />

Into My Arms ...<br />

I learned recently Nick sang it at Michael<br />

Hutchence’s funeral … pure transcendence.<br />





Nick Launay, Karen O + Nick Zinner (The Yeah Yeah Yeahs) via launay.com<br />

A long time co-conspirator of Nick Cave<br />

(+ Warren Ellis), Launay has worked on<br />

many records with him producing, mixing +<br />

casting his magic from The Birthday Party to<br />

The Bad Seeds to Grinderman …<br />

He has worked with an endless list of<br />

incredible artists; PIL, Kate Bush, Lou Reed,<br />

The Yeah Yeahs Yeahs, Anna Calvi, Black<br />

Rebel Motorcycle Club, Killing Joke, Talking<br />

Heads, it goes on + on ...<br />

In your wonderful career …<br />

What has been your favourite project<br />

you’ve worked on?<br />

“There are so many, but the one<br />

project that’s on my mind at the<br />

moment is “The Dreaming” by<br />

Kate Bush.<br />

Her Imagination was wild. Every<br />

day would be a new adventure<br />

into a fantasy world. It was like<br />

making a film.”<br />

Nick lived in Australia for many years<br />

bringing up his family + produced such<br />

iconic records as Midnight Oil’s 10-1 + Red<br />

Sails In The Sunset and INXS’ The Swing.<br />

As an honorary Aussie, what other<br />

Australian acts you’ve worked with would<br />

you encourage people to listen to?<br />

“The Models (Pleasure of your Company<br />

LP), The Birthday Party (Release The Bats,)<br />

Grinderman (Grinderman 1 of & 2), Michael<br />

Hutchence (Rooms for the Memory, Dogs In<br />

Space Soundtrack)<br />

Big Pig (Bonk)”<br />

Look them up!!<br />

Nick has an uncanny ear + eye for new<br />

bands coming through + his work on their<br />

records has been able to elevate them.<br />

What do you look for in a new act or project<br />

you like to work with?<br />


“The Artists must be singularly passionate<br />

about their music and hellbent on getting<br />

it to the people. Good Memorable Songs.<br />

Charismatic Front person.<br />

The Artist and songs must have the ability<br />

to communicate feelings and emotions<br />

to move people. It’s important that it has<br />

originality and not just repeating things we<br />

have already heard.”<br />

Lately Nick has spread his musical wings<br />

into soundtracks, he just scored the last<br />

season of Peaky Blinders with Anna Calvi.<br />

I asked him is there specific artists or future<br />

work or a project he’d like to do!?<br />

“Rolling Stones, Depeche Mode, Viagra<br />

Boys, Boy Harsher, Gary Numan, Score a<br />

Vampire Movie.”<br />

Whatever we hear coming next from Nick<br />

will be great!<br />

But it involves navigating this new world.<br />

That’s something artists have always lead<br />

the way with.<br />

There’s the common thread that’s drawing<br />

all of us together right here, right now.<br />

The dark night of the soul.<br />

How we endured it, loved in it and<br />

celebrated in it, is the music that sways in<br />

the breeze like lotuses growing out of the<br />

mud.<br />

All the music is available on streaming<br />

+ digital platfroms + bandcamp for vinyl<br />

lovers.<br />

Enjoy x<br />




Illustrations by Martin Andersen<br />

www.facebook.com/tuschmartin<br />

www.instagram.com/skyggelaegger/<br />


POETRY<br />

Sun’s apparition<br />

Giants and rain –<br />

Light begetting yellows matched with white-forgotten greys –<br />

Joy dies and by the pale revenant moves<br />

And makes the door of me as nothing more<br />

Than its retelling has nature beyond<br />

Entertain most pleased and most pitiful<br />

Memories – my own chiasm with the world –<br />

Above, possession, sun’s apparition,<br />

And day was delineated in the dark divide –<br />

Wings, their shadows mark the sounds of sunset –<br />

The final uniped, walking upright<br />

At last on the surface of the star – blood<br />

Unbound by brine or breath, viscera razed,<br />

Wholly exaggerated jaws hang themselves open<br />

By vestigial thews – humanity<br />

Rattles our rows of articulations<br />

In dead applause, bones scattering across all the worlds<br />

Possible – yet I only view this as<br />

Reflected, and the moon becomes a puddle broken<br />

Under my foot.<br />

Sun’s apparition by Alex Van Huynh<br />

Dr. Alex Van Huynh received his Ph.D. in Biology<br />

from Lehigh University and is currently an assistant<br />

professor of biology at DeSales University. His poetry<br />

can be found in multiple literary journals.<br />

Right: It was an Eureka Moment by Rose Menyon Heflin<br />

032<br />

Originally from rural, southern Kentucky, Rose Menyon Heflin is<br />

a writer and artist living in Madison, Wisconsin.


034<br />


Year of the Would-Be GOAT<br />

Are you that desperate for meaning<br />

that you search for it in the absence of birdsong<br />

the change in traffic lights<br />

locker and page numbers<br />

the time being told by the clock?<br />

Are you that desperate that you put two<br />

and two together, when they never wanted to mesh?<br />

That the lines separating the tiles might prophesize death?<br />

That you think maybe someone will die if you don’t hold<br />

your breath?<br />

Why has meaning left you? Whatever do you mean?<br />

What do you even mean? Be still, be still, until you can answer that question.<br />

You’ll split hairs between the world<br />

and yourself, trying to answer that question.<br />

You’ll split hairs between fallen<br />

and fell, trying to answer that question.<br />

You’ll slip heirs as the brush to the comb, trying to<br />

answer that question? The sleeve and the mango; the samba, the tango,<br />

the tail-end of tales from the telltale end.<br />

You’ll split hairs between white and<br />

Eggshell and black, the mirror and yourself, the soul and the act,<br />

the pit and the well, the well and the pit, and well oh well.<br />

Stop splitting hairs between here and there. Stop<br />

splitting hares between bunnies and rabbits. Just<br />

stop splitting altogether. Soda, soda, soda; that’s it.<br />

Stop splitting heirs between ruined and damaged,<br />

Soda and pop, stop.<br />

Stop splitting hairs because others do not.<br />

Left: Oracle by Rey Fairburn<br />

Year of the Would-Be GOAT by Beatriz Seelaender<br />

Beatriz Seelaender is a Brazilian author from São<br />

Paulo. Her fiction has appeared in Cagibi, AZURE,<br />

Psychopomp, among many others, and essays can<br />

be found at websites such as The Collapsar and<br />

Sterling Clack Clack, where she acts as Creative<br />

Nonfiction editor. Her novellas, upcoming in 2022,<br />

have earned her both the Sandy Run and the<br />

Bottom Drawer Prizes. Seelaender’s poetry has been<br />

published by Inflections Magazine, VERSON [9], etc.<br />

“Canon Familiaris”, a chapbook in which she turns<br />

canonical poems into poems about her shih tzu, Uli,<br />

will be released by Really Serious Literature in 2023.<br />

Rey Fairburn is a queer, neurodivergent<br />

poet and artist. She has been published by<br />

Lupercalia Press, Fauxmoir, and Plants and<br />

Poetry Journal. You can find more of their work on<br />

Instagram @reysenchantments<br />



Fighting a colonial war means rethinking the<br />

past and reorganizing ties within the present.<br />

For a long time, one could even say for the<br />

time of its existence, Ukrainian music has been<br />

kept in the shadows of its Eastern European<br />

counterparts, all mixed up in western optics.<br />

This optics alongside the post-Soviet colonial<br />

narrative about ‘brotherly cultures’ where the<br />

‘elder brother’ is highbrow, knowledgeable<br />

and deep while the ‘younger one’ is a funny<br />

and awkward ‘simple folk,’ always a few steps<br />

behind, has distorted the image of Ukrainian<br />

culture not just from the outside but also from<br />

within.<br />

Ukraine is not a country of distinct music<br />

taste: the roots of unfussy listening habits<br />

can be traced back to overall social apathy<br />

and the lack of a fully functional civil society<br />

typical for post-totalitarian countries. The<br />

problem gained the most resonance after the<br />

full-scale invasion when Russian musicians<br />

(and not even the good ones) kept their<br />

high positions in Ukrainian streaming charts.<br />

The fact proved that ‘not really thinking’<br />

about such things equals colonial thinking.<br />

Although the awareness of an average<br />

Ukrainian listener is growing day by day, the<br />

problem goes deeper than that. I’ll bring out a<br />

few problematic areas, each of them a starting<br />

point for rethinking the big picture.<br />

For many Ukrainians, making music goes<br />

hand in hand with the search for their identity.<br />

Unfortunately, they usually stick to an easy<br />

way of finding one by incorporating the<br />

decorative elements of Ukrainian folk music<br />

into their sound. The tendency goes back to<br />

post-Great Purge times when after a decade<br />

of Stalinist terror, the social strata of artists,<br />

cultural actors and intellectuals of soviet<br />

Ukraine was completely wiped out, once<br />

vibrant Ukrainian culture reduced to ‘safe’<br />

folk art. As a result, for many years (2022 is not<br />

an exception), we’ve had all these Eurovision<br />

contestants in embroidered costumes and<br />

flutes in the song mix. But the superficial<br />

folkiness goes beyond export acts. Musicians<br />

that come from the more underground, ‘artsy’<br />

scene use this very means of self-exoticization<br />

either as the ‘perk’ of their sound or as a way<br />

to cater to an audience that’s been mingling in<br />

the pot of colonial forgetfulness and cultural<br />

ignorance for decades.<br />

Another issue is one of specific genre clicheés<br />

that many countries in the region have shared<br />

since the Soviet era. Those are especially<br />

strong in rock and synth music, since its<br />

Eastern European blueprints were set in the<br />

shared Soviet past, namely during the time<br />

of perestroika. Since then many Ukrainian<br />

musicians embraced the cold monotonous<br />

sound with a distinct bassline, preferably with<br />

lyrics sung in Russian, probably the stiffest of<br />

the Slavic languages. With the 2000s postpunk<br />

revival and minimal synth coming into<br />

fashion, this kind of music got another reboot,<br />

and although there are genuine synth-based<br />

acts, and many post-punk artists switched<br />

to Ukrainian language after horrible Russian<br />

war crimes, the problem of Russian imperial<br />

legacy is much more complex than that of a<br />

shared language. Even the scene that started<br />

out as underground and anti-establishment<br />

embraces the model of colonial dependency<br />

that affects its sound and songwriting<br />

decisions.<br />

Issue number 3 might very well be<br />

the one shared by many economically<br />

underdeveloped post-colonial countries<br />

that look up to the west in search of creative<br />

solutions. Many indie musicians (the term<br />

used broadly) get a little bit more attention<br />

and sell more tickets to their shows by simply<br />

being secondary.<br />




People are used to the sound of Radiohead<br />

and Arctic Monkeys, and those bands don’t<br />

come to Ukraine that often (and even if they<br />

do, they only play in Kyiv), so why not make<br />

something similar but worse? Music of this<br />

kind rarely makes it beyond Ukraine and says<br />

nothing to Ukrainians about themselves,<br />

nothing good at least.<br />

These are just a few obstacles for Ukrainian<br />

music to fully embrace all its capabilities<br />

that, alongside postcolonial amnesia and the<br />

overall obscurity of the European East, make<br />

your chances to come across worthy Ukrainian<br />

music little to none. Within the country, there’s<br />

a bunch of small underground communities,<br />

each with genuine musical thinking, that<br />

have very little connection to one another and<br />

no context to hold on to when reaching out<br />

to a wider audience. The situation, however,<br />

started to change in the past few years, and<br />

with all eyes on Ukraine now, lots of great<br />

Ukrainian music gets the chance to be heard<br />

while the country’s colonial ties are breaking<br />

up for good. Problems posed here require<br />

more than one person and a lot of time and<br />

effort to be solved. However, Ukrainian<br />

communal action which has already proved<br />

effective in this war can work just as well in<br />

the realm of culture. This is my small part of<br />

the fight.<br />




Heinali - Madrigals (2020) [Injazero<br />

Records]<br />

Medieval polyphony created with the help<br />

of modular synthesizer and 17th century<br />

instruments.<br />

mandarinaduck - Garden Souls (2015)<br />

[self-released]<br />

Best record of Ukrainian shoegaze/jangle<br />

pop/any indie rock related tag.<br />

Chillera - SCHAX (2017) [Muscut]<br />

Laid back sound of Ukrainian south, dubby<br />

and wavy yet precise.<br />

Kurl - Fickle (2022) [self-released]<br />

Psychedelic pop that’s a little haunted and<br />

also a bit of a joke. That’s my band, so can’t<br />

be bad.<br />

Bio:<br />

Olena Pohonchenkova is a Ukrainian music<br />

writer, blogger and concert goer. She also<br />

sings and writes some lyrics for the band<br />

Kurl. She is currently taking part in SWAN<br />

emergency artist residency in Jönköping,<br />

Sweden.<br />





Jessa Dupuis is an emerging<br />

collage and mixed media artist living<br />

and working on Vancouver Island,<br />

Canada.<br />

Originally trained as a designer and<br />

illustrator at MacEwan University,<br />

Jessa has spent 17 years dedicated<br />

to client-driven design and<br />

illustration projects.<br />

She has recently shifted her focus<br />

to furthering her creative practice in<br />

collage and mixed media.<br />

Statement<br />

My process when creating art is<br />

playful, organic and therapeutic. I<br />

challenge myself to look carefully and<br />

pull beauty and hidden meaning out<br />

of the seemingly ordinary, letting the<br />

piece evolve as I go. My work often<br />

merges art and design, abstraction<br />

and order, truth and fiction. My<br />

intention is to create art that allows<br />

people a moment to step into the<br />

piece and laugh, cry, wonder, and<br />

connect their own narrative to my<br />

visual storytelling.<br />


Art by Jessa Dupuis<br />


042 Art by Jessa Dupuis



Art by Jessa Dupuis<br />







The 2nd edition of Nature & Culture -<br />

International Poetry Film Festival, took place<br />

this November in Copenhagen at Husets<br />

Biograf, accompanied by an online edition<br />

which screened for over a week, giving free<br />

access to more than 100 films of various<br />

genre to an international audience.<br />

This year’s festival theme was First Nations<br />

and Indigenous Representation, which<br />

saw over 600 films in the categories<br />

of documentary, short film, animation,<br />

experimental and poetry films, plus a curated<br />

selection from Kultivera’s Tranås at the<br />

Fringe, as well as from Trafika Europe Radio.<br />

The poster for this year’s festival was<br />

designed by Danish artist Hunter Berg, and<br />

we counted with the participation of the<br />

poet Pablo Saborío for the closing of our<br />

festival, as well as with the participation of<br />

students from København Universitet who<br />

had recently participated in our multimedia<br />

poetry masterclass.<br />

In the following pages you will find the<br />

newest additions of poetry short films<br />

to the permanent archive of the Poetic<br />

Phonotheque, which you can enjoy ad-free<br />

by visiting our website, without any log-in<br />

requirements. Feel free to share with your<br />

fellow poetry fiends.<br />

The open call for this year’s festival is already<br />

open, with ORGANISMS & STRUCTURES as<br />

the main theme. Send your short films!<br />

046<br />


SOLO DUET, by Janet Lees, UK<br />

A poetry film exploring our yearning for<br />

connection with each other and with the<br />

earth, and our paradoxical longing for perfect,<br />

fearless aloneness<br />

ASK THE WATER, by Laura Hirch, Germany<br />

An eco-feminist poetry film by independent<br />

filmmaker Laura Hirch and artists & poet Joanna<br />

Hruby that address the ecologically and<br />

culturally damaging effects of mass tourism<br />

and globalisation on the island of Ibiza.<br />

WATER by Diana Taylor, UK<br />

A futuristic view of the world. A poem which<br />

relates to the vanishing environment a<br />

poignant reflection on society.<br />

WOVEN WORDS, by Jeffrey Morin, US<br />

A crossing of words universal and my own<br />

from mood and emotional discourse. All<br />

woven together as day and night and years<br />

that have now gone.<br />

LISTEN TO THE WATER by Zoey Roy, Canada<br />

A poem about breaking ground.<br />

SENTENCES by Cia Rinne, Germany<br />

Sentences is based on sentences from the<br />

book with the same title by Cia Rinne. In sentences,<br />

it is the sentence as a linguistic unit<br />

itself that reflects on its purpose and position.<br />


PENN-AR-BED by Emma Ramsay-Tanniou , FR<br />

Based on the loss of culture that comes with<br />

the loss of language. Focusing on the insular<br />

Celtic language Breton, the work is a reflection<br />

of the deprivation of heritage that happens<br />

when an orally transmitted culture is heavily<br />

discouraged, almost to the point of extinction.<br />

PROJECT HAZMATIC: Score For Body As<br />

Cautionary Tale<br />

by Willa Carroll, United States<br />

Eco-ritual and apocalyptic pilgrimage, “Project<br />

Hazmatic: Score for Body as Cautionary<br />

Tale” follows an array of wayfarers through<br />

endangered landscapes.<br />


By Marc Neys, Belgium<br />

Video for the poem ‘Of wel’ by Marleen de<br />

Crée<br />

A SPARK CATCHES, by Natalia Gaia, Mexico<br />

Excerpts from Jade Lascelles’s book The<br />

Inevitable. Shot in Boulder, Colorado and<br />

Mexico City, the film’s visuals and narration<br />

juxtapose certain dichotomies familiar in our<br />

lives.<br />

PRESERVES BY B.Rich, United States.<br />

A poetic journey into an Ecuadorian rainforest<br />

that contains some of the greatest biodiversity<br />

on Earth, two uncontacted tribes living in voluntary<br />

isolation and 850 million barrels of oil<br />

that will ultimately determine its future.<br />


By Robin Noorda, Netherlands<br />

a short arthouse film realised in stop-motion<br />

animation.<br />

This experimental film is based on a poem by<br />

Noorda about inequality and oppression.<br />



By Diek Grobler, South Africa<br />

A poetry-film about adaptation for the sake of<br />

survival. The poet uses the Sole (flatfish) as a<br />

metaphor: The fish transforms into a grotesque<br />

distortion of fish in order to survive.<br />

AWAKEN, by Rosie O’Regan, Paul Casey,<br />

Ireland<br />

Awaken imagines what nature might say with<br />

a human voice. It is both a love letter and a<br />

rebuke.<br />


By Vladimir Mihaylov, Bulgaria<br />

Poetry short film based on the poem with the<br />

same title, from the book of poems Brick Lane:<br />

Sunday. Poem translated into English with<br />

subtitles.<br />



By Patricia Killele, United States<br />

Video Poem exploring ecological crisis in the<br />

Great Lakes region of the United States.This<br />

picture of Lake Superior is very different from<br />

what appears in beautiful travel postcards.<br />

EVACUATE by Gaele Sobott, Australia<br />

This charred dusk<br />

this forest of<br />

blackened<br />

desecration<br />

a poetic animation after the fires<br />

SOFT GROUND by Indigo Eli, Australia<br />

Soft ground explores the senses and sensation<br />

of walking on this leaf littered Earth; the<br />

immediate impression underfoot and the<br />

gravity placing these footsteps upon our planet.<br />


LIKE THE AIR by Marilyn Freeman, US<br />

Blending poetry and nonfiction media art, Like<br />

the Air is a spacious meditation on love, loss,<br />

reflection and resiliency.<br />


by Dwayne Jahn, Germany<br />

A collection of wholesome ideas inscribed on<br />

the video images of original handmade abstract<br />

artworks. Soundtrack by Oxford Improviser<br />

Lawrence Casserley with water sounds,<br />

rainsticks and his signal processor instrument.<br />


By Johannes Paul Olszewski Germany<br />

Walk of Courage is a dynamic and<br />

atmospheric portrait of the bustling city of<br />

New Delhi, its people, and its history.<br />

FAIRY TALE by Alfio Leotta, Kathleen Kuehn,<br />

New Zealand.<br />

A Poem by Katherine Mansfield<br />


By Tova Beck-Friedman, United States<br />

An environmental video-poem touching on<br />

climate change.<br />

I NEED THE SEA by John David Simboli, US<br />

Shifting patterns of ocean light and waves open<br />

the mind’s eye to meditation and exhilaration.<br />


LOST ARAB by Carine Koleilat, UK<br />

Whether it is the unsettled feeling of<br />

belonging, the devastation after 4th of August<br />

2020 Beirut port explosion, or gender identity<br />

and queerness, this visual poetry is a snapshot<br />

depiction of the struggles and pains that queer<br />

Lebanese go through. Adapted from Omar J<br />

Saker’s book “The Lost Arabs”,<br />


By Gil Zablodovsky, Israel<br />

In the depths of the biography Lali is exposed<br />

to the roots of her obsessive wanderings in the<br />

world.<br />

OLUJA by Nikola Zivkovic, Serbia<br />

Feelings of the common man in the foreground<br />

many years after the military operation Storm,<br />

are revived here. Without intending to point<br />

a finger at any of the warring parties, this film<br />

stands as a memorial to an event that should<br />

never be repeated anywhere.<br />

SAME DIFFERENT by Nesindano “Ques”<br />

Namises, María Cecilia Reyes - Namibia<br />

A rare encounter between the Khoekhoegowab<br />

language and a still camera, together with the<br />

sounds of the bow and the forest, along with<br />

the sun, the wind, and the spirit of the poet<br />

herself.<br />

I AM HYDRA by Thale Blix Fastvold, Norway<br />

A hydrofeminist spell to end the petrocapitalist<br />

age. The film is shot in Norway and Denmark,<br />

its opening scene is from Skagen where two<br />

oceans meet (the Northern Sea and the Baltic<br />

Sea).<br />


Vladimíra Hradecka, Slovakia<br />

This short film explores loneliness through the<br />

lens of dance.<br />

The texts are based on the experiences of<br />

people living in the city.<br />



By Susan McCann, United States<br />

Leaves, shadows, and landscape reveal the<br />

words of Emily Dickinson’s poem, “There’s a<br />

certain Slant of light”, accompanied by the<br />

notes of Schoenberg and sounds of a winter<br />

garden.<br />


By Pat Boran, Ireland<br />

Despite the fears of some, immigration brings<br />

many benefits to society, introducing new<br />

energy, new talent, and new perspectives, and<br />

adding to our shared understanding of the<br />

world and what it means to be human.<br />


By Ingrid Gans, Germany<br />

Per stop motion animated poetry film -<br />

minimalistic, associative - based on the poem<br />

by Odile Kennel ‘going to Pasárgada’.<br />



By Irene Tanner, Ireland<br />

This meditative poetry film explores the theme<br />

of humanity’s oneness with the natural world.<br />

MADEIRA FROM THE SEA by Julian Weinert,<br />

Franziska Simon Germany<br />

The poem short film “Madeira from the sea”<br />

adapts the poem of the same name by Pulitzer<br />

Prize-winning American poet Sara Teasdale. It<br />

reflects the source material’s combination of<br />

nature poetry and impressionism.<br />


Vallilengua, Austria.<br />

We wander through a postindustrial, forgotten<br />

realm, trying to revive better days. With every<br />

phrase It becomes clearer, that the golden age<br />

is over. All there is left is an empty, dystopian<br />

world.<br />

052<br />

Enjoy these and more than 100 other poetry films from all over the world at<br />

www.poeticphonotheque.com or submit your voice to our collection!

THANK YOU FOR 13 YEARS OF <strong>RED</strong> <strong>DOOR</strong> MAGAZINE.<br />


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The Red Door<br />

Network:<br />

Red Door Magazine is a quarterly Arts &<br />

Culture publication meant to document<br />

the work of creators everywhere, as<br />

well as facilitate new conversations on<br />

important matters for our communities<br />

in a local and international way, through<br />

the linking of themes, collaborations,<br />

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Red Door also functions as a gallery<br />

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as a platform for the same purposes.<br />

In expanding its reach, Red Door also<br />

counts with:<br />

-A podcast called the Red<br />

Transmissions, where creatives,<br />

activists and cultural organizers share<br />

their process, projects and initiatives.<br />

-A Poetic Phonotheque, which serves<br />

as an online collection of poetry in many<br />

languages in the voice of its authors,<br />

created to break the barriers of distance<br />

and facilitate free access to poetry in<br />

households around the world.<br />

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OF <strong>RED</strong> <strong>DOOR</strong> MAGAZINE!<br />

056<br />


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