RED DOOR 31

RED DOOR 31
LUCKY 13 - WINTER ISSUE
2022-2023
WWW.REDDOORMAGAZINE.COM
01

TABLE OF CONTENTS:
EDITORIAL: PUT IT BACK TOGETHER ............. pg.06
Founder & Director:
Elizabeth Torres
(Madam Neverstop)
Poetry Editor:
Pablo Saborío
Correspondents:
Melaine Knight
The Neon Rebel
Australia
Brandon Davis,
Germany / DK
Mario Z.Puglisi
Tanya Cosio
Mexico
Miller Almario
Red Visions
Colombia
Kultivera
Sweden
Martin Andersen
Denmark
Cover & Back cover
by Jessa Dupuis
RED PRESS presents......................................... pg. 08-13
I KNOW WOMEN by Ly de Angeles ............ pg. 15-16
POETRY TAKEOVER:
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:
MEANWHILE, IN AUSTRALIA
The Neon Rebel ...................................................pg.24-29
WHY YOU DON’T KNOW A THING
ABOUT UKRAINIAN MUSIC
By Olena 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
RED DOOR MAGAZINE #31
Winter Issue
Celebrating 13 years
Red Press, Copenhagen
ISBN: 978-87-94003-13-1
02
www.reddoormagazine.com
All rights reserved to the
corresponding authors.
In loving memory of Mikkel Feirskov Knudsen,
member of Red Door Copenhagen, musician,
photographer and worldthreader, whose support
and love for Red Door were fundamental during
the relocation of the project to Denmark. Your fire
and curiosity will remain in all of us who loved you.

SUBMIT CONTENT to
RED DOOR MAGAZINE:
Red Door Magazine releases digital & printed issues
quarterly with an emphasis on visual art and poetry.
This includes multimedia art, artistic research, essays
on projects, reports on festivals and activism, as well as
relevant media articles and documentation of the activities
by you and your network. The magazine always features
a poetry selection, prose, and occasional interviews by
established and emerging artists, plus relevant upcoming
events. We’re here to give you a handful of essential
pieces you can digest in one sitting.
We’re currently seeking visual art, music, film reviews,
travel and media articles, poetry, fiction, and creative
nonfiction. Simultaneous submissions are always ok,
but 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 questions to reddoorny@gmail.com
________________________________________
File specifications: Your article may be a maximum of
two pages, and we accept a maximum of 3 poems per
submission. All languages are welcome but please
include English translation. Also include a small
biography of up to 5 lines about you. All this must be
included 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. Please note we currently accept
poetry submissions only via our submittable platform:
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ISSUE #32: ORGANISMS AND STRUCTURES
(SPRING 2023)
SUBMISSION DUE DATE:
March 05, 2023
LEARN MORE AT:
WWW.REDDOORMAGAZINE.COM
03

RED
IN THE EYES OF THE
BEHOLDER
BY MARTIN ANDERSEN
30-31
WHY YOU DON’T
KNOW A THING ABOUT
UKRAINIAN MUSIC
36-39
FEATURED ART BY
JESSA DUPUIS
40-45
04

Happy 13th anniversary, and to all a joyful 2023!
VISUAL POETRY BY
REY FAIRBURN
MENYON HEFLIN
SOFIA DEL CARMEN
RODRIGUEZ FERNANDEZ
32-34
17-18
05

EDITORIAL
PUT IT BACK TOGETHER
Dear worldthreaders,
2022 came and went filled with rediscovery and
turmoil. It saw us grieving from personal losses and
a global pandemic, economic imbalances and that
which we do not mention publicly but remains an
open wound in each of us individually, whatever
it may be called. We all have it and it shows in our
eyes when we lift up our heads now and try to start
a conversation in a crowded room once again, as if
we naturally remembered how that functions.
But this year also saw us as a species of resilience,
reinventing ourselves and reconstructing, from the
ashes of that we no longer are and no longer have,
so as to build a world, no, let’s be honest, so as to
build room for ourselves in this world, with what
we envision as ours manifesting itself in front of our
awe-struck faces. Such is life, such is poetry, such is
our existence. A constant invitation to put ourselves
back together.
Suddently, Red Door Magazine turned 13 years old.
From its beginning as a solely digital magazine, to
what this all encompasses now, it is ironic that our
13th year finds us printing physical magazines and
expanding our publishing project Red Press, while
simultaneously continuing our online operations,
in a time when AI is causing so much controversy
and the future of art seems so uncertain to many in
our community. I personally believe that artists are a
breed of creativity, curiosity and resourceful capacity
who know how to adapt, rebuild and interpret with
the singularities that a computer cannot, with the
ingenuity and tenderness, kindness and passion
that a computer cannot, so I am not worried... but
while I say this I click save since this entire issue is
dependant on a computer to get to your hands.
Let us move on to the subjects that we know.
Our cultural operations are flowing with delight
like sweet poetic honey, including an open call
for our first environmental poetry international
anthology, as well as for the upcoming issues of
Red Door Magazine, all of which you can find on the
SUBMITTABLE platform by searching for: Red Door.
Additionally, Litteraturcentrum KVU, Kultivera and
all its partners busily prepare Tranås at the Fringe,
an incredible Performing Arts Festival taking place
this summer in Tranås. Sweden, which Red Door
not only helps curate but also documents.
Additionally, Red Door joins IMMART for a festival
of Nordic magnitude that aims to connect and
inspire those involved in arts and organizing.
We have several art and poetry books coming out
this Spring and Fall through Red Press, including
Abstrakt Maskine by Lazlo Taboli and an art
publication by Danish artist Nikolaj Jacobsen.
Our collective of publishers / performers /
translators / cultural organizers RED THREAD will
meet for its second year this April in Copenhagen,
as part of the OUTSIDER BOOK FAIR, which we are
organizing in collaboration with HUSETS BIOGRAF
and which is done thanks to the support of NORDISK
KULTURFUND.
...And Red Transmissions Podcast will soon reach
its 100th episode, with a new season documenting
artistic researchers and practitioners in the Nordic
Region, as well, of course, as all the previous
activities mentioned.
As if all of this weren’t enough reason to look
forward to 2023, I am honored to share that this
Fall, the Academy of American Poets named me
the recipient of the Ambroggio Prize 2022, with my
upcoming book Loteria: Nocturnal Sweeptsakes,
which comes out this February with University of
Arizona Press. I will be touring the US this March,
and Europe through the Spring, so please stay
tuned via instagram, facebook or patreon so we
can meet and discuss collaborations and other
opportunities.
Red Door Gallery, Red Door Magazine, and all
the other projects that are part of the Red Door
operations eagerly aim to support your existing
projects, document them, share them, and hopefully
help you connect with others in our communities
with similar enthusiasm and interests, in whatever
cultural field you might be seeking. That is the
idea of the worldthreader. To seek and receive in
constant flow, for this is how art and universe exist.
My gratitude to all our partners, collaborators,
and to everyone who participated on this issue of
Red Door., and who slowly but surely has helped
us see the world put itself back together in new
ways, with our renewed energy. I look forward to
being marveled constantly in 2023 by your poetic
endeavours and to learning from every single one
of you.
Love and poetry,
Madam Neverstop.
www.patreon.com/madamneverstop

Art by Jessa Dupuis
07

BOOKS!!!
RED PRESS PRESENTS:
Created in Scandinavia during 2018, Red
Press is an independent publishing project
of Red Door, distributed as limited editions
in Denmark, Sweden, and by mail via our
Red Door online shop.
Red Press is a collection of publications of
art, essays, photography and poetry in its
varied spectrum of styles, subjects, voices
and languages, by emerging or renown
writers, with quality and uniqueness as the
base criteria.
The current focus is in Spanish, English,
Swedish and Danish, as well as bilingual
books in other languages with one of the
mentioned languages as the original text.
Operations are based in Copenhagen and
Malmö, but the books are also distributed
by mail-orders, through fairs and partner
organizations in other cities of Europe, as
well as in the US and South America during
poetry festivals or other events wherever
Red Door representatives may be.
This is not a print-on-demand project, and
we reserve the right to reject proposals
which do not fit the criteria and aesthetics
previously mentioned. No funds are
currently received from any government,
private, nor public institution, so the project
is independent and self-funded with the
purpose of maintaining transparency and
manageable logistics in the name of poetry
and our belief in worldthreading.
The publications of selected books, are
based on time availability and the strong
belief on the work being published.
As books are either handmade or printed
locally (and every time through the most
sustainable solutions), the editions are
limited, often numbered, and also serve as
art objects with poetry, art and translation
as the connecting threads.
If you’d like to submit a book proposal,
please write to:
redpresspublishing@gmail.com
We currently have an open call for
an environmental poetry anthology
(international, all languages welcome,
as long as the English translation is
included), and you can join by visiting our
SUBMITTABLE platform and sending your
poetry.
We look forward to reading you, and
celebrating your work.
Follow us on instagram @ redpress.eu
08

09

ABSTRAKT MASKINE
By Lazlo Taboli, Red Press, 2023
Den nomadiske krigsmaskine
De forbinder sig gennem familier og slægter
Med en helt særlig form for korpsånd
De er ikke en fundamental celle
En kønnet form for solidaritet
I periferien ligger den hemmelighedsfulde magt
Den nomadiske krop er en krigskrop
En hvirvlende krop i et nomadisk rum
---
The nomadic war machine
They connect through families and lineages
With a special kind of esprit de corps
They are not a fundamental cell
A gendered form of solidarity
On the periphery lies the mysterious power
The nomadic body is a warrior body
A whirling body in a nomadic space
ABSTRAKT MASKINE by the
Danish Collective Lazlo Taboli,
is a compilation of poetry and
AI art responses, created as
a commentary on our current
society’s inner struggles, the
machinery of our world and what
fuels it.
This book is already in the printers
and will be available from April
through Red Door, Red Press, and
our partner distributors overseas.
Get your copy via www.
reddoormagazine.com/shop
010

Den organfrie krop
Du er allerede ovenpå kroppen
Uden organer suser kroppen som et skadedyr
Jeg famler som en blind i lyset
Er du den sindssyge løber?
Vi vil gerne forenes som ørkenrejsende
Er mit liv, nomadens liv?
Vi sover på kroppen uden organer
Vi lever vores vågne liv
Og søger vores plads
---
The body free of organs
You are already above the body
Without organs, the body rushes like a pest
I grope like a blind man in the light
Are you the crazed runner?
We want to unite like desert voyagers
Is my life the nomad’s life?
We sleep on the body without organs
We live our waking lives
And seek our place
Den imperiale Stat
Der foregår en overkodning af befolkningen
Fangeapparatet fængsler
kontrære individer
Er det en maskine af slaver?
For den imperiale stat er intet privat
I udkanten finder vi den befriede slave
I skabelsen af den private krop
Er dissidenten kollektivets outsider?
---
The Imperial State
There is an overcoding of the population
The prison system imprisons
recalcitrant individuals
Is it a machine of slaves?
For the imperial state nothing is private
On the fringes we find the freed slave
In the creation of the private body
Is the dissident the outsider of the collective?
011

WE NEVER SAID THAT
A CONVERSATION, Red Press, 2023
Texts by Nana Anine, Tam
Vibberstoft, Elizabeth Torres
and Sonja Ferdinand.
Workshop facilitated by
Andreas Liebmann, in the
framework of Den Danske
Scenekunstskoles Writing
Specialization, written in
Aarhus 2022.
The formal premise for this
book is a writer’s dialogue,
which has a long tradition in
the creative writing process.
Thinking is different when
thinking together, when
thinking for each other, and
with each other. In this case,
the common threads are the
writers’ experiences with
school, with life in Denmark,
and with the Danish society.
Unfinished thoughts, open
statements, open states.
It is an invitation for you
to think along. An instant
publication. An exercise.
A document of a certain
moment in time.
Coming out in May, 2023
via Red Press.
012

LET’S ROCK!
An art book by Nikolaj Jacobsen, Red Press, 2023
Let’s Rock! by Danish artist Nikolaj
Jacobsen is the first art publication
by this creative being, who uses
fragments of memories from the
parties, concerts and punk scene
of Copenhagen, and colorfully
illustrates them in small square
format, usually available for
viewing only through his instagram
@ nikolajxxjacobsen
Nikolaj is not in it for the fame
nor the money, but because it’s
part of his existence and a way to
immortalize or at least temporarily
capture otherwise futile scenes of
the city’s nightlife, and the stories
they inhabit.
Available as a limited edition from
April.
Reserve your copy via www.
reddoormagazine.com/shop
013

014

LY DE ANGELES
I KNOW WOMEN
When we look into a mirror we seek flaws.
In our faces we see lines or open pores
or dry skin or broken capillaries; we see
a nose too big or too pointed; chins that
sag or bags beneath tired eyes. In body
we see thighs too fat, too droopy, too big;
waists and bottoms that are never right;
wobbly upper arms; love-handles (that they
hide beneath long tee-shirts) – and always
we secretly or fearfully talk about what
we ought to do about it, despairing and
casually embarrassed.
Ask yourself, you who see these things and
sense distress: Why do I see myself so? Ask
yourself whether the secret condemnation
you feel about your physical form is of your
own making?
Don’t you give of your strength and
compassion to the world around you?
You strive to meet the challenges and
responsibilities of merely living from day to
day, don’t you? You suppress the urge to
desert your kids. To have sex with strangers.
Maybe. Sometimes? Don’t you understand
that by simply being alive you make a
difference to the way the world is?
Do you compare yourself to others? Do
you compromise your choices because
someone thinks you’re too something? Do
you yearn to be loved? Honored for your
worth? Respected for no reason other than
that you are fabulously alive? To feel good
about—fill in the dots? To be really liked?
And do you feel that only someone else can
make things better for you? Oh, what lies
we’ve let ourselves believe.
We can be merciless upon ourselves for
not fitting someone else’s idea of what is
acceptably beautiful.
Ask yourself:
Who defines
our concept of
beauty?
015

Someone ask me who defines the concept.
Go on, someone ask me!
I do.
It took me over forty years to be certain that
I understood.
I learned about the truth of things when I
decided to do exactly what I wanted with
my life; when I decided that it’s me who
should like the way I look; when I decided
that I would never lie to myself about my
motives in any matter, no matter what the
repercussions; when I determined never to
have to try to have someone like who I am.
I look at the Earth with her ragged mountains
and her deep gorges; her canyons, her
caves, her forests, her seas and her rivers,
her vast tracts of desert, and my body is that.
I know my moods of thunder and lightning,
intolerable winds, hazy, smoky autumn
evenings, days of grey stillness, hot and
sweaty mid-summer afternoons, and the
times when I’m ice on the water-tank.
I’ve got scars and stretch-marks and
muscles on a tiny woman-body; I’ve got
wrinkles from too much sun or too little
back-up in times of trouble; a mane of hair
that knows no comb – and yes, attitude.
I consider the Earth; I feel her, and we’re the
same. Her mirror. You’re her mirror. Do you
understand? Do you recognize you among
all the people you try to be, for all the others
you try to be someone for?
You see, I’ve worked it out. It’s not what you
do in life that matters, or even who you are,
but that you are – that’s the important thing.
To understand that is to set yourself free to
know that everything that you say and do
is an expression of you that you share with
life itself.
The dirty, sweaty, grunting, sighing,
howling at the moon-ness of women—
LY DE ANGELES—LORE (she/her)
REWILDING CONSCIOUSNESS
Ly de Angeles (Lore) is an elder, healthy
living activist, anarchist, linguistic
anthropologist and psychic, with 18 books
in print, including THE SKELLIG with Red
Door’s own Melaine Knight. She has lived
for 71 human years in December of 2022.
She is mostly known for TAROT. A wildmedicines
practitioner, seer, wordcrafter
and scholar de Angeles is a proud Celto/
Scandinavian knowledge-holder and
practitioner of witchcraft, maintaining
strong genealogical taproots to an Irish
and Breizh ancestry as well as being the
descendant of Albanach/Irish gypsies (na
lucht siúil), the term being considered, by
some, a racial slur. De Angeles, however,
embraces the word used by her father’s
mother, and the women before her.
BACKSTORY
Known by the name LY DE ANGELES,
Lore was a stolen child—trafficked—only
gaining her ancestral identity through
the high courts in Australia as recently as
December, 2020. She is an anti-slavery/
trafficking advocate and a practitioner of
many arts, from tarot to healing, relationship
counselling, writing, strength training to
immersive trance/shamanic-style voyages
into the deep-time lived experience.
De Angeles lives with high functioning,
lifetime, complex PTSD as a result of birth
trauma and is working on a thesis called
Natal Alienation and the effects on those
affected for 5 generations.
SAVAGE, the full workbook associated with
this article and previously published under
a different title, is expanded and made more
relevant as the questions keep rolling in.
Release date, worldwide, February 2nd
2023. Focus: health, nutrition, resistance
training, relationships, sex, taboos, scarlet
women and a touch of witchcraft.
016
FUCKING BEAUTIFUL!

017

Art by Sofia del Carmen Rodriguez Fernandez
Instagram: @sofivolart
018

WE
WANT
YOU!
DID YOU KNOW
THAT WE ALSO HAVE OUR VERY OWN
LITERARY RADIO STATION?
SOUNDSCAPES, POETRY, INTERVIEWS, DJs, THEATER,
PLAYLISTS AND MORE.
WWW.TREMELLARADIO.EU
NOW ACCEPTING RADIO HOSTS:
If you’d like to join us with your show,
write us now:
tremellaradio@gmail.com
019

MICHAEL FAVALA GOLDMAN
THAT DAY ARRIVED
020
The funeral of Knud Sørensen, great
Danish author of more than sixty works
of poetry and prose, was held today, and
the sky cried. It poured, not out of sadness,
I suspect, since Knud was 94, and had
had a life in all respects fully lived. But it
is fitting to mourn the passing of a man
who illuminated many of his brothers and
sisters by the way he held and expressed
himself.
Knud entered my life through his books in
1996, when I was living in Denmark, and
not too far from a library, where I chanced
on his work in the poetry section. I was
immediately struck by his intimacy with
the agricultural way of life and landscape,
the farmers’ experience which he gained
through his daily work as a land surveyor.
Unfortunately, he often was surveying
small family farms which were being sold
for development or impacted in other ways
by industry and society. He communicated
both the dignity and the tragedy of the
farming life in his poems, stories, essays,
and novels.
When I first read Knud’s depictions of small
farms, and their clash with modernization,
I realized that I was a product of this
evolution. The house and the housing
development I grew up in stand on the
land of a previous farm. My hometown
once had 83 farms. There is only one left
today, but there are numerous shopping
centers and tens of thousands of houses.
While still a surveyor, Knud published his
first poetry book in 1965. He went on to help
found an author’s collective publishing
house, Atticus Press, and he was a prolific
book reviewer. He also became an active
mentor of younger Danish writers and a
literary historian. Like a walking museum,
he researched and documented the
important writers from the rural area where
he lived, winning particular notoriety for
his biography of Steen Steensen Blicher.
In a country often dominated by the rich
cultural life in the capital, Copenhagen,
Knud was a tireless advocate for rural art
and culture, serving on the board of the
library and arts council in his hometown,
Nykøbing Mors.
I first met Knud in 2014 in the gardens
and grounds outside the mansion of
Sofienholm, near Copenhagen. They were
holding a gallery show of art accompanied
by poetry, and Knud’s poems were among
them. I was lucky enough to get a free
ticket to the reception from poet Benny
Andersen, who was invited, but not
attending. At the time I was in Denmark
working with Benny on translating his
poems.
I located Knud standing alone outside
the mansion and approached him. I
introduced myself in Danish as a literary
translator working with Benny Andersen. I
told Knud that he was my second favorite
Danish poet, and that I loved his farming
poems especially. I recited a poem that
was a particular favorite, Only the Middle of
May, and he never forgot that. Many years
later he would bring up in conversation
how surprised he was that a stranger from
the US would come up to him and recite a
poem that he could hardly recall himself!
I told him I was interested in translating
his work, and he seemed happy about the
idea.
After a few email exchanges and receiving
a rights permission letter, I set about
selecting from Knud’s poetry a collection
of agricultural themed poems, which
became our first book of translated
poetry, Farming Dreams. It is a thin
volume that packs a historical, poetic
punch. You can read more about it here:
michaelfavalagoldman.com/books/knudsorensen-farming-dreams/

For the past two decades, Knud took daily
walks to the fjord near his home, where
he would sit on a bench and ‘receive’
poems that he felt were waiting for him
there. These walks resulted in collections
of poetry nearly annually for the last
years of his life, many of them conveying
a sense of connection to nature and the
fact of aging and mortality. These poems
I selected from for the 2020 bi-lingual
poetry book, New and Selected Poems of
Knud Sørensen. You can check that out
here: michaelfavalagoldman.com/books/
knud-sorensen-new-and-selected-poems/
Besides these two books, Knud’s
poetry and prose also appeared in such
esteemed pages as The Harvard Review,
The Columbia Review and Rattle.
be King of Sweden. But now I have a book
for sale in the United States.”
It was meaningful for Knud to have a
connection outside of Denmark, and to
have his writing translated. And I think it
has been meaningful for his readers too. I
imagine that other readers, as I have, find in
his writing an awakened sense of valuing
history and of our tenuous and bittersweet
place in nature.
When I learned of Knud’s death, I wrote
the following poem in his honor, and the
poem was read today at his funeral. I hope
you will find in my words a bit of Knud’s
spirit.
Ære være hans minde.
Knud kept careful track of his steps on his
walks, tallying at least 8000 steps each
day into his 90s, with the excess of 8000
steps going towards his ‘bank,’ from which
he carefully withdrew as his walks became
shorter and less frequent. I have often
wondered this past week how there is no
one to receive the poems at the fjord now.
Maybe someday someone new will come
along to take up where Knud left off.
One day I was visiting Knud, and we were
getting ready to go out. It had rained
earlier, and we were on the second floor
of his house. As we were about to leave,
I slipped past Knud to exit first, onto the
little patio, which had quarry tile, as did
the stairs down to the walk. The tile was so
slippery my feet went right out from under
me, and I nonchalantly grabbed the railing
with both hands to keep from sliding down
the stairs. I turned back to Knud without
making a fuss, suggesting that we go
through the door downstairs, since it was a
bit slick. I have often thought back on that
moment as the time I saved Knud’s life.
As Knud’s poems become available in
English, he and I performed together at
his hometown library. It was a lively crowd.
After the readings, an audience member
asked Knud how it felt to be translated.
This was late in his career, when Knud was
88. Knud responded, “My father used to
say, if you keep at it long enough, you can
become King of Sweden. I never wanted to
That Day Arrived
for Knud Sørensen, 1928-2022
We do not come from nowhere.
There was someone here before us
who planted seeds
put down roots
looked at the sky
and tried to predict the future.
It is so easy to forget
or assume
that everything starts now.
We are all that came before,
however shameful and joyful,
which we may never live up to.
The story is indelible,
closer than our fingerprints
we are constantly leaving
on everything,
barely a thought to the future,
so caught up in now,
until redeemed by a story.
Knud was a storyteller.
He knew
when a narrative bears weight.
Knud did not write for himself.
He wrote for the story.
He wrote for the timelessness
in the story
so that we would remember
we are more than just this.
021

KNUD SØRENSEN
Aften
I et langstrakt forløb
trækker solen et stykke mark
hen over sig
og langsomt svinder
det nære lys
som gav os endnu en dag
og som nu efterlader os
dybt under
den stjernebestrøede evighed
deroppe.
Evening
In a drawn out sequence
the sun pulls a section of field
over itself
and slowly the enveloping light
which gave us one more day
and which now abandons us
dissipates
deep below
the star-strewn eternity
up above.
By Knud Sørensen, from Horisonter ©2019
Translated by Michael Favala Goldman
Ved Geddal Enge
På denne varme augustdag
hvor sollyset simrer
dernede i græsset
er nogle køer
vadet ud i fjorden.
Og der står de nu
i vand til bugen
og køler den mælk
som tankvognen
henter i morgen.
At Geddal Meadows
On this hot August day
as the sunlight simmers
down in the grass
some cows have waded
out into the fjord.
And there they stand
in water to their bellies
cooling the milk
which the tanker truck
will pick up tomorrow.
By Knud Sørensen ©2015 from Mere Endnu
Translated by Michael Favala Goldman
Efter halvanden måneds tørke
Ledsaget af tordenfanfarer
regner glæden nu ned over os
og jorden åbner
sine tusinder af tørre munde
så de halvdøde rødder dernede
kan genvinde troen på liv.
After a month and a half of drought
Accompanied by fanfares of thunder
happiness rains now over us
and the earth opens
its thousands of dry mouths
so the half-dead roots below
may regain their belief in life.
022
By Knud Sørensen, from Horisonter ©2019
Translated by Michael Favala Goldman

Drømmen
By Knud Sørensen “Drømmen” ©1972
Translated by Michael Favala Goldman
Jeg vil ha at det skal være enkelt
og let at forstå:
Man begynder med at bearbejde sin jord og bagefter sår
man. Så skinner solen og det regner og solen skinner igen
og en dag er de grønne spirer kommet frem. Så ser man at
spirerne vokser til planter og at planterne vokser og
blomstrer og sætter frø og solen skinner og frøene modnes
og det er tid at høste.
Så høster man. Så tærsker man og nogle af frøene gemmer
man for at så dem næste forår og nogle af frøene gemmer
man for at bruge dem i vinterens løb og resten af frøene
sælger man.
Om vinteren passer man sine dyr.
Sådan lever man til man dør. Alt andet er kun krusninger
på overfladen. Mejerisammenslutninger fabrikker revolutioner
forretningsprocenter kødkvæg kontra mælkekvæg alt det
er uvirkeligt. Det virkelige er jord sol regn og luften
som er varmere om sommeren end om vinteren.
Så enkelt.
The Dream
I want to make it simple
and easy to understand:
You start by preparing your land and afterwards you
sow. Then the sun shines and it rains and the sun shines again
and one day the green shoots come up. So you watch
the shoots grow into plants and the plants grow and
flower and set seed and the sun shines and the seed matures
and it’s time to harvest.
So you harvest. So you thresh and some of the seed you save
for sowing next spring and some of the seed you save
to use during the winter and the rest of the seed
you sell.
Over the winter you take care of your livestock.
In this way you live until you die. Everything else is just ripples
on the surface. Dairy consolidations factories revolutions sales
percentages meat cattle versus milk cows all that is unreal.
What is real is earth sun rain and the air
that is warmer in the summer than in the winter.
So simple.
023

MEANWHILE, IN AUSTRALIA:
HERE’S SOME GEMS!
Amyl And The Sniffers, Adalita,
The Velvet Lovers,
+ Nick cave & Warren Ellis’
Carnage
& a chat with legendary producer
+ honorary Aussie Nick Launay …
Iconic mullet smoking Melbourne pub rock with
punk thrusters!
They like to get sweaty + are unapologetically real.
So here we are Red Doorians… on this 13th day
of December, we are 13 lucky years in + going
stronger than ever.
In this Neon Rebellion I salute Red Door
Magazine as a mage of records, that documents
over a decade of ever changing times + the
artists that shape our culture + inspire us to dare
to be different + authentic, to the calling of our
true natures.
Here’s some of Australia’s latest offerings …
Invite them into your ether …
AMYL + THE SNIFFERS
Comfort To Me LP
Amy Taylor has the qualities of all the outcasts +
punk chics I grew up loving from Wendy O’Williams
(The Plasmatics) to Poly Styrene (Xray Specs) but she
actually reminds me more of a female Bon Scott …
Raw + Aussie with those crazy eyes and crooked
teeth!
She could be Bon + Cherie Currie’s (The Runaways)
bastard child asking for love.
Their latest record Comfort To Me is full of riffs + raw
power. Songs like Hertz + Choices have got the type
of grooves that will start a skank + turn into a mosh pit
in seconds.
Taylor’s lyrics are bloody great!
She thunders through with such honest vigour + her
sense of rhythm + phrasing is right on, begetting to
punk music ...
“... good energy and bad energy
Ive got plenty of energy
It’s my currency ...” (Guided By Angels)
This kind of punk is so familiar to me, it reeks of the
music I loved growing up when I used to go to punk
picnics or sneaking into pubs when I was a young
tacker. There are real moments of it in the rhythm
guitar sound, reminiscent of UK’s Conflict or Crass.
The big difference is AM+TS can really play well + the
record is mixed superbly.
Pal + acclaimed music producer NICK LAUNAY was
at the mixing helm + you can hear it.
He has The Midas Touch.
This record is next level for the genre coming out
of Australia + the band’s growing global success is
testament of that.
024

THE NEON REBEL
I asked Nick to describe the band in 10 words or less
…
“ RAWPOWER, REAL, FERRAL, ONAMISSION,
UNSTOPPABLE, THEFUTURE, INYAFACE,
EDUCATIONAL, INSPIRING, RIDICULOUS.”
I also asked Nick what it was like working with the
band + given his very poignant background with post
punk music, how does AM+TS fit in there …?
‘It’s interesting because they weren’t even born when
Punk happened in 1977, yet the essence of what they
do is exactly the same.
They are simply letting out what they feel 100%
inside, and that’s what Punk was about back then.
Amy is extremely real and honest, which is very
refreshing in the era of “AUTOTUNE”...’
(more from Nick Launay below keep reading ...)
This is balls out rocking music that Amyl + The
Sniffers are known for, backed by their intensity you
feel at live shows.
This record has been allowed to simmer through a
pandemic + come out with some thoughtful lyrics +
more sophisticated guitar slinging than simple power
chords.
This feels like Australia to me … Let’s go ...1-2-3-4!
Dark beauty Adalita, has just released her 3rd solo
record, Inland.
The songs are hauntingly beautiful but with ever
catchy hooks + melodies that get stuck in your
head for days, something Adz is reknowned for.
A Darling of Australia’s rock scene in the 90s
fronting band Magic Dirt, she wrote hits like Plastic
Loveless Letter + Dirty Jeans + the incredible
Vulcanella.
Adalita’s songwriting + the voice is stronger than
ever.
The foundation is a stark landscape of an
emotionally troubled guitar with a yearning vocal.
The opener Private Feeling has a movement
musically + lyrically will take you out of the
mundane + transport you somewhere in your heart
for a while … like a truly good song ought to do.
The whole album has this quality + sits out of time,
on its own, lovely + iconic.
I asked Adalita to describe her new baby in 10
words or less …
“ INLAND is a world within, of vast and vibrating
memories, and slow realisations. It is also born from
the external influences of electric connections,
vanished love and the epic wilds of the Australian
landscape.”… Adalita
If I was to put money on any of the songs, it would
be Equations.
I can hear it as the perfect theme track for a show
with it’s anthemic quality.
My fave tho is Savage Heart.
“I wanted you right from the start …
are you beating for me Savage Heart?”
“Is my body too plain?
Am I unaware, too involved or insane
In a moment too hot for your brow
I’m just one of many for now”
The melody stays with you for days, let alone the
raw honesty of a woman bearing herself, tinged
with the possibility of rejection.
I cant.
And Blue Smoke.
Give me a tremolo any day.
ADALITA - INLAND
Go deep … go Inland...
025

THE VELVET LOVERS - NOCTURNA
After Fires, floods + global pandemics, this writer
finally got her own record out with a fine band of
compadrés. We are The Velvet Lovers.
This record was designed to be listened to like a
cinematic soundtrack + as a complete body of work,
as a painter or other visual artist would produce.
The record has 11 tracks with musical interludes
tying each track together creating a musical narrative.
“We wanted to make a record that was like when we
were kids … An LP. Where you put it on + just listened
from start to finish + pawed over every part of the lyrics
+ photos + immersed yourself in a world for a time…”
The album was recorded over different sessions
between an old farmhouse in Wildes Meadow on
the south coast of NSW in Australia + Legendary Sun
Studios in Memphis USA.
It was pressed to vinyl at Jack White’s Third Man
Pressing in Detroit USA.
It was an honour + a privilege to be able to record at
SUN, to capture the essence of the room + the energy
that it provoked from all the legendary musicians
that had recorded there before us … We got to record
vocals on one of Elvis’ 1940’s ribbon mics he had
used to record in there.
Personally, it doesnt get better than that, I can die
happy now!
AND....
The music has been described as ...
“Dark tremolo with post punk gothic influences
in cinematic soundscapes …”
“It’s like and I mean this in a fabulous way, David
Lynch had a baby with Nick Cave who had a
baby with Patti Smith who had a baby with Elvira
who had a baby with Liza Minnelli” …
Ben Pierpoint (Head A+R Wise Music Aus/NZ)
We wanted to make some music you’d find in
the back of a scene in a Lynchian film where
some band plays in a music box while some
creature from a parallel dimension does a
dance in tapshoes … You can find opening track
Hypnotized on The Twin Peaks Night Times At
The Roadhouse playlist.
The vinyl comes with a handmade art songbook,
made during lockdown. Laid out old stylee +
placed with a blade + glue + a photo printer,
with edits + illustrations done in fine liners. It
was a sheer joy to make + in the strangest of
times. Being able to get lost in this space out of
time just creating was an absolute pleasure + an
artist’s pure freedom.
Nocturna invites you to come dream in that
place for a little while … x
026

LIVE
Gold Coast 10.12.2022
CARNAGE ~ NICK CAVE and WARREN ELLIS
THE NEON REBEL
This show felt like Nick + Warren coming home,
Carnage, the album they made during lockdown
played host to Ghosteen, the Bad Seeds tour
cancelled because of covid times.
The last time I saw Nick + Waz play here in
Australia was in 2019, they were playing their
soundtracks with The Melbourne Symphony
Orchestra, it was a most magnificent moment.
The looks they cast at one another from across
the stage were of elation. They had finally
arrived. All their musical dreams come true.
Seeing them now was so casual, it felt like we
were with them at home. The 2 boys from Victoria
taking the piss out of the Gold Coast … still.
The humour.
The diabolical balanced next to the devastating
beauty is what they do best … Bright Horses into
Night Raid to Carnage + bombing into White
Elephant.
Nick commands the stage like a preacher giving
sermon + these days he gets up close to the
audience taking their hands before returning
them to the piano keys which also feels like a
place he sits now with confidence + ease.
Warren spent a good deal of the show
horizontal on his chair when on violin, he strikes
a mephistophelian pose with abs of steel.
They mostly hurtled through Bad Seeds songs,
which of course were wonderful, there is a magic
however that I really do love most, when its all of
The Bad Seeds playing.
I realised the other nite that Nick Cave is the
artist Ive consistently gone to see live more than
any other in my lifetime, Ive been going to his
shows since I was a teenager. Its been quite a
ride.
And quite an honour to witness his music +
artistry develop from the sweaty mess of black
hair looking like he’s having a seizure shouting
at the heavens to the eloquent pianist in a fine
cut suit whispering to me to “just breathe, just
breathe …”
I do miss seeing the sweaty mess though!
They closed a 2 hour show with the ethereal
Into My Arms ...
I learned recently Nick sang it at Michael
Hutchence’s funeral … pure transcendence.
027

THE NEON REBEL
A FEW MORE WORDS WITH FEELING with
NICK LAUNAY …
Nick Launay, Karen O + Nick Zinner (The Yeah Yeah Yeahs) via launay.com
A long time co-conspirator of Nick Cave
(+ Warren Ellis), Launay has worked on
many records with him producing, mixing +
casting his magic from The Birthday Party to
The Bad Seeds to Grinderman …
He has worked with an endless list of
incredible artists; PIL, Kate Bush, Lou Reed,
The Yeah Yeahs Yeahs, Anna Calvi, Black
Rebel Motorcycle Club, Killing Joke, Talking
Heads, it goes on + on ...
In your wonderful career …
What has been your favourite project
you’ve worked on?
“There are so many, but the one
project that’s on my mind at the
moment is “The Dreaming” by
Kate Bush.
Her Imagination was wild. Every
day would be a new adventure
into a fantasy world. It was like
making a film.”
Nick lived in Australia for many years
bringing up his family + produced such
iconic records as Midnight Oil’s 10-1 + Red
Sails In The Sunset and INXS’ The Swing.
As an honorary Aussie, what other
Australian acts you’ve worked with would
you encourage people to listen to?
“The Models (Pleasure of your Company
LP), The Birthday Party (Release The Bats,)
Grinderman (Grinderman 1 of & 2), Michael
Hutchence (Rooms for the Memory, Dogs In
Space Soundtrack)
Big Pig (Bonk)”
Look them up!!
Nick has an uncanny ear + eye for new
bands coming through + his work on their
records has been able to elevate them.
What do you look for in a new act or project
you like to work with?
028

“The Artists must be singularly passionate
about their music and hellbent on getting
it to the people. Good Memorable Songs.
Charismatic Front person.
The Artist and songs must have the ability
to communicate feelings and emotions
to move people. It’s important that it has
originality and not just repeating things we
have already heard.”
Lately Nick has spread his musical wings
into soundtracks, he just scored the last
season of Peaky Blinders with Anna Calvi.
I asked him is there specific artists or future
work or a project he’d like to do!?
“Rolling Stones, Depeche Mode, Viagra
Boys, Boy Harsher, Gary Numan, Score a
Vampire Movie.”
Whatever we hear coming next from Nick
will be great!
But it involves navigating this new world.
That’s something artists have always lead
the way with.
There’s the common thread that’s drawing
all of us together right here, right now.
The dark night of the soul.
How we endured it, loved in it and
celebrated in it, is the music that sways in
the breeze like lotuses growing out of the
mud.
All the music is available on streaming
+ digital platfroms + bandcamp for vinyl
lovers.
Enjoy x
029

IN THE EYES OF THE BEHOLDER
030

Illustrations by Martin Andersen
www.facebook.com/tuschmartin
www.instagram.com/skyggelaegger/
031

POETRY
Sun’s apparition
Giants and rain –
Light begetting yellows matched with white-forgotten greys –
Joy dies and by the pale revenant moves
And makes the door of me as nothing more
Than its retelling has nature beyond
Entertain most pleased and most pitiful
Memories – my own chiasm with the world –
Above, possession, sun’s apparition,
And day was delineated in the dark divide –
Wings, their shadows mark the sounds of sunset –
The final uniped, walking upright
At last on the surface of the star – blood
Unbound by brine or breath, viscera razed,
Wholly exaggerated jaws hang themselves open
By vestigial thews – humanity
Rattles our rows of articulations
In dead applause, bones scattering across all the worlds
Possible – yet I only view this as
Reflected, and the moon becomes a puddle broken
Under my foot.
Sun’s apparition by Alex Van Huynh
Dr. Alex Van Huynh received his Ph.D. in Biology
from Lehigh University and is currently an assistant
professor of biology at DeSales University. His poetry
can be found in multiple literary journals.
Right: It was an Eureka Moment by Rose Menyon Heflin
032
Originally from rural, southern Kentucky, Rose Menyon Heflin is
a writer and artist living in Madison, Wisconsin.

033

034
POETRY

Year of the Would-Be GOAT
Are you that desperate for meaning
that you search for it in the absence of birdsong
the change in traffic lights
locker and page numbers
the time being told by the clock?
Are you that desperate that you put two
and two together, when they never wanted to mesh?
That the lines separating the tiles might prophesize death?
That you think maybe someone will die if you don’t hold
your breath?
Why has meaning left you? Whatever do you mean?
What do you even mean? Be still, be still, until you can answer that question.
You’ll split hairs between the world
and yourself, trying to answer that question.
You’ll split hairs between fallen
and fell, trying to answer that question.
You’ll slip heirs as the brush to the comb, trying to
answer that question? The sleeve and the mango; the samba, the tango,
the tail-end of tales from the telltale end.
You’ll split hairs between white and
Eggshell and black, the mirror and yourself, the soul and the act,
the pit and the well, the well and the pit, and well oh well.
Stop splitting hairs between here and there. Stop
splitting hares between bunnies and rabbits. Just
stop splitting altogether. Soda, soda, soda; that’s it.
Stop splitting heirs between ruined and damaged,
Soda and pop, stop.
Stop splitting hairs because others do not.
Left: Oracle by Rey Fairburn
Year of the Would-Be GOAT by Beatriz Seelaender
Beatriz Seelaender is a Brazilian author from São
Paulo. Her fiction has appeared in Cagibi, AZURE,
Psychopomp, among many others, and essays can
be found at websites such as The Collapsar and
Sterling Clack Clack, where she acts as Creative
Nonfiction editor. Her novellas, upcoming in 2022,
have earned her both the Sandy Run and the
Bottom Drawer Prizes. Seelaender’s poetry has been
published by Inflections Magazine, VERSON [9], etc.
“Canon Familiaris”, a chapbook in which she turns
canonical poems into poems about her shih tzu, Uli,
will be released by Really Serious Literature in 2023.
Rey Fairburn is a queer, neurodivergent
poet and artist. She has been published by
Lupercalia Press, Fauxmoir, and Plants and
Poetry Journal. You can find more of their work on
Instagram @reysenchantments
035

MUSIC FEATURE BY OLENA POHONCHENKOVA
Fighting a colonial war means rethinking the
past and reorganizing ties within the present.
For a long time, one could even say for the
time of its existence, Ukrainian music has been
kept in the shadows of its Eastern European
counterparts, all mixed up in western optics.
This optics alongside the post-Soviet colonial
narrative about ‘brotherly cultures’ where the
‘elder brother’ is highbrow, knowledgeable
and deep while the ‘younger one’ is a funny
and awkward ‘simple folk,’ always a few steps
behind, has distorted the image of Ukrainian
culture not just from the outside but also from
within.
Ukraine is not a country of distinct music
taste: the roots of unfussy listening habits
can be traced back to overall social apathy
and the lack of a fully functional civil society
typical for post-totalitarian countries. The
problem gained the most resonance after the
full-scale invasion when Russian musicians
(and not even the good ones) kept their
high positions in Ukrainian streaming charts.
The fact proved that ‘not really thinking’
about such things equals colonial thinking.
Although the awareness of an average
Ukrainian listener is growing day by day, the
problem goes deeper than that. I’ll bring out a
few problematic areas, each of them a starting
point for rethinking the big picture.
For many Ukrainians, making music goes
hand in hand with the search for their identity.
Unfortunately, they usually stick to an easy
way of finding one by incorporating the
decorative elements of Ukrainian folk music
into their sound. The tendency goes back to
post-Great Purge times when after a decade
of Stalinist terror, the social strata of artists,
cultural actors and intellectuals of soviet
Ukraine was completely wiped out, once
vibrant Ukrainian culture reduced to ‘safe’
folk art. As a result, for many years (2022 is not
an exception), we’ve had all these Eurovision
contestants in embroidered costumes and
flutes in the song mix. But the superficial
folkiness goes beyond export acts. Musicians
that come from the more underground, ‘artsy’
scene use this very means of self-exoticization
either as the ‘perk’ of their sound or as a way
to cater to an audience that’s been mingling in
the pot of colonial forgetfulness and cultural
ignorance for decades.
Another issue is one of specific genre clicheés
that many countries in the region have shared
since the Soviet era. Those are especially
strong in rock and synth music, since its
Eastern European blueprints were set in the
shared Soviet past, namely during the time
of perestroika. Since then many Ukrainian
musicians embraced the cold monotonous
sound with a distinct bassline, preferably with
lyrics sung in Russian, probably the stiffest of
the Slavic languages. With the 2000s postpunk
revival and minimal synth coming into
fashion, this kind of music got another reboot,
and although there are genuine synth-based
acts, and many post-punk artists switched
to Ukrainian language after horrible Russian
war crimes, the problem of Russian imperial
legacy is much more complex than that of a
shared language. Even the scene that started
out as underground and anti-establishment
embraces the model of colonial dependency
that affects its sound and songwriting
decisions.
Issue number 3 might very well be
the one shared by many economically
underdeveloped post-colonial countries
that look up to the west in search of creative
solutions. Many indie musicians (the term
used broadly) get a little bit more attention
and sell more tickets to their shows by simply
being secondary.
036

WHY YOU DON’T KNOW A THING
ABOUT UKRANIAN MUSIC
People are used to the sound of Radiohead
and Arctic Monkeys, and those bands don’t
come to Ukraine that often (and even if they
do, they only play in Kyiv), so why not make
something similar but worse? Music of this
kind rarely makes it beyond Ukraine and says
nothing to Ukrainians about themselves,
nothing good at least.
These are just a few obstacles for Ukrainian
music to fully embrace all its capabilities
that, alongside postcolonial amnesia and the
overall obscurity of the European East, make
your chances to come across worthy Ukrainian
music little to none. Within the country, there’s
a bunch of small underground communities,
each with genuine musical thinking, that
have very little connection to one another and
no context to hold on to when reaching out
to a wider audience. The situation, however,
started to change in the past few years, and
with all eyes on Ukraine now, lots of great
Ukrainian music gets the chance to be heard
while the country’s colonial ties are breaking
up for good. Problems posed here require
more than one person and a lot of time and
effort to be solved. However, Ukrainian
communal action which has already proved
effective in this war can work just as well in
the realm of culture. This is my small part of
the fight.
037

A FEW UKRAINIAN RELEASES
TO GET YOU STARTED:
Heinali - Madrigals (2020) [Injazero
Records]
Medieval polyphony created with the help
of modular synthesizer and 17th century
instruments.
mandarinaduck - Garden Souls (2015)
[self-released]
Best record of Ukrainian shoegaze/jangle
pop/any indie rock related tag.
Chillera - SCHAX (2017) [Muscut]
Laid back sound of Ukrainian south, dubby
and wavy yet precise.
Kurl - Fickle (2022) [self-released]
Psychedelic pop that’s a little haunted and
also a bit of a joke. That’s my band, so can’t
be bad.
Bio:
Olena Pohonchenkova is a Ukrainian music
writer, blogger and concert goer. She also
sings and writes some lyrics for the band
Kurl. She is currently taking part in SWAN
emergency artist residency in Jönköping,
Sweden.
038

039

ART FEATURE
JESSA DUPUIS
Jessa Dupuis is an emerging
collage and mixed media artist living
and working on Vancouver Island,
Canada.
Originally trained as a designer and
illustrator at MacEwan University,
Jessa has spent 17 years dedicated
to client-driven design and
illustration projects.
She has recently shifted her focus
to furthering her creative practice in
collage and mixed media.
Statement
My process when creating art is
playful, organic and therapeutic. I
challenge myself to look carefully and
pull beauty and hidden meaning out
of the seemingly ordinary, letting the
piece evolve as I go. My work often
merges art and design, abstraction
and order, truth and fiction. My
intention is to create art that allows
people a moment to step into the
piece and laugh, cry, wonder, and
connect their own narrative to my
visual storytelling.
040

Art by Jessa Dupuis
041

042 Art by Jessa Dupuis

043

044

Art by Jessa Dupuis
045

THE POETIC PHONOTHEQUE PRESENTS:
NATURE & CULTURE
INTERNATIONAL
POETRY FILM
FESTIVAL
The 2nd edition of Nature & Culture -
International Poetry Film Festival, took place
this November in Copenhagen at Husets
Biograf, accompanied by an online edition
which screened for over a week, giving free
access to more than 100 films of various
genre to an international audience.
This year’s festival theme was First Nations
and Indigenous Representation, which
saw over 600 films in the categories
of documentary, short film, animation,
experimental and poetry films, plus a curated
selection from Kultivera’s Tranås at the
Fringe, as well as from Trafika Europe Radio.
The poster for this year’s festival was
designed by Danish artist Hunter Berg, and
we counted with the participation of the
poet Pablo Saborío for the closing of our
festival, as well as with the participation of
students from København Universitet who
had recently participated in our multimedia
poetry masterclass.
In the following pages you will find the
newest additions of poetry short films
to the permanent archive of the Poetic
Phonotheque, which you can enjoy ad-free
by visiting our website, without any log-in
requirements. Feel free to share with your
fellow poetry fiends.
The open call for this year’s festival is already
open, with ORGANISMS & STRUCTURES as
the main theme. Send your short films!
046
WWW.POETICPHONOTHEQUE.COM

SOLO DUET, by Janet Lees, UK
A poetry film exploring our yearning for
connection with each other and with the
earth, and our paradoxical longing for perfect,
fearless aloneness
ASK THE WATER, by Laura Hirch, Germany
An eco-feminist poetry film by independent
filmmaker Laura Hirch and artists & poet Joanna
Hruby that address the ecologically and
culturally damaging effects of mass tourism
and globalisation on the island of Ibiza.
WATER by Diana Taylor, UK
A futuristic view of the world. A poem which
relates to the vanishing environment a
poignant reflection on society.
WOVEN WORDS, by Jeffrey Morin, US
A crossing of words universal and my own
from mood and emotional discourse. All
woven together as day and night and years
that have now gone.
LISTEN TO THE WATER by Zoey Roy, Canada
A poem about breaking ground.
SENTENCES by Cia Rinne, Germany
Sentences is based on sentences from the
book with the same title by Cia Rinne. In sentences,
it is the sentence as a linguistic unit
itself that reflects on its purpose and position.
047

PENN-AR-BED by Emma Ramsay-Tanniou , FR
Based on the loss of culture that comes with
the loss of language. Focusing on the insular
Celtic language Breton, the work is a reflection
of the deprivation of heritage that happens
when an orally transmitted culture is heavily
discouraged, almost to the point of extinction.
PROJECT HAZMATIC: Score For Body As
Cautionary Tale
by Willa Carroll, United States
Eco-ritual and apocalyptic pilgrimage, “Project
Hazmatic: Score for Body as Cautionary
Tale” follows an array of wayfarers through
endangered landscapes.
OF WEL / OR WILL IT
By Marc Neys, Belgium
Video for the poem ‘Of wel’ by Marleen de
Crée
A SPARK CATCHES, by Natalia Gaia, Mexico
Excerpts from Jade Lascelles’s book The
Inevitable. Shot in Boulder, Colorado and
Mexico City, the film’s visuals and narration
juxtapose certain dichotomies familiar in our
lives.
PRESERVES BY B.Rich, United States.
A poetic journey into an Ecuadorian rainforest
that contains some of the greatest biodiversity
on Earth, two uncontacted tribes living in voluntary
isolation and 850 million barrels of oil
that will ultimately determine its future.
REBIRTH OF VENUS
By Robin Noorda, Netherlands
a short arthouse film realised in stop-motion
animation.
This experimental film is based on a poem by
Noorda about inequality and oppression.
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TRANSPARENCY OF THE SOLE
By Diek Grobler, South Africa
A poetry-film about adaptation for the sake of
survival. The poet uses the Sole (flatfish) as a
metaphor: The fish transforms into a grotesque
distortion of fish in order to survive.
AWAKEN, by Rosie O’Regan, Paul Casey,
Ireland
Awaken imagines what nature might say with
a human voice. It is both a love letter and a
rebuke.
THE SNAPSHOT OF SUMMER
By Vladimir Mihaylov, Bulgaria
Poetry short film based on the poem with the
same title, from the book of poems Brick Lane:
Sunday. Poem translated into English with
subtitles.
POSTCARD: GREETINGS FROM LAKE
SUPERIOR
By Patricia Killele, United States
Video Poem exploring ecological crisis in the
Great Lakes region of the United States.This
picture of Lake Superior is very different from
what appears in beautiful travel postcards.
EVACUATE by Gaele Sobott, Australia
This charred dusk
this forest of
blackened
desecration
a poetic animation after the fires
SOFT GROUND by Indigo Eli, Australia
Soft ground explores the senses and sensation
of walking on this leaf littered Earth; the
immediate impression underfoot and the
gravity placing these footsteps upon our planet.
049

LIKE THE AIR by Marilyn Freeman, US
Blending poetry and nonfiction media art, Like
the Air is a spacious meditation on love, loss,
reflection and resiliency.
LIGHTWAVES SOUNDWAVES
by Dwayne Jahn, Germany
A collection of wholesome ideas inscribed on
the video images of original handmade abstract
artworks. Soundtrack by Oxford Improviser
Lawrence Casserley with water sounds,
rainsticks and his signal processor instrument.
WALK OF COURAGE
By Johannes Paul Olszewski Germany
Walk of Courage is a dynamic and
atmospheric portrait of the bustling city of
New Delhi, its people, and its history.
FAIRY TALE by Alfio Leotta, Kathleen Kuehn,
New Zealand.
A Poem by Katherine Mansfield
ARROGANCE
By Tova Beck-Friedman, United States
An environmental video-poem touching on
climate change.
I NEED THE SEA by John David Simboli, US
Shifting patterns of ocean light and waves open
the mind’s eye to meditation and exhilaration.
050

LOST ARAB by Carine Koleilat, UK
Whether it is the unsettled feeling of
belonging, the devastation after 4th of August
2020 Beirut port explosion, or gender identity
and queerness, this visual poetry is a snapshot
depiction of the struggles and pains that queer
Lebanese go through. Adapted from Omar J
Saker’s book “The Lost Arabs”,
ON A STORMY DAY
By Gil Zablodovsky, Israel
In the depths of the biography Lali is exposed
to the roots of her obsessive wanderings in the
world.
OLUJA by Nikola Zivkovic, Serbia
Feelings of the common man in the foreground
many years after the military operation Storm,
are revived here. Without intending to point
a finger at any of the warring parties, this film
stands as a memorial to an event that should
never be repeated anywhere.
SAME DIFFERENT by Nesindano “Ques”
Namises, María Cecilia Reyes - Namibia
A rare encounter between the Khoekhoegowab
language and a still camera, together with the
sounds of the bow and the forest, along with
the sun, the wind, and the spirit of the poet
herself.
I AM HYDRA by Thale Blix Fastvold, Norway
A hydrofeminist spell to end the petrocapitalist
age. The film is shot in Norway and Denmark,
its opening scene is from Skagen where two
oceans meet (the Northern Sea and the Baltic
Sea).
LONELINESS
Vladimíra Hradecka, Slovakia
This short film explores loneliness through the
lens of dance.
The texts are based on the experiences of
people living in the city.
051

A CERTAIN SLANT OF LIGHT
By Susan McCann, United States
Leaves, shadows, and landscape reveal the
words of Emily Dickinson’s poem, “There’s a
certain Slant of light”, accompanied by the
notes of Schoenberg and sounds of a winter
garden.
IMMIGRANTS OPEN SHOPS
By Pat Boran, Ireland
Despite the fears of some, immigration brings
many benefits to society, introducing new
energy, new talent, and new perspectives, and
adding to our shared understanding of the
world and what it means to be human.
GOING TO PASARGADA
By Ingrid Gans, Germany
Per stop motion animated poetry film -
minimalistic, associative - based on the poem
by Odile Kennel ‘going to Pasárgada’.
DAMHSA AN DORCHADAS / DANCING THE
DARKNESS
By Irene Tanner, Ireland
This meditative poetry film explores the theme
of humanity’s oneness with the natural world.
MADEIRA FROM THE SEA by Julian Weinert,
Franziska Simon Germany
The poem short film “Madeira from the sea”
adapts the poem of the same name by Pulitzer
Prize-winning American poet Sara Teasdale. It
reflects the source material’s combination of
nature poetry and impressionism.
THE HAUNTED PALACE BY Roberto
Vallilengua, Austria.
We wander through a postindustrial, forgotten
realm, trying to revive better days. With every
phrase It becomes clearer, that the golden age
is over. All there is left is an empty, dystopian
world.
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Enjoy these and more than 100 other poetry films from all over the world at
www.poeticphonotheque.com or submit your voice to our collection!

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The Red Door
Network:
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 way, 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.
-An independent print project called Red
Press, which focuses on the publication
of poetry (and illustration) in translation.
Bilingual books, handmade, limited
edition books.
-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:
www.reddoormagazine.com/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
collaboration.
Kultivera 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.
Write4Word 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 multilingual
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.
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.
IMMART works for the activation and
inclusion of linguistically and culturally
differentiated artists.
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There are beautiful things happening
due to the collaborations, partnerships,
ideas and new projects that arise from the
conversations started in these pages and
through the other Red Door initiatives,
such as the podcast, which has already
celebrated over 70 interviews, or the
phonotheque, which counts with the
voices of over 500 poets around the world...
all of this, including the digital version of
the magazine, are free to ensure access to
information wherever you are in the planet.
However, these projects are indeed time
consuming and not free, especially since
it is necessary to pay to remove the ads
so that you are not distracted and can
have a fully immersive artistic experience
when enjoying this magazine and the
RED DOOR website. There’s costs for
hosting and printing and domains and
publishing... and for now, ONE certain way
to show your support directly: 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?
www.patreon.com/madamneverstop
Eternal gratitude to the current patrons
of this magazine: Nanda Arias, Maria
Jose Nielsen, Andreas Frostholm, Malene
Boeck Thorborg, Dharma Agustina Padron,
Dominic Williams, Juan Pablo Salas,
Michael Favala Goldman, Ulla Hansen,
Sergio Guzman, Jaider Torres, Melissa
Albers, Melanie Perry, Juana M. Ramos,
David S.Miller, Crox Pow, Doktor Hansen,
Valeria Schapira, and you,
who are reading this.
Love and poetry always,
Madam Neverstop
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THANK YOU FOR 13 YEARS
OF RED DOOR MAGAZINE!
056
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