Red Door 22

SPRING 2020 

22 

R E D D O O R 

The MEDIA issue 

ISSUE # 22 - MEDIA 

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R E D 

D O O R 

ISSUE # 22 SPRING 2020 

This 22nd issue has been compiled in our current physical confinements... ahem, locations in 

Copenhagen, Denmark, with collaborations from Australia, New York and various other areas of the 

US, Canada, Spain, Serbia, England, and various other locations in Europe, during and in spite of 

the pandemic lockdown of 2020. 

Thank you for having us. 

www.reddoormagazine.com 


With the participation of: Andrej Konopek (Serbia), J.Edward Keyes (US), Deborah 

Alma (England), Melaine Knight (Australia), Frank Bergsten and the team at Kultivera 

(Sweden), Brandon Davis (Spain), and the following participants of the Poetic Phonotheque: 

Gary Barwin (Canada), Peter Nyberg (Sweden), Julia Lankl (Austria), Pablo Saborio 

(Denmark), Volker Regner (Germany), Mel Perry (Wales). 

Special thanks to David S. Miller, Samuel J Perkins, Melissa Albers, Anders O. Hansen, Uffe Lorenzen, Tamar 

Tkabladze & Jaider Torres, Dharma Agustina Padrón Daly, Camila Upegui, Vale Bechard, Myre Knudsen and 

Valeria Schapira, the first to say yes to the Patreon call and give a hand to this magazine, the podcast, the phonotheque, 

and all the poetic endeavors connected to the name of Red Door. GRACIAS! 

If you’d like to give a contribution, please consider joining them at patreon.com/madamneverstop 

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www.reddoormagazine.com

ISSUE # 22: MEDIA 

Editor in Chief, MADHATTER, 

Design & Art Director: 

Elizabeth Torres (Madam Neverstop), 

Denmark 

THE LOCKDOWN ISSUE 

RED DOOR 

MAGAZINE 

Since 2009 

On this issue, Red Door Magazine is 

pleased to announce a new collaboration 

with Kultivera, a cultural organization 

based in Tranås, Sweden, 

which organizes various residency 

programs, a fringe festival, publications 

and other worldthreading projects. 

Learn more about kultivera here: 

www.kultivera.nu/ 

EDITORIAL: Where do we go now? . . . . . . . . . 4 - 5 

FEATURED ARTIST: Andrej Konopek . . . . . . 6 - 15 

CUTTING THROUGH THE NOISE: 

A conversation with Bandcamp’s 

Editorial Director 

J. Edward Keyes . . . . . . . . . . . . . . . . . . . . . . . . . 16 - 17 

KULTIVERA: Language / Art Collaboration 

Interview with Dominic Williams 

by Frank Bergsten . . . . . . . . . . . . . . . . . . . . . . . 18 - 23 

A SPECIAL REQUEST: 

Supporting Red Door 

via the Patreon Platform. . . . . . . . . . . . . . . . . .24 - 27 

RED TRANSMISSIONS PODCAST: 

Deborah Alma, 

The Emergency Poet 

& the Poetry Pharmacy. . . . . . . . . . . . . . . . . . . 28 - 29 

Cover art and featured art by 

Andrej Konopek 

Magazine designed on InDesign and 

Illustrated digitally by Eli 

www.madamneverstop.com 

Fonts: Aileron for text, 

Aktiv Grotesk for subtitles and titles 

HEX code: 008080 teal 

Tiffany light teal: 81D8d0 

NEON REBELLION: 

Houston, we have a problem . . . . . . . . . . . . .30 - 35 

BRANDON DAVIS: 

We are controlled by the media. . . . . . . . . . 36 - 37 

Introducing THE POETIC PHONOTHEQUE 

and a selection of poems 

from 6 artists participating 

in this project. . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 - 45 

10...9....8...7...6...5...4...3...2...1 


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WHERE DO WE GO NOW? 

(and other unanswered questions) 

EDITORIAL 

The way that we send and receive information 

is more important than the message 

itself. That’s the whole idea behind consumerist 

media. It’s what all of us who studied 

communications, media studies and journalism 

were taught, when trying to memorize 

the key points needed to properly deliver a 

message... the “secret sauce” that has built 

marketing giants and brought endless success 

to companies with simple products and 

big budgets. 

As we evolve into this “future” that we discussed 

in the previous issue, or as the future 

“evolves and dissolves” in us as it catches 

us completely by surprise, like a wave of unknown 

particles overtaking our planet and 

forcing us to remain home in our pajamas, 

one thing becomes strenuously clear: 

Where once the interaction and exchange 

between the messenger and the receiver allowed 

for a message, whether or not important, 

to be delivered unmodified, the way our 

communication style evolves (mainly on a 

digital scale), mimics a sort of overlapping 

television screens with unsynchronized news 

channels and cartoons playing endlessly 

and intertwinning into one another until all 

we hear, if we focus on the mumbled, tangled, 

fuzzed hum, is a combination of a newscast 

comedy and a commercial telethon. 

We did this to ourselves. We continue to do 

so every single day as we read headlines, 

scroll over, memorize half a concept, like a 

meme, share a GIF, and then enter into a discussion 

of politics that could win or lose us 

some likes, depending on how bored we are. 

It isn’t that those who ran away from Social 

Media are free, because we “share” openly 

offline, and spread and spread our misinformation, 

yes, like a virus, Burroughs said it before, 

our language being the virus that contaminates 

it all. We don’t do this intentionally 

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and we do not do this on our own, but we do 

it at a remarkable speed from our phones and 

computers, and it has now been proven that 

there’s companies who enjoy this chaos and 

benefit from it, organizations who profit from 

disinformation and who will happily add to 

the fire with fake videos, fake profiles, entire 

campaigns against a town, a country, an individual, 

or any law, concept or freedom, if the 

price is right. 

I am aware of how easy these lines can sound 

like the introduction of a paranoid sci-fi, but I 

speak to you from the most honest of places, 

trying to understand what we have done. 

On his book, the Medium is the Massage, 

Marshall Mc Luhan predicted it: “Electrical 

information devices for universal, tyrannical 

womb-to-tomb surveillance are causing a 

very serious dilemma between our claim to 

privacy and the community’s need to know”. 

Now we learn that during plague time, there 

really is such a thing as information overload, 

and I wonder of the consequences of covid19 

in our psyche - the remnants of trauma, boredom, 

anxiety, over-stimulation, uncertainty 

- and how these will reflect in the way our society 

evolves in the near future. During this 

waiting time, grief might have completely 

shut down your creative interests, or your current 

situations might not be prone to visits of 

inspired ideas at late-night hours. Our entire 

world is shifting, and whether we like it or not, 

we too are morphing. 

But if you remember anything from this message, 

I want you to remember this: 

The disconnection of what we say and how 

we say it can also be an art statement, 

a performance, a manifesto. 

Every action and every movement, every 

word and every role is as essential to this universe 

for it is part of a composition.

“It is impossible to understand 

social and cultural changes, 

without a knowledge of the 

workings of media.” 

-Marshall Mc Luhan, author of The Medium is the Massage. 

Choosing MEDIA as a subject for issue #22 of Red Door was 

a decision made before lockdown times, but as in the past, I 

think this subject is incredibly relevant especially now where 

we are connected 24-7 to our electronic devices. I am curious 

about the art, poetry, music and film that will be brought to life 

after the chaos settles, and I am curious as to what that looks 

like for our daily realities... but I have stopped asking “how long 

for?” because I am not sure I personally understand the global 

scope of what is happening. 

Instead, I take turns creating in circles, like a ritual of repetition 

which is what my brain does most naturally when uncertain. 

Please understand the levels of discomfort in which this issue of the magazine was born, not just 

individually but by everyone involved either as a correspondent, an interviewee, a featured artist, 

and even a reader. All of us in perfect discomfort morphing as we give a little of us to this magazine, 

to this new day, to a brave new world. In circles, like a ritual of rebirth. Why not, right? 

When the leaders of countries behave like mediocre salesmen and unforgiving gossip columns 

feeding us lies on a screen while we wait for the cure to THAT virus, it is up to us, the people, to discern 

not just the truth from the noise, but also the path to move forward from THIS virus of contaminated 

language - a how to sharpen the signal so we can actually understand what we are saying 

- even if it seems unimportant. 

While everyone works hard to broadcast and livestream their views, trying to show to the rest of 

their network that they are utterly normal, we can set out as explorers of a new world, leaving everything 

we’ve ever known behind, including our most automated digital tendencies, on assignment 

to rewrite the report of what this period’s humanity leaves behind for the rest of the human species. 

And by exploring I am not encouraging you to leave the house before it’s safe, I am only implying 

that there is more we can do, and other ways we can come closer as a community. 

As Mc Luhan predicted in 1967, we are now an interconnected, interactive, global village. The real 

question is, what role do you play in this village? And how good are you at speaking the language 

of your people? What do the say? Where do we go now? 

My gratitude to everyone involved in this issue of the magazine, and to you, for your time here. 

Madam Neverstop. 

p.s: The revolution will not be livestreamed. 


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FEATURED ARTIST 

ANDREJ 

KONOPEK 

Originally from Belgrade, Serbia, Konopek’s signature style is a contrasting 

dance of elongated figures illustrated on Bacon-esque backrounds, 

“making poetry through ink, like blood on a drawing” says the artist. 

In the following pages, an interview about the featured artist’s creative 

process, projects and vision, as well as a selection of his work. 

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What got you into making art? When did you start? 

So I can say that at the beginning it was for sure not the thought of making art… it was 

some strange joy of creating anything, like a kid’s feeling: some kind of revealing secret, 

something that I could not understand. 

There was meaning behind making things, not just drawing, every time I was making 

something from a piece of wood or some stone or mud, I had that feeling of closeness, 

that I reached at some strong point, which I sincerely do not understand even 

now after all these years… But it kept me going and pulled me into discovering the 

ways of looking and transforming, ways of understanding, its a kind of school I can 

say in wich I am my own pupil and teacher. 

What would you say are the benefits of art creation / and in your personal life, 

what have been the positive aspects of a life as an artist? 

Well, benefits probably are that I am constantly involved in my mind process, it’s quite 

restless to be honest, but benefits for me are in a form of awareness. 

Still I dont want to be at the same time too present, it has to be on both sides of the 

line, in this world and over the edge, and then what impression your rational mind 

draws on this side. 

Maybe its like a prayer, energy focused and channeled to be as true as possible. 

Would you tell us some milestones in your career? 

Certainly, academy was a good cooking point by meaning of dedicated working all 

day long. I could really tell that the more one is working, the closer one is to that center 

spot of existence, and here is why: 

Because the more you work you become more able to pass the line behind the 

mind-chattering. 

Another big step was the birth of my kids, when one becomes a parent, 

it requires a new process, a new discipline. 

What do you aspire to achieve with your work? 

I am trying to be as near as possible to the juices of life, (energy forces?) talk to them… 

it’s making me more alive, to learn from these processes. 

What do the characters in your work represent? 

The characters are mostly reflections of seen and rendered reality, to wich I attach 

some poetic position. Also, they serve the function of corresponding to all parts of the 

work, creating a visual engine. 


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Tell us about your artistic process. What materials do you use, how long does it 

take you, and if you have any “rituals” you follow throughout the making of an 

art piece 

Process is offten that there is no process, that is where I am arriving to. 

I want to be as dettached to what has already been done as possible, but there is 

always the same line to which it is all stringed together. 

I work in circles with materials, also in layers, for me it is important to keep that fresh 

feeling of working, not to be sleepy. A dynamic process is important, think that in 

that manner impressions are transferred more strongly and truely. 

I rarely sit when I work, most of the time I am standing, luckily I have a desk that I can 

lift, which is good for my back. 

My process involves using lots of ink, drawing with pens, combining oil colors with 

dilluters also, as well as often oil with water-based colors, these two are not simillar 

ir compatible, but in that way I get some new visuals wich arouse and stimulate new 

stories and open new worlds for fresh works. 

Music is important. 

I am always listening music when working, I have the feeling that I am some instrument 

and the music is the musician, music is vibrating strings inside me, by that 

vibration I transfer seen reality. 

What advice would you give to people trying to make it in the 

art world? 

Light is the most important thing. 

A lot of work and patience is key, right opportunities will arrive for sure. I can say that 

if you want to make it you will, there is no ”fail”. 

Andrej’s artwork is featured on the front and back covers of this 

magazine, as well as on the following pages. 

Follow his work at: 

instagram.com/konopek_andrej.art/ 

facebook.com/andrej.konopek 


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Around fire / all of weight 

Deserted by everything 

Man and his snow. 

Snow is black, deep vastness. 

The ability of light is spirit. 

It does not illuminate existence, 

It makes a man capable for himself. 

Darkness frees the light, 

and men are their mountains, 

their tops are symbols of the heart. 

-Andrej Konopek. 

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CUTTING THROUGH 

THE NOISE 

INTERVIEW WITH J. EDWARD KEYES - BANDCAMP’S EDITORIAL DIRECTOR 

By Madam Neverstop 

On a regular day, over 200 albums arrive to 

J. Edward Keyes, pitching to be included in the 

popular Bandcamp Daily, an online music publication, 

which offers articles about artists on 

the platform, such as essential releases, lists, 

features and other editorial content. J. Edward 

Keyes shares with us what it’s like to be the Editorial 

Director of Bandcamp, his background, 

writing advice, and even predictions for the industry. 

Originally from Long Island, J moved to Philly 

when he got started writing and began acquiring 

the experience that led him to a life in New 

York playing an influential role in today’s music. 

When asked about his choice of combining 

Journalism and Music, J shares his past as part 

of an Evangelical/Christian home and community, 

studying to be a pastor and attending 

Bible College, and soon after realizing that his 

involvement in the documentation of Christian 

Punk, Rock and Alternative scene was more to 

his interest. 

J mentiones politcal, far-left bands with philosophies 

that led him to make his own zine, interviewing 

artists and doing album reviews. It was 

probably the free boxes of CDs, he jokes, that 

led him to pursue a career in music journalism. 

Soon after J had developed a very varied portfolio 

and began writing for the Philadolphia Weekly, 

and much later, as his background expanded, 

(and while doing other side jobs, including 

being a librarian), J finally was able to have a 

fulltime career writing for media such as Pitchfork, 

the Village Voice, Vice and Rolling Stone. 

When asked about Musical influences, as well 

as books or characters who inspired him as he 

built his career, J mentions two key influences. 

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A book titled “Lipstick Traces: A Secret History 

of the 20th Century” by Greil Marcus , as well as 

reading the critic Ann Powers, who at the time 

was writing for the NY Times, both who linked 

history, philosophy, contemporary happenings 

and politics to their writing about music, in a 

more connected style that felt real for him. 

Agreeing with the theory that music is one of 

the arts that is best left open for interpretation 

rather than presented as a canned-feeling that 

already is served explained to people, we move 

on to talking about Bandcamp and the relationship 

of artists with the now popular platform, as 

well as the new opportunities in the digital music 

industry. But we also discuss how to properly 

pitch one’s own music to the media: 

“Too often, foks try to chase down an album as 

if it were a specific mystery that needs unraveling, 

while being unable to support it with text 

when pitching it, making it difficult for people 

to be able to relate to how they promote their 

music.” 

In the past, he continues explaining, renown artists 

such as David Bowie and Patti Smith, among 

many others, achieved their mainstream success 

in part because all had connections and advantages 

that allowed them to promote their music, 

but now digital platforms give opportunities to 

folks who did not have such a chance before. 

As an example, J mentions Spelling, who put 

up her bandcamp and was listed as #4 album 

of 2017, soon after getting signed to Sacred 

Bones. 

In this part of the conversation it is important to 

note that 80% of the content received, however, 

might not be of high quality, but that there still 

are gems waiting to be found if one only takes 

the time to hear them.

A flipside of Bandcamp, J says, is that it has become 

easier to take art and artists for granted 

all the time, due to how much their products 

can cost compared to coffee, for example... so 

being able to take advantage of a profit-share 

model and decide on the value of their music 

themselves, allows independent artists to name 

their own price and reach their audience as 

they best see fit. And this is where Bandcamp’s 

Daily comes in: 

The main focus of Bandcamp’s Daily, as it was 

being designed, was to focus on a global audience 

, where everyone felt welcome, and content 

about music was written simply to honor 

the fact that their music is interesting. 

“The thing that keeps me up at 

night or (...) the thing that nags 

at me is the feeling that I could 

be missing something great.” 

Says J. Keeyes, when discussing his current 

role as Bandcamp’s Editorial Director, which he 

has fulfilled for the past 5 years. 

“I have all these playlists organized by when albums 

are coming out and who sent me what, 

I try to listen to them every day (...) keeping in 

mind the amount of music that needs to be 

heard, that’s what I think about the most. Well 

the thing that I love, honestly... We did a story on 

post-rock in Indonesia a while ago (...) and what 

I liked, was we saw, one of the bands tweeted 

the next day: ‘Never in a million years did I think 

our little band could be on the front page of 

Bandcamp’... and THAT makes it worth it. When 

you see somebody who’s that excited about 

getting featured, that’s worth all the stress”. 

On the 12th episode of Red Transmissions 

Podcast, J. Edward Keyes talks in detail about 

Bandcamp’s daily, the early-on ideas and musthaves 

that led them to the current internationally 

influencing content-filled site that introduces 

all sorts of music-related material, from must-listen-to 

lists to the up-and-coming independent 

artists all around the world (in a wide variety of 

genres) giving them a chance to be seen and 

sometimes signed by the music industry. 

From his home in Brooklyn, J. shared very informational 

clues about the behind-the-scenes 

production process and what goes on in Bandcamp, 

their online strategies and how him and 

his team are always finding new ways to promote 

independent under-the-radar artists to 

allow them to reach a more mainstream audience. 

After great advice for musicians and labels, 

we concluded the interview with a request for 

some musical recommendations: 

- A collition of musical genres: the label Principe, 

from Lisbon, Portugal. 

A label called: Orange Milk, whose cover art is 

so beautiful that it plays a role on drawing in its 

audience. 

-An artist shoutout: Old table, whose prolific 

creations and lyrical references create their 

own musical constellation. 

To finish up, a musical premonition? Pop music 

in general will begin to take on a more global 

sound, influenced by sounds from all over the 

world. 

“I am hopeful that this will continue, bringing all 

these styles and influences respectfully together 

to make great and challenging music”. 

Listen to the entire interview at: 

www.reddoormagazine.com/podcast 

or find the Red Transmissions Podcast on Spotify, 

iTunes, and most other podcast providers. 

To read the articles and other content written 

by J.Edward Keyes, visit: 

www.daily.bandcamp.com 

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ISSUE # 22 - MEDIA

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FRANK BERGSTEN - KULTIVERA / TRANÅS 

LANGUAGE / ART COLLABORATION 

INTERVIEW WITH DOMINIC WILLIAMS 

Dominic Williams is a Welsh poet who also runs the publishing company Three 

Throated Press from his hometown, Carmarthen. I first met Dominic a couple of years 

ago in my small hometown Tranås, when he was in town for ‘at the Fringe’, a thriving 

arts and literature-festival arranged by Kultivera, a very productive local cultural organization. 

He’s visited Tranås several times both as a poet at the literary residency 

arranged by Kultivera, and as a curator for various projects and workshops. He’s also 

been the MC for plenty of events like Passion for Words and Pilsnerpoesi, and works 

with Kultivera as the coordinator for the literary events at the Fringe every year, he’s 

more or less become synonymous with the festival. 

At the Fringe started out as a small festival 2014 but has since then been growing 

steadily every year. One of its cornerstones has always been open mindedness, the 

will to try something new, something different. That, combined with a cool, laidback 

attitude, has made it the exciting festival that it is, and more and more people come 

to visit every year. 

The festival’s will to push boundaries gave Dominic the opportunity to be a part of 

something new and exciting. At last year’s festival, he participated in a couple of performances 

with the dancer Stina Nilsson from Jönköping. I sat down and talked to 

him about the experience; working and collaborating with artists from other disciplines, 

and Dominic had lots to say about the subject. 


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Dominic tells me that Stina had been 

improvising with painters and musicians, 

and she had asked if he was interested 

in doing something similar, 

but with dance combined with poetry. 

Even though he had not done anything 

like this before, he was intrigued 

when asked and they decided to have 

a go at it. During the festival they got 

access to a space to practice and to 

see if it worked out. Apparently, it 

worked out very well since they decided 

to perform the day after. 

They went through two performances, 

both completely improvised. Dominic 

says they only react to each other and 

the setting they’re in. What happens 

next, happens. Dominic responded to 

her dance, and she to his poetry. While 

he admits he was nervous since he’s 

never done anything like it, he says it 

was a fantastic experience. He says 

Stina taught him how to move around 

the stage and how to use his body, 

and told him not to be afraid of the silence. 

Let the silence speak instead. 

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He says the reactions have been very positive and many even believed they must 

have practiced before. Even though it’s flattering to hear, he emphasizes that everything’s 

completely improvised, nothing is rehearsed. The only thing that’s planned 

is the entrance and Dominic’s final words. Dominic tells me he spoke to lots of poets 

and no one has heard of anything quite like it. The collaboration with Stina has continued 

and has got a name: Your Strangest Friend. 

At the Fringe also has a filmsection and he got involved there as well. Laura Bianco, 

one of curators of the filmfestival, came up with the idea of letting some poets respond 

to the films with newly written poems. Here Dominic means lies a misconception 

what is meant by collaboration between artists. To write a poem in response to a 

film is just responding to another artist’s work it is not the same thing as a videopoem, 

for example. Real collaboration between artists means both starting from scratch and 

sharing the creative process. 

The film he wrote a poem to “Continents quiver as memories erupt into earthflames” 

- already had a verbal soundtrack, which didn’t work out at all for Dominic. Instead he 

wrote the poem by watching the film with no sound, just reacting to the pictures. The 

director Georg Koszulinski later told him that he edited out scenes from the movie 

that Dominic, oddly enough, still managed to include as images created in his poem. 

Dominic also mentions that all the poets; Dominic, Jonas Ellerström and Doreena 

Jennings, approached the movies in completely different ways. Doreena, for example, 

wrote her poem based on one single scene of the film. The event was very appreciated 

by the audience and poets, but perhaps most by the filmmakers. 

When Dominic sums up the experience he says the idea of collaboration between 

artists is very rewarding and the process of spontaneity and improvisation is a vital 

learning process. He wasn’t intimidated by it and would like to do it again. He says 

he also would like to try it with a musician. He’s already performed together with Jonas 

Ellerström, who’s not only a poet but also a guitarist in the band Blago Bung, 

although the musical element was improvised, it was in response to something that 

had already been written. That’s something he would like to elaborate further. 


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ARTICLE by Frank Bergsten 

Interview of Dominic Williams 

A collaboration between Tranås’ Kultivera 

and Red Door Magazine. 

Photo credits: Eda Emerdağ 

Learn more about Kultivera by visiting: https://www.kultivera.nu/hem 

Learn more about Dominic Williams by visiting: http://www.dominic.wales/ 

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A SPECIAL REQUEST TO YOU: 

WILL YOU HELP KEEP RED DOOR ALIVE? 

Dear readers and supporters of Red Door, 

In 2009, Red Door was created as an initiative to connect the various communities I 

was encountering during my poetic adventures (festivals, performances, job-related 

trips, etc) in order to facilitate the creation of new projects and a richer cultural landscape 

without the need of huge galleries or sponsorships. 

My idea back then was that the magazine needed to be free so it could be equally 

accessible to all who heard of it or wanted to be a part of it, either as correspondents 

or featured content, and that it should be an online magazine, because it would save 

on a lot of expenses and paper and have a wider reach this way. During those years, 

people laughed at the fact that it was just a “virtual magazine” rather than a physical 

object, but here we are, still at it, in a world where most of our existence is now virtual. 

Since then, over 20 editions of the magazine have been published, and the Red Door 

project has expanded to become a gallery in Copenhagen, a podcast titled Red Transmissions 

(also available for free in most podcast providers) and most recently, during 

this tragic pandemic that has overcome our planet, a Poetic Phonotheque , to bring 

poetry to homes everywhere in the voices of their authors, free of charge. 

The magazine collaborates with various collective projects and individuals, but has 

no sponsors nor commercial intentions. And here’s where the big however comes. 

Although it is a free project with no ads and no hidden charges, membership 

fees nor any grant or sponsor... It still costs money to produce and maintain. 

Actually, it costs a reasonable amount of money, which I, as the puppetteer behind 

the project, run from my own pocket, and have done so ever since it started. 

A second however appears here, because due to covid-19, I have had several event 

cancellations, book launch tours and projects, (as well as my job-job as a media manager 

in the travel industry, for obvious reasons) all disappear from under my boots. 

Ouch. 

And although my luck allows me to temporarily have a certain level of tranquility 

about my personal expenses for some months, (30 weeks, to be exact), it is not 

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the case with the expenses that involve everything Red Door related, from hosting 

the website(s) to the design and audio software needed to create the magazine and 

podcast, and the memberships of the pages needed to host everything after. Then 

comes the gallery, which is meant to reopen this summer, to a crowd-less audience. 

The solution I have found is creating a page on Patreon, where I can invite my supporters 

to give a monthly amount of support for their subscription, and in exchange 

receive early access material (magazine, podcast, performances) and an early download 

of my new album “Transgressions for the Public Service” which will be released 

this June. 

Additionally, the tier levels you can choose to join, which start from $3usd a month, 

will give you access to live-streamed performances, Q&A sessions, step-by-step 

posts of my art, and physical goodies such as stickers, typewritten letters, postcards, 

prints, and even original art. 

The income raised from this, (after the patreon + paypal fees) will go directly to the 

expenses listed above and allow me to continue running Red Door projects for many 

years. 

So, my question is, will you help keep Red Door alive? 

Say YES to my invitation, click on the link below, and give a hand to all the creative 

projects that involve Red Door and its extensive artistic community. 

https://www.patreon.com/madamneverstop 

Your kindness is ever so much appreciated. 

Love and poetry, 

Elizabeth Torres / Madam Neverstop. 

Founder & Director of Red Door Magazine. 

Photo by Zarko Ivetic 


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BUT WAIT, THERE’S MORE! 

The first 50 people to sign up on Patreon to support the magazine, 

will receive a download code for the early release of: 

TRANSGRESSIONS for the PUBLIC SERVICE 

coming out this June digitally via bandcamp and on tape, 

a selection of Experimental Poetry / noise / electronic music, created 

back and forth between Copenhagen and New York for the past 

8 years, and mastered by Dr. Hansen here in Dk. 

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ABOUT THE ALBUM: 

The music in “Transgressions for the Public Service” is influenced by the likes of Laurie Anderson and 

Carla Bozulich, and the poetry contained in the songs of this album is a combination of English and Spanish 

lyrics, whispered, sang, decreed in rhythmic convulsions, to create hypnotic melodies that are meant 

to represent the poem as a whole auditive experience. This is Madam Neverstop’s first album release, 

but she’s not new to the world of music and literature, having previously played in the bands Electric Set 

and Moon Mountain, and published over 20 books of poetry with which she has toured the world. All art, 

music and lyrics are a composition by the artist. 

“Transgressions for the Public Service” is meant as an offering to the altar of your restless mind. 

Get your record TODAY and sleep like a peaceful mountain tomorrow. 

(or simply become a patron so this is the first/last advertisement you ever see on the magazine). 


27

INTERVIEW WITH DEBORAH ALMA: 

THE POETRY PHARMACY 

Interview by Madam Neverstop 

I have always believed that poetry has a 

healing effect on us. I can attest to it because 

in the past, poetry has many times saved 

and healed me, in very direct ways. 

But today I want to talk to you about a very 

special character who took this belief to a 

whole other level. 

Over eight years ago, English poet and editor 

Deborah Alma began to drive around on 

a poetic ambulance, helping heal people 

with poetry. As she became a known Emergency 

Poet, she attended many events, festivals 

and even hospitals, where she was invited 

to give consultations. 

That led to the arrival of the now internationally 

known Poetry Pharmacy, a physical 

location in Bishops Castle, Shropshire, England 

(the wild, wild, west of the UK, she explains) 

where poetry is often prescribed for 

modern day ailments (online consultations 

possible during this lockdown). 

You possibly already heard about Deborah 

Alma and her Poetry Pharmacy via social 

media, as six months ago there was an online 

campaign on kickstarter to help her and 

her partner, Dr James Sheard, creative writing 

professor at Keele University, to fund this 

project: 

The idea was to open up the physical location 

of the first-ever Poetry Pharmacy, where 

instead of sleeping pills and multivitamins, 

customers...ahem, patients, would instead 

be prescribed some of the healing words by 

Elizabeth Bishop or Derek Walcott, among 

many others. 

The campaign gave positive results, allowing 

them not just to buy the property and 

open up this beautiful location, but also to 

help cover some of the expenses of an otherwise 

impossible project, such as electricity 

and reconstruction of certain areas of 

the building. Because this, my dear readers, 

is not your typical visit-to-the-counter-only 

pharmacy. Here you can slowly sip your 

coffee as you savour the poem of the day, 

rejoice in the many volumes arranged in order 

of ailment (broken heart, anxiety, grief, 

joy, among other human conditions), or get 

a private consultation, where you put your 

feet up on a chaise and have a hand-picked 

poem read to you. 

28 


But due to the exquisite eye for detail, or care for 

her profession, Deborah’s “Apotek” (as we call 

pharmacies here in Denmark), also has a Distillery 

room for private events, book releases, frequent 

events such as workshops and talks, and 

one-time events by award-winning visitors... 

on non pandemic times, that is. 

Media such as BBC and The Guardian, among 

many other publications (including this now I 

guess) have been attracted to the charms of this 

Poetry Pharmacy, which, to complete the package, 

of course, has its own ambulance. 

This is when the pieces of the story begin to come 

together. Deborah has been teaching Creative 

Writing for many years, and in doing so worked 

with people with dementia, which somehow led 

to her acquiring her very own ambulance. 

During our interview for the Red Transmissions Podcast, Deborah shared that this is how she began 

traveling to fairs, cultural events, universities and hospitals, (never just arriving, she clarifies, 

always invited) to share her services of poetic healing to those who chose to welcome her. 

Back then, these consultations included prescriptions of certain bottles of pills, which when 

opened up (see picture above) would bloom like fresh poems into your hands and straight into 

your heart to heal you. For many years, she gave these away as she drove around in the ambulance, 

realizing at some point that a 1970’s vehicle of such size isn’t precisely the easiest or most 

comfortable to drive with. In the meantime, Deborah has published several books, edited various 

poetry anthologies, and become a fellow and part-time lecturer at the university. 

The Poetry Pharmacy is without doubt one of 

the places I wish to visit once borders reopen, 

but in the meantime as we wait in global 

quarentine, I invite you to listen to our podcast 

conversation, to learn more about her 

process, her patients, her practice, and her 

own poetry, of course. 

I asked her for a prescription for the readers 

of Red Door Magazine and she responded: 

R.S Thomas - Arrival 

Visit the poetry pharmacy at: 

www.poetrypharmacy.co.uk/ 

Listen to “The Poetry Pharmacy - A conversation 

with Deborah Alma” on episode #22 of 

The Red Transmissions Podcast: 

reddoormagazine.com/podcast/ 

Or follow the Poetry Pharmacy on Instagram: 

www.instagram.com/poetrypharmacy/ 


29

THE NEON REBELLION: 

HOUSTON, WE HAVE A 

PROBLEM 

“We must make transitions to a sustainable world for our very survival.” 

This Neon Rebellion, Red Door Mag #21 Transitions Winter 2019. 

Who could have known a few months later we’d be here? 

COVID-19 a global flu pandemic forced us into lockdown + for a moment, it feels like the 

world stopped. 

Ive been imagining that phone calls to the relevant heads of Governments + powers that 

be, might have been going something like this ... 

“Houston, we have a problem” … August 2019 

“The Amazon is on fire … 

The carbon dioxide + monoxide emissions are causing alarm. We are losing the planet’s 

biggest terrestrial carbon sink (meaning it absorbs CO2 + is considered the lungs of the 

planet.) “ 

“Houston, we have a problem” … October 2019 

“Australia is on fire ... 

Over 10 billion hectares have burnt + its on a course beyond control … 

Social media has spread the news, tell Rupert his climate denier network aint working.” 

“The Paris Agreements are drawing closer (Feb 2020) + we are not anywhere near targets. 

Someone tell Trump its not a hoax + he’d better sign us back up.” 

“The natives are growing restless. 

A global protest group has sprung up calling themselves Extinction Rebellion, mobilising 

actions of civil disobedience. 

They are using social media to communicate their message instantly.” 

“Houston, we have a problem” … December 2019 

“Australia is still on fire ... 

Over 18 billion hectares have burnt now, over a billion wildlife animals have been killed, 

some endangered species looking driven to extinction, & the CO2 emissions reaching 

Chile + Argentina ...” 

“Tell that idiot Australian Prime Minister Morrison to get his shit in a pile, international troops are 

being deployed to assist the Australians, he’s not managing his country. 

The people hate him, they wont shake his hand ... 

Even The Queen Of England is making public messages of condolences + people are donating 

millions of dollars from around the world to support the firefighters + he’s taking holidays 

to Hawaii.” 

30 


“We cannot deny climate change anymore …” 

“NASA has concluded Scientific evidence for warming of the climate system is unequivocal. 

97% of climate scientists say its due to human activity … burning fossil fuels + deforestation 

are the major causes. 

The evidence for rapid climate change is compelling … 

Global Temperature Rise 

Warming Oceans 

Shrinking Ice Sheets 

Glacial Retreat 

Decreased Snow Cover 

Sea Level Rise 

Declining Arctic Sea Ice 

Extreme Events 

Ocean Acidification 

(https://climate.nasa.gov/evidence/) 

Planet B is not an option yet. 

Dicky B’s space voyager isn’t ready yet. 

We lost Elon Musk to electronic music.” 

We gotta shut it down Houston. We gotta shut it down ...” 

“FUCK” 

“Can we push the red button?” 

Now stay with me. 

My mother always said I had a very wild imagination. So I have let it continue down the rabbit 

hole on these imaginary phone calls … 

“We are facing ecological collapse. 

We are no where near meeting The Paris Agreements. 

Even if we stop our emissions today, we cannot go back to the past. 

The Global warming will continue but we need a plan to manage it + eliminate greenhouse 

gases. 

We could slow the changes + learn to adapt but we need drastic measures. NOW.” 

Now if I were some conspiracy theorist, I might start quoting sci-fi novels + films like Dean 

Koontz’s The Eyes Of Darkness where he says … 

“In around 2020, a severe pneumonia – like illness will spread throughout the globe, attacking 

the lungs and the bronchial tubes ...” 

“They call the stuff Wuhan-400 because it was developed in their RDNA labs outside of the 

city of Wuhan and it was the 400th viable strain of man - made organisms created at that 

research centre. Wuhan-400 is a perfect (bio) weapon.” 

“Houston, can we push the red button?” 

“You are good to go … repeat you are good to go” 


31

Now this is where Media comes into play. 

The vehicle by which humans receive disseminated information. 

Depending on how we assimilate this information it could direct how we think, how we feel + how we behave. 

Mainstream media through sensationalism + drama is designed to appeal to the state of emotions. Inducing 

fear + panic or empathy in reaction, is a measure of making top news stories. Science has shown how 

people become addicted to the stress mode caused by neurons it fires off in their brains + their body. 

One of News Corporation’s Heads of PR recently admitted that their editorial bi-lines were governed by 

how much drama they could incite, newsworthy stories were valued on their fear factor + potential control. 

“Houston checklist agendas + protocols, confirm?” 

“Close borders. NO international travel. Control trade. 

“Global lockdown. No street activity. People must remain in their homes. Fines or jail. 

Cashless society. 

Government provided wages + income. Disrupt black market + tax evasion. 

Population control. Only those not contributing to a growing economy will be favoured. All nations will 

agree to a certain number of aged, poor or sick as collateral damage. 

Vaccine release mandatory, including bio information chip. 

One might think Ive gone into Huxley / Orwellian territory but its not as out there + unfathomable as this 

whole scenario might conjure up. 

In classical political terms, the current global state we are in fits all the precedents necessary for induction 

of a totalitarian scenario. 

People think this is the end of the world + the Zombie Apocalypse is ensuing. 

Whilst hand sanitizer + face masks have sold out everywhere, yeah, so has toilet paper (even though 1/3 of 

the world has never used even 1 sheet of it!) … + gun sales in the US are off the charts. 

People start losing it when they think their survival or just comfort (which in modern terms is akin to survival) 

is in jeopardy. 

At present, the media is driving the collective narrative via the information being funnelled through. 

It must be noted that there is no actual way of knowing what the statistics really are, we only know what we 

have been told. 

In truth, Nobody knows for sure what is actually happening. 

Whilst Ive been taking a somewhat sarcastic + humorous tone with this Neon Rebellion, its actually been a 

surprisingly overwhelming emotional experience writing. 

I hadnt realised just how much collective trauma lives in us Australians that have been in high stress mode 

for the last 8 months. Our nervous systems are fried, the in-flight or fight mode button is broken from being 

pushed in so hard, for so long. At least people still have their masks from the Black Summer. 

At least … 

I cant even remotely relate to what war torn countries with refugees fleeing, like Syria, Afghanistan or Somalia 

would be experiencing. As PTSD affected individuals or as a collective generation. But I know it is deep. 

How is this pandemic affecting them? 

And all others in detentions centres, refugee camps, countries where the starvation numbers are far outweighing 

the COVID -19 deaths … still. For how many decades now?? 

And yet the World doesnt stop for them. 

Or those dying from depression or suicide or addiction or even obesity. 

The death tolls are way larger for all of those issues. 

So I wonder, what does it take to press the red button? 

32 


Ive always maintained that one cant assume anything. 

And at the same time, that anything that one can think of as a possibility could be true. 

Imagination was the seed of many a genius discovery + invention. 

In saying that, no matter what brings us to our current climate, we stand at a major cross roads about our 

future. 

This potential shift point in mass consciousness was heralded incoming in 1996 with the first wave of The 

Harmonic Convergence. 

Then again in 2000 with Y2K, that didnt happen as predicted. 

Then in 2012, the end of The Mayan Calender, nothing obvious happened. 

Its now 2020 … and well fucking hell! 

I hope this brings about the shift in humanity’s consciousness that will hold the Neoliberalist viewpoint 

accountable + asks Capitalism to sit on the bench. 

We have the possibility now to find compassion + community with each other even in the irony of our separateness. 

But this nagging feeling that fuels my imagination says there’s an agenda that might have been on that table 

before the red button got pushed, things that could be achieved while everyone was looking the other 

way checking every device for updates on the virus coming to get them, feeding their nervous systems the 

damaging cortisol like a meth addiction … 

So I pose a few questions to you Houston … 

Is it possible that in a 90 day lockdown, human production & industries and their consequent waste will be 

stopped long enough to develop strategies to manage humanity for a new world? 

Given that while everything is shut down we are seeing air pollution + waterways clearing + CO2 emissions 

reduced back to the viable levels for a sustainable planet in less than a month. 

What does the new world or New World Order look like? 

How do you propose to manage Humanity moving forward because all this shit we’ve made + the problems 

caused from it are not going away quickly? 

I imagine Houston might respond like ... 

“Hello Humanity … 

We are standing at the precipice of an enormous shift which we all have the choice to decide which way 

we want this thing to play out … we can either go off the cliff into the face of oblivion or we have the possibility 

to join together as a global community, look at the state of our planet and form some unity, positiveness 

& togetherness + decide how we’re going to keep the ship sailing … 

Right now. we’re standing on the edge of world wide financial collapse. 

Many people in the western world are looking at poverty. 

But more importantly we are looking at an unsustainable planet + ecosystem. 

It cannot support the number of humans living on it in when the main contribution to life is waste. 

We are trying to bring in new systems that will allow for a transition from the old model to a new model ...” 


33

I dont think my imagination is talking conspiracies, I dont think its that hard to see, in fact, I think its really 

obvious, I just think that if we look at our own lives individually + ask the questions, the balls out truth is 

there ... 

Who or what is controlling me? 

Controlling my destiny? 

Controlling the mechanics of my life? 

And whatever the answers might be, we still have the freedom to react + respond in our individual awareness. 

We still have the freedom to communicate with each other, to share ideas + that awareness through social 

media, podcasts, magazines + other online media outlets. 

We still have the freedom to create + be inspired. 

And most importantly, we have the freedom TO LOVE! 

To love with absolute boundless + unbridled depth. 

It is this + only this that I truly believe will usher us through this time (+ all times) … 

It’s the very essence of what elevates us beyond being merely slaves to our senses meatbags, with no purpose 

to living except being a waste machine … 

I ask my 89 year old mother how she’s doing + she is just living her life, is as positive + inspiring as ever. She 

said “when you’ve lived through The Great Depression + WWII, this is nothing … I hear echoes of people 

whingeing they’re bored + yet they have all the access to entertainment + learning one could ever want. 

They have food + comfortable beds … In my day, as a child, we had a candle + the radio. I couldnt go out 

beyond the front gate. We lived on bread + dripping. You learn to appreciate all you have + be very grateful 

when you have nothing. 

I feel sorry for this generation who is so spoilt + used to luxury living, their perspectives are pretty narrow 

when it comes down to it. They have lazy brains. Its not their fault. It’s society + the culture. They’re not 

taught empathy or humbleness. Or to look inside themselves. Its such a visual world, everyone glued to 

screens. Perhaps this time will open those perspectives up, while people are forced to stop + be with themselves. 

Its a spiritual awakening. I hope so, Id like to see that, Ive seen so much + so many changes in my 

lifetime but Ive yet to see people really understand that we are all one ... ” 

As Artists, we may already have the self isolation thing down + be practised in internalising processes … It is 

our creations we make offerings of to the Universal altar ... 

I have continued my practice of making these little films featured in the last Neon Rebellion as activist art … 

The current one is in direct response to COVID -19 + the spoken word soundtrack can be heard as an mp3 

on The Red Door Phonoteque. 

For you all, in Love x 

The Neon Rebel. 

34 


Watch full video of Ghost Hunter 

by the Neon Rebel 

here: 

https://youtu.be/Gzh9N7Fcku4 


35

BRANDON DAVIS: 

PROGRAMMED BY THE MEDIA 

My own thought or program - by BD 

I am currently working on video elements for a show later this year. It’s a continuation of the practice 

of applying musical editing techniques to video wish psychedelic agit-prop overtones. It’s pretty 

heavy handed. 

I have been particularly inspired by the work of Douglas Rushkoff who talks about how, in so many 

ways, we have been programmed by the media. His Team Human project seeks to connect the dots 

between real people doing real things in an effort to reclaim our lives and create systems that serve 

people. 

I have taken sound bytes from his show to serve as narrative discourse and mixed it with a variety of 

messages and images to create the kind of education the world needs now. With the new confines 

of quarantine, maybe these will be a digital distribution. Who knows what tomorrow will bring? 

Enjoy! 

36 


CHANGE your mind - by BD 

DougBOT - by BD 

Brandon Davis resides in Catalonia and is a member of the band Actual Figures. You can see their 

videos and music here: www.facebook.com/ACTUALFIGURES/ 

37 


RED DOOR MAGAZINE IS HONORED TO PRESENT: 

THE POETIC PHONOTHEQUE 

By Elizabeth Torres 

The 1st of March of every year, is usually 

known as International Poetry Day, 

as declared by UNESCO (the United 

Nations Educational, Scientific and Cultural 

Organization) in 1999, “with the 

aim of supporting linguistic diversity 

through poetic expression and increasing 

the opportunity for endangered 

languages to be heard”. The purpose 

of this day is to promote the reading, 

writing, publishing and teaching of poetry 

throughout the world and, as the 

original UNESCO declaration says, to 

“give fresh recognition and impetus to 

national, regional and international 

poetry movements”. 

On this day, around the world, thousands 

of events are celebrated to bring 

poetry to communities and in doing so, 

exchange ideas, projects, community, 

humanity, together. 

38 


On the 1st of March of 2020, however, 

the lockdown was already on its way 

in many countries in Europe and the 

effects of the covid-19 pandemic had 

begun to spread in Latin America and 

the US, ensuring that no celebration of 

poetry took place in open grounds. 

This is the exact scenario when we 

most often need poetry, to calm our 

thirst, soothe our hearts, distract our 

brains, and provide new opportunities 

of action and interaction. 

For this reason, the initiative of a Poetic 

Phonotheque was established and 

launched this day, free of charge and 

providing free access to poetry from 

all over the world, in the voices of their 

own authors. In less than a month, approx 

50 poems had arrived from countries 

as varied as Canada, Mexico, Serbia, 

Germany, Colombia and Sweden.

HOW WAS THE IDEA BORN? 

You can listen to the full story of the Poetic Phonotheque, as well as a varied selection 

of poetry in the voices of its authors, on the latest episode of the Red Transmissions 

Podcast. 

The Poetic Phonotheque was manifested by the need to share and exchange poetry 

without having to attend poetic events during this crisis, but originally comes from 

the idea born after my childhood in Colombia, where I had the opportunity of visiting 

and enjoying la fonoteca of the Silva Poetry House, a house/foundation of poetry in 

Bogota, which houses over 2000 hours of poetry in the voice of their authors, most of 

them already passed away, from the classic literature of Latin America. 

Giving it a modern twist in the style of its own website and webplayers, as well as an 

upcoming physical/portable phonoteque, which will be found in the Red Door Gallery 

here in Copenhagen, and wherever the poetic adventures lead me. 

WHAT IS THE OBJECTIVE OF THE PHONOTHEQUE? 

Listen to the poems here: 

https://reddoormagazine.com/phonotheque/listen/ 

Play it in the comfort of your home and let poetry fill your world! This page is updated 

often, so check at leisure and enjoy. 

Submit your own poem here: 

https://reddoormagazine.com/phonotheque 

Or enjoy the following pages of poetry in various languages, sent my the participants 

of the Poetic Phonotheque. May this poetic takeover continue for a long, long time, 

and lift us towards healing as recover from these strange days. 

LISTEN NOW TO 

THE 

POETIC 

PHONOTHEQUE 

or read a sample 

in the following pages. 


39

GARY BARWIN 

Canada 

BIRDS 

Each day, 

the philosopher took a walk 

at precisely one o’clock. 

It was such a precise routine, 

that they would set 

the church clock 

by him. 

How can you be so precise? 

They asked the philosopher. 

-I wait until I hear the church clock chiming onehe 

said. 

We set our clocks by the birds 

they set 

their clocks 

by us. 

40 


PETER NYBERG 

Jönköping, Sweden 

AMTRAK 

Från tågfönstret har Appalachernas bergskammar 

vildsvinsborst. 

Svarta och fingerlösa träd driver nerför 

sidorna mot spåret. 

Vi befinner oss i den punkt där allt är oklart 

– som under en religiös övning 

i förståelse. 

Långt nere flyter en grönskimrande flod 

under rostande spindelnät. 

Balkarna hindrar stenen från att falla samman 

som lera. 

I fabrikerna är alla fönster krossade och en 

man ser tåget stanna in. 

Ett plus ett är inte längre två. De drömmar 

som blir kvar inom oss är 

nitroglycerin. 

Någon byggde en gång den här bron. 

Någon byggde en gång den här punkten 

där inget styrs av naturliga lagar, 

där grå män med stora cigarrer 

förhandlar om tid i utbyte mot framgång. 

Vildsvinsborsten kammar den sandfärgade 

solen och smaragdforsen glittrar. 

Skenornas skarvar dunkar som betongblocken 

på landsvägen. Säg något 

otillbörligt igen. Det vildsinta skrattet när 

ännu en punkt börjar glida och någon 

kravlar mot oss i mittgången. 

Vagnen släcks mellan två stationer, motorn 

rusar, sedan tystnaden. 

Vi är tre timmar ifrån slutstationen, omgivna 

av nyfödda som ser på varandra. 

Samtalen blossar upp och stannar av. 

Mina ögon sluts, andningen saktar in, 

vi skakas om och blir stål i det framskrällande 

drevet. En position 

har återupprättats. 

Amtrak 

Appalachernas bergskammar har vildsvinborst. 

Svarta och fingerlösa träd. 

Vi befinner oss i den punkt 

där allt är oklart – 

en religiös övning i oförståelse. 

Genom landskapet flyter en grönskimrande 

flod. 

Ståldistriktets fabriker har krossade fönster, 

de rostande konstruktionerna stödjer bergens 

sidor. 

En man ser tåget stanna in 

och förstår att ett plus ett 

inte längre är två, att drömmen 

inte längre går ihop. 


41

JULIA LANKL 

Germany / residing in Vienna, Austria 

MEUTEREI 

Starren – Starre – starrer Blick – Kick - Klick 

Sinnlos – lose – ohne Sinn – darin 

Deutung - deuten– deutlich – gib Acht – hab Acht 

And in the end? 

An einem schönen, warmen Frühlingstag, wo alles sprießte und 

blühte. 

Die Vögelein so klein, zwitscherten von den Dächern stolz herab ein 

Lied. 





Die Erde hatte die Kühle des Winters von sich abgestreift. 

Wärmende Sonnenstrahlen breiteten sich über ihr als goldfarbene 

Wolldecke aus. 





Die Menschen waren liebkost von dem verlockenden Zauber, welcher 

sie umgab. 

Das klare Blau des Himmels spiegelte sich einsam in ihren Augen. 

Kick – klick 

Ohne Sinn – darin 

Gib Acht – hab Acht 

Meuterei 

42 


PABLO SABORIO 

Costa Rica / residing in Copenhagen, Denmark 

50 años de poesía 

He de escribir 50 años de poesía. 

Para tener medio siglo de honda sombra, 

medio siglo pescando en un río de propia sangre. 

Año tras año sin saber cómo salir de la tierra 

iré untando nubes a mi cuerpo 

para hundirme en una lluvia 

tan antigua como el dolor de la piedra. 

Amasaré los días, día tras día 

hasta que la noche se haga polvo amarillo. 

Todos me preguntarán, Pablo 

qué verdad has amarrado con tus cadenas de viento? 

Yo les responderé: 

Conozco un árbol que puso un pie 

a navegar en la soledad de un cometa. 

Así me dejarán tranquilo, 

mirando cada estrella, mientras una por una 

se va quedando ciega en el calor del tiempo. 

He de escribir 50 años de poesía, 

para tener medio siglo de inmensa isla, 

medio siglo de danza en el vacío. 


43

VOLKER REGNER 

Geislingen, Germany 

RAUSCH 

Soll ich weiter gehen 

Weiter als ich jemals ging? 

Soll ich sie suchen 

Sie in mein Leben schließen 

Hab’ ich Angst es ihr zu sagen 

Wenn wenig später ich sie jagen werd’? 

Ich benetze ihre Lippen 

Dunkler als das schönste Blut 

Verführerische Nähe 

Die Freiheit ihr genommen 

Welche eine Erlösung der Tod mag sein 

44 


MEL PERRY 

Wales 

GREEN GRASS TREASURE 

I will carry you in my palm across the sea. 

I will write your name in the sand 

on the strand, on the coast of light. 

When I get there I will sit 

on the beach with a green glass shard. 

I will run my tongue across its lip 

feel its grit-pitted life-worn surface. 

I will know its satin beneath. 

I will see imageless light scattered, 

breathe the cobalt blue washed day, 

close my eyes and taste salt zest. 

Before I leave I will see one swift 

circle the lighthouse tower, hear house martins 

chirrup above the generator thrum, 

smell rose scents drifting 

from a long forgotten 

keeper’s cottage garden. 

As summer ends 

I will hold your hand in my palm 

in the grief-dark crowds of a wake, 

hear a promise and my name, 

kiss smoke tang. 


45

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49

R E D 

T R A N S M I S S I O N S 

P O D C A S T 

The Red Transmissions podcast aims to document the work, 

behind-the-scenes moments and creative process of the 

incredibly interesting characters in our network, be it in 

Copenhagen, New York, or around the world where our correspondents 

find themselves or our poetic adventures take us. 

Find out why artists, activists and worldthreaders do what they 

do, how they do it, and hear about the inner workings of their 

projects. Contemporary happenings and conversations on 

culture, music, art, film, poetry, environment and independent 

projects around the planet. WE EXIST! 

Want to share your story with us? 

Write to: theredtransmissions@gmail.com 

50 



51

Red Door Magazine issue 22 

Featuring the art of Andre Konopek 

Find us on instagram as @reddoorkdk 

Podcast: @red_transmissions 

Become a supporter at patreon.com/madamneverstop 


Everything else at: @madamneverstop 

52 


Red Door Magazine releases digital 

issues quarterly with an emphasis on 

visual art and poetry. 

As you can see on this and every issue 

before it, we aim to be an inclusive 

platform, where we welcome art and 

poetry, LGBTQ & other activism content, 

thoughtful essays, photography, 

adventure, stories, interviews and 

media articles, occasional features by 

established and emerging artists. 

We’re here to give you a handful of essential 

pieces you can digest in one 

sitting. 

The magazine also includes a calendar 

for events happening in our 

gallery, and we sometimes mention 

collaborations with other projects, 

organizations or events happening 

elsewhere worth noting. 

We’re always seeking visual art, 

music, film, travel and media articles, 

environment & sustainability articles, 

poetry, fiction, & 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. 

Please send your content to 

submit@reddoorkbh.dk 


53

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D 

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54 


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ISSUE # 22 

M E D I A 

REDDOORMAGAZINE.COM 


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