S1 - Episode 12: Inger Christensen - digter og verdensforfatter

Hi. You need to listen to a podcast from Pottimo. If you can hear what you hear, you can listen to all episodes of Enrique Håndplugged Podcasts, just like this one, on Pottimo already today. Download the app or click on the link in the description. I'm not a long voice. I am many. There are some little girls watching, as I become the first black woman to be given the same award. We did it! You listen to the podcast "Kvinnigant in Historie". My name is Grøy Jeksen and I am a historian. It is an honor that women feel at least light in our history books. And I think it is the time we do something about this problem. It is not enough that we remember a boring woman. It should be written as a natural part of our story. I started with the Instagram profile "Kvinnigant in Historie" and at no time did I get thousands of follow-up and mass messages that encouraged me to really need you. In this podcast, I invite every episode to tell a certain woman and share with her the place in history she shares. Today we will talk about Inge Christensen. She was a Danish lawyer and lawyer who was born in 1935 and died in 2009. She is a doctor in a way that is easy to read, but difficult to understand. And already at her debut in 1962, she took the literary world with storm. And she marked herself quite quickly as one of the 20th century's most well-known Danish doctors. Inge Christensen is also internationally respected and some think that she should have taken the Nobel Prize. And she is also a part of the Danish cultural chain. At the same time, it's not more than a few years since I heard her name for the first time. I have actually been presented to her in the public school and have not attended the gymnasium. But I have to admit that when I first started to read her book, I really understood why she was so well-known. And I can also see that her literature is not just about the people. She demands something from her readers in a fairly certain way, which we also have to talk about today. Here, on January 16, 2020, she will be 45 years old. And not least because it is a really good occasion for her to have a place in this podcast. I am so lucky that I have two guests in the studio today. And the one is you, Søren Ullrich-Thompson. Welcome to... Thank you very much. You yourself are a well-known Danish writer and director. And you are a part of the day, because you have had a close friendship with Inge Christensen. The other guest is you, Erik Skyom-Nielsen. You are a lecturer at the Institute for Northern Studies and Language. And then you sign up for information. You have really used Inge Christensen's skill a lot in your teaching. And you actually know the skill inside and out, as you can say it like that. So you are also an important guest today. Thank you very much, you are welcome. When I talked to you on the phone, you said that the most important thing for you was that you should not be headless. And at the same time, you should not forget her worse than she is. What do you mean by that? I mean, Christensen is very similar to Inge Christensen to a wise woman. And if you stowl a lot of academic concepts and models and literature, science, theories and so on, you can risk saving your way to her studies and stories from some potential readers. But that's paradox in my opinion. She can be a demanding reader. And she puts up with the fact that you think so much about life when you talk about her fallacy and read her poems and prose. So there is a reflection of freshness to make her worse than she needs to be. That's interesting. And we should talk a lot more about that, because we need to learn a bit about her fallacy and read some of her poems that we can try to understand. Let's start right away with Inge Christensen's "Children and Children". Because she is a single-born, working-family in Veile. And unfortunately it's not just short stories. She needs to be a big Danish poet. How does she get this idea to write? Does it ever happen that she is small or is it later? I know that she went to the seminar and was given a lesson. She sent some poems to Vede Korn, who was once educated by Torren Brustrem, an ex-colleague at Information. And then Torren Brustrem wrote, "He would like to print these poems." And he wrote to her that there was another poem in that area. He wrote "Horsens". And that was Paul Boehram. And then she learned that way. And they became so late. And her father was shouting in Veile. And her mother was old, stupid. So I understood. I have read somewhere that her mother had been given in some of the houses she had been in, some works that stood at home, which was the key to the interest of literature at least. Do you have anything on that? I think so. But there was actually a quote on the story of Inge Christensen and Paul Boehram. Okay, there are many quotes on that story. But there is one that goes on that before Inge Christensen had been deputed, she was with a little church, about a church that was given in Veile, among other things. It was rewritten by Novela and Romain Forfatteren, as well as Sømanden and the journalist Ulrich Greis. And the church was called "Unge Dikter". And that could be understood in two ways. It could be understood as an addition, that you are the "Unge Dikter". And then it could be understood as a description that there are some young people who are Dikters. And the story that I have been told by Ulrich Greis is that they had made a couple of numbers of young Dikters, so they could think well and get a kind of evaluation on it and find out if it was some kind of brass or it was high literary quality. Then Paul Boehram, at that point, was moved from Horsens to Aarhus, where he studied literature and history at the University of Tilde. And then they simply asked him to sit down with their Dikter and win the tumble up or the tumble down at Järnban Cafe in Vajel. Then the story goes on. No, it was fun. And I think that the tumble came pretty well in the way of the Dikter of Enge Christensen. Then later on, Paul Boehram and Enge Christensen studied at the art school in Holbeck. And in fact, they had to be alive as one of their students, Henrik Norbrandt, who came to debut in the second half of the 1960s. So some of them had to be alive around the time they were young. And for those who don't know, we can just say that Paul Boehram and Enge Christensen were loved and it was a pretty fast gift. So that's a great pair that means a lot. In the end, she was a teacher, and she moved to København. And she debuted with her first Dikter collection, "Lyse" in 1962. Couldn't you think of reading a little bit, Erik? For example, the Dikter called "Vissia Stor", which is actually the first Dikter in Boehram. Yes, it must have been a port to her safe understanding, and there was a good chance of the Dikter, where someone was safe in Vinderhosen and others in Wiedekorn. So it was sent back to her, because she tried in several different directions before the debut in 1962. The title is identical to the first line, "Vissia Stor". "Vissia Stor" alone in the snow, is it clear that I'm one hour away? How should I live, or find a way around it? Well, I have to say that I have read a part of Christensen that I saw up to today. The fact that the Dikter is so beautiful, what is she doing here, what can she do? All of a sudden, here at her debut. She first made a very surprising picture, that I'm one hour away. Of course, you can make a spade-themed Dikter, or a "Departement Chef", all the votes can be raised in the police, but that I'm one hour away from myself, a big phone. And then a explanation, "Vissia Stor", or "Find a way around it". And then it becomes very concrete and physical, that a word runs around it, and that the "Vissia Stor" should be able to find a way around it. But there is also a paradox, because words are not the "Vissia Stor", but the times as it goes. And then maybe we have, as you said earlier, the fact that it sounds... ...quite... ...and can be difficult. It may sound complicated, and then it might really be a peril. The balance of going many times with Inga Christensen, I think. If I have to take a scene of the Dikter from Sambo, and a little longer, then I take a favorite, which is called "After the First Morning", and which I read as a love poem, but you can't really do anything about it. "After the First Morning, I saw the frost-dry earth red." "There, there, I kissed my mind, and woke me, woke me up, under the serene wings of the morning mist." "If you give me my thoughts, then my tears will be blown away." "If you give me, then tomorrow, my love for you and my youth." How do you have it with you, Dikter? It is very, very difficult. And I actually have another quote from her, which I had hanging on my club house, where I was in a Dikter tent, and there was my passion to go on. "If you give me my thoughts, then my tears will be blown away." That's a very clear sexual image, isn't it? That's what you mean. And a very beautiful sexual image. Then the tears can also be seen, because it's difficult to provoke, or confront, or confront one with a fear. It's not a real relationship of love. And the relationship of love is not entirely opposite. Love is not the right thing, compared to my own book. No. The opposite of love of love. It's a balance. In between two instances, and between a woman and a man. Yes, it is. If we can zoom in a little bit, because we are here in 1962, Inger Christensen is a young Dikter. She published this book. What is it for a literature world that she publishes in? How does the literature world look like in Denmark at this point? If we have to take it all the way to the end, then there has to be a few years before it has been published. Some Dikters have been prepared, such as Ivan Malinovsky in 1958, and as well as Jörn Gustave Brandt, but he manifested very clearly in 1960, when Klaus Riefbier published the book "Confrontation", and when Benni Andersen debuted with a musical earl, and when Jes Örnsbog published his book "The Dikter". These are three very large Dikter collections, because they are called "Confrontation Modernism" with academic glasses. And they were printed from the newspaper, from the front, from critics, from Toppen Brutström. Even though they were printed in different directions, they used the setting, they used original pictures. They were not afraid to use the front over, it should not have been impossible to understand, and especially if you look at the time's policy, there was no rule, and there was no rhythm, so you could see it in a different way. That was some of the things they did. And Jan Christensen came a few years later, and it was not long, I think, but you have to correct me now, but I think it was not long before she turned off the Dikter "Confrontation Modernism", which I don't think is interesting, but it is a limitation. Because in his book "Lys", there is, in the end, one of the books that is very strange. They remember more about stories, but they try to fill in the policy, and they also fill in the crisis experiences. There really is something going on, just from the first to the second book, and then I could well find out and imagine that one could say that she is on her way, from the group she started with, identified with. Yes. She will come in any case. As time goes by, it will be something quite different than the first "Confrontation Dikters". But you try to read it again. If I am standing alone in the snow, it will be clear that I am an hour, how should I live, or find a way around it? So, the picture is very concrete, because why is she an hour? Because she gathers a shadow, like a visor. If I am standing alone in the snow, it is the light that falls. Yes, and then she gathers a shadow, like a visor. But is it not also fun, that it is the first "Confrontation Dikters"? Because it isn't just her thought world, that the world and the universe have used the word to come to consciousness about themselves. She is an instance that must give the world and the universe and nature a word. Yes. It flows very well with the idea that the title of the great "Confrontation Dikters" came in the beginning of 2019. The world wants to see itself. It is a thought that goes through the whole process, that the world comes to consciousness about itself in the human eye, in the human eye. And then she also had something from the beginning to distinguish her from so many other "Confrontation Dikters" from the 20th century. She hasn't tried to have any ideas about a "Gitter" in between humans and nature. She loved the idea that there could be immediate similarities or direct similarities between us and our surroundings, and can in this way be seen as a "Confrontation Dikters", that focuses on the relationship between us and our surroundings, and something we see in people who are saved in the use of civilization. Yes. And let us hear from her herself. Can you get into a language musical universe where something can be done, variations can arise, themes can be recreated? Things can be moved from one place to the other, the next, the third, and therefore come into one or the other larger composition, which you often experience with music, but which is of course completely impossible to do in poetry. It is a tragedy to write poetry in that way because it should be music. But in turn I think that sometimes I think it is quite nice that there is also a time between more and more words in it. That is what we are going to look at later because I think it is really exciting the way she covers the world and her own experience of the world and the way she does it is really very difficult to describe how it feels to read her poems because you feel it in some way it is also a philosophy that many things go in some way up for one that is how I have it in any case. But Søren Ulrich, I have been allowed to read her poems since she died in politics and in these words you describe your first meeting with Inge Christensen. Could you not think of telling the story here? Yes, it was on Gylldahl up in Kantinen where I, with a free sense of humor wanted to tell her what her policy went on and then she made her little "tyke hands" on my hand in such an overbearing gesture that I think would mean "Yes, yes, that's good with you." That was very reasonable and very nice and I actually think that I think the same about her policy today that I did that time because she is also a system doctor and that was also at a point in time after the confrontation that Erik described there will be a new generation of doctors where the system cover is a part of it but for her it has not just been one country time on a grid because there is a reason for her to write in systems for me to see because when you create a system it also shows that it can be within the system and for me to see she is a cosmological doctor and I think it was one of the reasons that she did not go so far it is a very large coincidence but it is not a significant coincidence and I think one of the that in the last years I think she felt a bit of pressure to give up something because there was such enthusiasm about her coincidence she was invited all the time and then she would read the same things again and again that she could not give up more because if one's policy is about the whole and it should be from every time then it says to yourself that there cannot be a boat to be boat-made and it was as if they had different systems different principles that they were solved in her that she could take a new life with this big stuff that she is not a doctor that writes about subjects or about psychology and there is me and Vito it is about the whole universe and I just to be sure that she died so early then I also think that it was a call for Danish literature in that understanding that if she had been given more years she was pretty sure she was supported on a new system that she wasn't unproductive after the culmination we can say of the summer valley in 1991 she contributed to a very strange should be called a "political suicide" together with a genetic and a Polish and I think a German doctor where they had some tests going on and then there should be no delay and she needed it for the sequence and then she wrote something very strange a date that is called "Akrostika" an akrosticon is if you take Ludwig van Beethoven and write a date where the whole left side belongs to the bookstaffs in his name and it just runs towards the right and she also wrote about the German romantic date for a dröste Hülshoff but then she also wrote about the Akrostika date to the newly founded German light so she wasn't unproductive but she was extremely selective in the 90s and the 2000s with what to give out yes, but also what she wrote I think but if she had had great love of script material she would have documented the outcome of what the world wanted to see herself because it showed that there was a lot of work and that the alphabet that came into being was also a result of a long and complicated process of the script and then she could wait and take it for granted what she wrote in the system instead of saying it's a bi-thing but also saying that she doesn't want to have it every time she could also say that it's an elementary experience if you don't spend your imagination and your creativity in a way that doesn't happen the last part I think is very correct but it also has something to do with something else when you write even if there is a great creative joy it's also uncomfortable to write there is a resistance in the book and that's because there is something to say that hasn't been said before and therefore it's a resistance and it's a little uncomfortable and I think that her system made that she was forced to write because when she had written the system and said that there should be so many lines in that line but so many in the next one the system was forced so I think it has been a way for her to force herself to write and to overcome that unpleasantness but it almost describes the right idea where there is a sequence where there is some direction so differently now that the system works so freely when she first started the system then it shifts from being forced discipline I don't know if the story is true but there is a story that she didn't show herself that when she had made the manuscript for the novel "A Sorno" which came in 1967 she put the many lines in a large couvert and sent it to the front page and when she clipped the couvert she said by herself that was it and then she didn't move the story that goes on that exactly that word was changed to the next project Yes, because it is the edition that is called "Dé" from 1969 we need to hear from it now because it can show a little about what we were talking about with systems and system design That was "Dé" so it started it goes on it moves on it goes on it goes on it goes on it goes on it goes on it goes on it goes on it goes on it goes on it goes on something new something still new it can now be. Föres er frem, flanéer, berêr, berêrs, infang er löst materiale, voks er så større och större, öer sin sikkerhed, ved er existér, som mér er sig selv. Forvekt, for farpå, forfat på mér i farten, går frem for andet, ud over andet, som opsammles, hårdigt belastes med de som kom först, så till fjell dit begynte. Det var det. Det kan vara som helst, att det kan vara beskrevelsen av en organisme som vokser. Det kan också vara beskrevelsen av nogen aflageringer på en strand. Så kan det helt tydeligt också vara en social organisation under åbrytningen. Det kan vara ett kallighetsförhåll som vokser stærkt och farligt, men fremforallt kan det jo være beskrevelsen av sig selv. Att texten hör sig selv bli till musik på den anden side och ser sig själv bli till skulptur på den anden side och så ett eller anden sted i mellom det hörbare och det sylige, så blir det så mycket betydning. Det här verk, det får en stor betydning i hans karriere. Jeg har læst mange städer, but just this work is described as "Närmest hovedverket", even though there are more afters, which also means a lot. Is it here that you can also say that she really shows that she is easy to read, but hard to understand, that she might not be folkish, but she really has skills. I don't know, it balances a bit for me. I heard her for the first time last year in the University of Germany, I went to the university last year, but my big brother was shifted from the first military career and based from Jurastudiet to a little Danish, and then I think he was a little brother, he went in and experienced some really bad things, and then there were several other brave men from Weile, who was known by Christian from earlier, and then he was Jörn Nielsen, who was a big number in all ways, at the end of the 1930s. And then there was Jörn Christensen, at that time, very small, namely, well-known, and if I remember correctly, constant cigarette smoke. Yes, at least you remember correctly. And then I read with a mixed voice, which I often think that here you have simply entered in a police station. And I don't mean an after-signalization, but she understood a lot, just with her future, with her voice acting, with her lyrics, or her lyrics, music from the beginning. It was completely obvious that we were brought to something that was big, because then we had not heard any of his literature before. Yes, that's what I'm good at, because I've read with her many, many times and many places in the world. And I've heard them all again and again, and I've never been tired of it. Because sometimes they are so rich in meaning, that you always hear something new about them. But then there was also a lot of music, her very beautiful, hypnotizing voice. . [translation in Swedish] I've heard them for hundreds of times, and I always read them from time to time. Søren Ulrich, you also write in your mind a very, very nice description of how you remember her as a person. Could you think of telling us a bit about how you, like, how she was back then? Yes, she was very charming. She had such a dance, glimpsed in her eyes, and so a bit ironic. And she had such a friendliness, always had such a little dross of irony, I think. So even though she was a big woman, you described her as a young woman, where she was so thin and slim, and on her older days she became somewhat thin. But it just so happened that she had such a certain lightness. And then she had this very sharp intellect, and this very compromising aesthetic sense, that you couldn't change with a cute little girl. And I also know her from meeting the Danish Academy, and that she didn't have such a way of talentlessness. And then suddenly she glimpsed it in her glasses. How did it come to the expression? Well, it came to the expression when I was with her, and she had quite a few reasons to put things in place. I think, I mean, joviality didn't want her to accept it. She wasn't, she was friendly, and it was nice to be with her, but there was also a tendency, you could say, about her, a woefulness zone, right? But when you're concerned about that, and to put things in place, and so on and so forth, she said it could take a while. Then I came to think of an episode in '96, where there was a small Danish countryman who had come to Iceland to read a police report. That was published years ago. That was both Jacob and I were with her. I was kind of confused about that, but it was also published by Pierre Taftroux. The idea was that you should read it up in Nordenshus, but also in some foreign countries. And before you came, you would have been on a tour of a snow-covered Icelandic country, where you could see an explosion crater, which was called 'karad' or 'karad' in Grimmsnäs. And in Christensen, you could never see the explosion crater, because she only had a ballerina shoe on, so she had to get up in the bush. When the evening after that came, Sir Nullerich, who had been in Aarhus, to present both the S.E. collection in Danish in the closet, and so the crisis, or the collection, was created. And when we sat there, in a festive mood, as you say, 'literator' and 'forfeitor', Sir Nullerich Thompson came and sat there. In Christensen's presence, he just stood still and said, 'Are you crazy?' It's the shortest one-liner from her side, which I can share with you. But she didn't want to go to Iceland? No, she wanted to sit in a place with her insurance. I don't think she did. I don't think she thought it was funny, she was standing in front of us, while she was waving her hands. But she really was, with good reason, internationally, recognized and especially in Germany, where she was called 'Christensen'. And when I was with them on their travels, it was because I was invited to the same place and read, the same place as Inger. And then there was always a delegation waiting for her. She was sitting all around her, and it was simply her so nice. We have also been in New York with her, and I don't think she was funny, because you don't have to cry somewhere. She doesn't want to go back to that. No, you're describing her as a South-East-cafe, a place in Vienna or in Rome? Yes, she was invited all the time to read all kinds of different places. And she actually went around with her passport in her handbag, even if it was her own. She had her handbag in her handbag, and she went from one room to the other, and it was her passport. And there was also a whole bunch of different things. But when I think of her, I see her sitting in a different place all the time, in the world, and being so nice. I actually see her at home. When was the first time she was translated to another language? Is this about the delivery? I think it was later. I know there were two German translations of the summer festival, one that is completely rule-based, in its own form, with the preservation of rhyme, or rather the creation of new rhymes in German, and completely rule-based rhymes. And then one that tries to give away the possible meanings of their play. And in response, there is more than one Frenchman who has backed up and turned the alphabet into their language. The next work we are going to talk about is alphabet. It is also a system design, a mathematical system design, actually. Yes, there is not so much going on in certain rhythms, and it is not about the lines, the lines of the verse, but it is about the number of verses to be built, from 1 to 2 to 3 to 5 to 8 to 13 to 21 to 34 lines. You put the two preceding lines together, and that is where the new number comes in the next, right? Yes, and it was an Israeli Renaissance mathematician Fibonacci who found this number. And in Christianity, the book was completely wild and happy, when a biologist at the time said to her, that "soccer grows after Fibonacci's reign." That was due to the fact that there was this same standard between human forms and the principle of natural growth. But that was also a good one, A, B, C, D. And then it went very fast. When we come up to the end, then there are too many verses, and then she broke it down. But it also fits very well with A, B, C, D. Maybe the universal way of throwing yourself out into the world from the first zero to nothing, nothing to do anything, and then she broke it down into countless pieces. And there was probably something to do with it, but without me thinking about what I did, it probably came back to me that the whole world had something to do with nature. I just saw it as a number, but that there are also different principles that have the relationship with numbers. I don't know anything about it. I feel very comfortable with it, that the numbers also have to be in their universal way. She decides to use Fibonacci's number range to write a number over the alphabet. The first number goes to A, B, C, and then it becomes bigger and bigger, because the number range expands. I heard somewhere that if she had done it all year round, it would have been one of the many 400,000, one or two words she would have written at the end, so it would be almost impossible, but she ended up at N in the alphabet. And now we need to hear Inga Christensen read herself up from this cover. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. The trees of apricots are found. Out of the fact that Inga Kristensen, she is covering the system of the phibonacci system. What is it she would like to say about alphabets? If I could give a fresh look at it, as I said, it is a radio show. It is a show show, it is true, in a way, about what people are doing with the earth. And then it is a radio show, which tries to keep the truth of life, and tries to keep the built-up, sides of the human nature and civilization, which she sees at the same time, she sees the destruction. There is a very good example of it, where there are the thorns, the thorns, the geese, the dioxin and the dates. The dioxin is a poison, which we spread in nature. I think it is poison in Cveso, in Italy, which was a relatively short time before, which she thinks about. We live in possible potential harmony with nature, and we make use of it. By the way, the doppelganger is alphabetically written. What was the poison of poison? It was a very bad poison, uncontrolled production of apricots, which just streamed straight out of the environment. Has she told you about some of the thoughts she has given you? No, I don't think so. I don't think she wanted to do it, because there is a blurriness around it. She writes it, we have to think about it. I think she wants to understand that it is unbearable, to sit in front of something like that. It is not certain at all that she has been conscious, she just has to write it. Because I imagine that I have been on a part of a trip together, sitting here with the two of them, and talking about it. You don't talk about your understanding in this way, but you don't discuss it the way you work on it? No, it may not be something that... I don't think so. I think you talk more about where you have to spend the night. In that way, she also becomes a mystic self, a person who knows a private person. Yes, absolutely. Another well-known work by Inga Christensen is called "Summer Full Day" and when she wrote it, she had an experience on a trip. I would like to tell you about that experience she had. Just like me, she was on a trip with her wife, he was doing a bruntum, with the bruntum's wife and her wife instead on the balcony. They were together in a valley, which meant there would be a summer full party. Some time later, when there was to be a letter for John Bruntum, Inga Christensen made a sonnette which took place in the hill, in an experience on the balcony. After his own visit, it was the sonnette, which was written as a single sonnette, which became the master sonnette in the summer full day. The principle is, there should be 14 lines in each, there should be two squares and two rows, and each line should be 11 lines. You would like to explain to the listeners what each row is like. Yes, there should be two four lines, and then two three lines. But both the four lines and the three lines should be 11 lines plus the solution. Or minus a small number in each. And then it should be done in a regular way, with the dan dan dan. And above all, it should be line. So either line A B A B, or pair line A A B B, or line A B B A. And when the sonnette system works, it gives us freedom. It's the same principle as we have in it. But when Christian's selfish and self-explanatory statement was, that it was not immediately meant to be a sonnette line, but it just started as a social line under a two-tour. And I don't really know how to believe it. But it turned out to be completely reasonable, and sugary, and fascinating. It continues, among other things, that there are people who can do anything, and walk around with it as a smirk on their side of the head. But I also have an experience from half a year ago, a few years after the summer festival was held, that it proved its precisely magical power. Because it was possible, after the midday, and right before Christian's school, the summer festival, to go and get something more white wine, or red wine, down under the stairs. And at the end of the day, the culture-political leader, Hans Severinsen, was among the ones who showed up, and came up with a bottle of red wine. And when Christian began to read, they woke up the summer festival of the planet, in the middle of the midday air. Then his Severinsen began to come up with his bottle. And when she, 14 or 15 minutes later, came to the master's office, my ear answered with its dead ring, the dead man with his own eyes, sitting in front of the summer festival wing, where the left-wing culture-political leader is the last of his bottle-red wine. And I think that's a very small example of precisely magical and sugary and lively power. I don't think there was any opposition, but there was an opinion that it was a lie, and that it became a great work. No, that's not what you're saying. Because there is also a self-forgiveness in the fact that you lie, and you say that it shouldn't be a great literary work, and then you have the freedom to suddenly do something completely new. Yes, they say that the form goes back to about 800 years ago, the German Emperor Friedrich Nanneshof in Sicily, where you're covered in different clothes, and you're dressed up well, and talked to, but you also do what I call, for example, "Police, 400 meters, Hickelö." It's simply something that's difficult to do, because it's like a sunnet. And it's difficult, of course, if it has to be a sunnet thread. There's one thing that, I think, we have to take part in this meeting, where we're talking about the system, and also a little bit about your Christians as a person. And it's that the seventh of the sunnetters, before we get to the fifteenth, that is, the master of the sunnet, who begins and ends the lines from the others, the seventh in itself in the circle, is a mistake. She has built a mistake into a wrong thread. And of course, there are people who have made sense and made sense of it. But I can't help but think that the sunnet can be about a race that can very well be in the middle of Christianity and Paul Boerum. I don't think it's too much of a waste. And the foregold of the university, even though there are other worlds to it, where the gods can both walk and climb, which is also called a natural painting, which reminds us of a summer day on the scale. When the fog is engulfed under the mating season, it flows around as a sky storm all day, with the echo of the blue from the rock bottom. While we are just lost in the sand, then taleriye, which can only be two now, got the elements of the body of the same kind of earth, which is the house and heaven's middle thing. But there are two people who survived each other, a life that doesn't die like nothing. Yes, it's just like you get tears in your eyes. Yes, but you can also see it here. Something that I have found so well is that the inflow of the bird, which is a blue, blue, blue summer bird, is created as a view of the sky and the sky. A rhyme is only good if at the same time it is completely logical, but also surprising. If you can get to the rhyme, then everything in the air has taken something out of it. And that is really hard to rhyme. And that's what she knows. And I also think she is a scary work, because you don't really get to rhyme after that, because then you have to stay up so early in the morning. [Music] We have to go around. We can talk about my last year, where we have been into productivity. And you had, I think, and have hurt in your memory, a pretty nice comment to be productive with. Yes, but I think that in the last few years, I think she felt a pressure to give out new things. Because I think she felt that she had to face a challenge in relation to the great enthusiasm she was faced with all the time, and that she was to be read again and again about the same things. As I see from her literature, it is about the whole, the whole from every time. She describes it all in these different systems. And then it is clear that it cannot be a book that she can't make a new one out of every single year. So then she has to wait. You can't say the theme in this book, and then it comes with one other thing, it is about a country cut out of the environment, or something psychological, or something like that. So what could be solved when she got it, it was that she broke into a system that could repeat the entire, the entire great cosmological way she saw the world. Yes, it is sad that we missed her in 2009, but a few years later, there was Peter Borum, her son, and a Swedish confederate named Marie Silkeberg, who went through her great archive and published the book "The World Wants to See Myself", which is a report by Inge Christensen's confederate and notary and something that has not been published before. If you look at the whole great Danish literary history, what does Inge Christensen mean? She is the largest female liar in the 21st century. Perhaps our largest female liar over the head. You can think of that. I think of Sime, with Alvor and Mine. I also think that she is one of the most extensive confederates, one of the most founding, so just in what is about the revolution, and about psychiatry, about psychology, and about love, and about the language. All that was built together in a categorical word. That is a lot. She is a synthesis that we can say, one that wants to unite and connect. And then she is a strange mix of wisdom. And then a simple thing that makes it that you do not need to read a whole work, Inge Christensen, you can slide down and then immediately find gold. Yes. I think that makes her big. And I think that she will be read in the next 100 years. Yes, she will definitely be. I can remember her as a very young woman. I was very impressed by the fact that there is a man sitting on a stone. They have grown up together. He says that he draws a piece of paper from the stone. Then you see him drawing a piece of paper from the stone. There is a piece of paper from the stone. It looks like a man on a stone. They have grown up together. It is beautiful. And I think that she has also meant so much for so many poets. So she has a very strong influence, which you also have to give resistance to. Because when you sit and write, you should hear her music come down in her own way. And then something like that. And then you have to think about when that inspiration is just fine. And when it should have a bit of resistance. She has gotten a Nobel Prize. Yes, I think so. And of course she has had that. Yes, to all and all at the same time. We have talked a lot about Inge Christensen's poem. And for some of the first time readers sitting out there, it might be a bit difficult to find where to start. If you have to give a book, where do we start? I would say start by reading the Summer Fultale. Sit two people and then read it up. And you can say that because it is 15 pages. It is not too much, it is over-schooling. And then you will be so fascinated. And there is the whole principle that the last line in each page will be the first in the next page. And when all the lines that are presented, they end up in the master's room, then the horns will be raised. So I think that is a good outcome. What about you, Jack? Well, I would say the same thing. That Sunet will be over in the next page. It is like a child who is in a good mood and says again. But then we will also talk about the April test. Which is, in my opinion, not too much, but at least a little underrated. A lot of beautiful works in the literature. And just open reading. Seren Ulrik Thomsen and Erics Gürm Nielsen. Thank you very much for being here today. Thank you for the invitation. It was a pleasure. I also write as the early spring, I also write about the monsoon, the birds, the clouds, and the nature of the forest. I also write as the little summer, which is 12 years old, the colors of the mountains, which are white-gold and bright, and the white-gray clouds. I also write as the dead, which is written afterwards, which is a restless hope, which is a light storm, the snow, the dew, the rain. I also write as the winter, which is snow and ice, and the cold and the dark. Hi, you have listened to a podcast from Potimo. If you can hear what you hear, then you can listen to all the episodes and arrange hand-pulled podcasts like this one here on Potimo already today. Download the app or click on the link in the description of the episode.