Wax and Wane. Hovedland, 2019
FRESH AIR ON THE PAGES
– Jorns 207 page long book, Wax and Wane, moves, sliding, rippling at the tops of the pages while Jorn continues, in reference to the title of her book, to return to the moon, but she is also fond of falling leaves.
Lars Bukdahl, Weekendavisen
POEM UNDER THE MOON
Susanne Jorn has also found inspiration in the moon minimalistically, the poet lets her experience of the moon shape language the fan is spread out, grazing such themes as immigration, beggars and drug addicts one can only share the hope for this planets future, that Susanne Jorn unequivocally expresses here.
Ole Møller/Dagbladenes Bureau. “Aarhus Stifttidende”****, “Fredericia Dagblad”****, “Midtjyllands Avis”****, “Dagbladet Holstebro-Struer”****, “Horsens Folkeblad”****, “Lemvig Folkeblad”****, Jyske Vestkysten****
In the Relative. Hovedland, 2018
A collection of poetry with three themes: space, time and light.
Once again, Susanne Jorn has written a beautiful and rewarding poetry collection.
Steffen Lange, Midtjyllands Avis****
WATASHI. Hovedland, 2017
By Shuntaro Tanikawa.
50 poems translated from Japanese to danish by Susanne Jorn.
Stone on Stone. Hovedland, 2015
The third book of poetry in a trilogy focusing on primary colors
this time, the color yellow.
POETIC VIBRANCE The almost formulaic simplicity, poignant expression for poignant
experiences, often meticulously organized in contradictions or simple lists, is typical Jorn
I’m talking about the Yellow Catalogue which is Jorn’s book: so many yellow nuances and
yellow situations as possible Ever-yellow
Lars Bukdahl, Weekendavisen.
WORDS FULL OF COLOR AND IMAGINATION
Steffen Lange, Midtjyllands Avis *****
She can construct the perfect still-life, thus setting an
effective stage – and the mood it
creates reaches far beyond its own frame. It reminds me
how the Danish word ‘moment’ actually presents the
sensory moment as a time based unit.
Victor Ovesen, Standart nr. 4, 2015
In Perfect Order. Hovedland, 2014
The second book in a poetic trilogy focusing on primary colors, this time focusing on the color red.
SHE CROSSES AT RED. Susanne Jorn muses encyclopedically minimalistic about the euphoric red poppy of poetry simple, deeply intricate and just as obvious as they are irresistible and immediately unforgettable: it is quite simply hard not to remember.
Lars Bukdahl, Weekendavisen
WORDPAINTER one of the best lyricists of the last few decades.
Marie Tetzlaff, Politiken
The Bird in the Forest. Nyt Nordisk Forlag, 2014
Poetry and Fairy tales written to 53 pieces by 26 artists in the Museum Jorn collection.
PALETTE AND POETRY Author/translator Susanne Jorn, with an impressive list of publications behind her, maneuvers comfortably on several scenes at once. In her beautifully designed new book The Bird in the Forest, she has not only written poems and fairy tales for 53 pieces from her father Asger Jorn’s art collection, she also draws on her deep understanding of Asian, particularly Japanese, poetry and art.
Jørgen Johansen, Berlingske****
Signs and ‘hieroglyphs’ dance across the page with the weightlessness of a Japanese paper kite carried on warm air currents. And it is precisely such a kite Susanne Jorn has applied her poetry to in the book.
Steffen Lange, Midtjyllands Avis******