Sørensen describes himself as a writer, art director, graphic designer, web designer and concept developer, and his LinkedIn profile identifies him with the Copenhagen area and the creative venture Mytoman. LinkedIn+1
There is also an unusually strong emphasis in his own biography on travel and unconventional living. In one autobiographical piece he says that he had moved 42 times in 52 years, both in Denmark and abroad, and describes a long-standing fascination with small, portable things and with working for small businesses and entrepreneurs. LinkedIn
That helps explain something that runs through much of his work: he seems to value mobility, independence, informality and experimentation more than conventional professional boundaries.
A major part of the story is Propagandaministeriet, the publishing imprint associated with Sørensen and photographer Martin Dybdal.
Their collaboration has produced books such as:
Søerne – Københavns åndehul — photography by Martin Dybdal, with Sørensen responsible for text/layout.
Københavns cykler — Dybdal’s photography and Sørensen’s text and design.
Næ, men jeg har talt med Gud om det — a short fictional/religious satire.
Vikingologi.
Hammered History.
Fåking Danmarkshistorie.
Historier rundt om bålet. Hassan Sørensen+1
The collaboration appears to extend beyond books. Dybdal describes “Caféforelæsninger” involving himself and Sørensen, with authors and public figures appearing for conversations and interviews. LinkedIn
So the publishing operation seems to be part publisher, part cultural salon, part creative studio.
This is probably the most interesting aspect of him.
Sørensen openly rejects the idea that history needs to be presented like a university lecture. His Hammered History is described as the history of humanity as told by a drunken history enthusiast in a pub, while the Danish Fåking Danmarkshistorie explicitly contrasts historical storytelling with a classroom’s “pointer and blackboard” approach. bogshop.bod.dk+1
But there is an important qualification: he doesn’t present himself as an academic historian. In the description of Hammered History, he actually characterizes himself as having little interest in conventional scientific method and strict historical objectivity. bogshop.bod.dk
That matters when evaluating his books. They’re best regarded as popular storytelling and satire about history, rather than scholarly historical works.
Interestingly, he has also written about the distinction between myths, stories and facts. In a Propagandaministeriet article about the creation of the Dannebrog myth, he argues that factual checking is important while also defending myths and stories as ways of transmitting cultural understanding. propagandaministeriet.dk
That’s a recurring tension in his work: he likes the power of a good story, while simultaneously playing with the boundary between truth and fiction.
This isn’t just a publishing theme.
Sørensen runs/teaches through Æsir Academy, where he presents himself as a “Vikingologist and Storyteller.” The academy offers courses in Viking history and Norse mythology, including material on Ásatrú and Forn Siðr. asir.dk
His biography there says he was born near an Iron Age burial mound and grew up with parents interested in Norse history. Separately, in a LinkedIn post, he says his parents took him to the Frederikssund Vikingespil when he was six months old and that he subsequently attended almost every year for decades. asir.dk+1
That gives the Viking material a more personal dimension than simply “an author discovered Vikings and wrote a book.”
His Vikingologi explores Viking society, trade and cultural connections rather than restricting itself to the familiar helmet-and-axe stereotype. The academy similarly emphasizes that the Viking Age involved much more than raiding and warfare. LinkedIn+1
The humour isn’t incidental.
Consider some of the titles and descriptions:
Manualen til livet asks questions ranging from sex and mobile-phone use to colonialism, conspiracy theories and the meaning of life. Its publisher’s biography of Sørensen is deliberately ridiculous and self-deprecating. bogshop.bod.dk
Næ, men jeg har talt med Gud om det imagines a journalist dying in a traffic accident, meeting God and insisting on conducting an interview. The publisher describes it as something that some readers may regard as divine truth and others as blasphemous. Everand
And A Taste of Blood combines murder, eroticism, comedy and recipes—a pretty good illustration of just how far outside conventional genres he is willing to go. Hassan Sørensen
So “Hassan” seems less like a separate persona and more like an extension of the irreverent creative persona he has built around himself.
There’s a recurring theme of anti-snobbery.
His LinkedIn description calls him “Usnobset” — essentially unsnobbish. His writing repeatedly attacks dry presentation, excessive seriousness and institutional conventions. At the same time, he clearly has substantial experience in graphic design and visual communication, so the informality appears to be a conscious aesthetic choice rather than an absence of professionalism. LinkedIn
That combination—professional design discipline + deliberately undisciplined storytelling—is probably the key to understanding him.
The work has continued to develop beyond the older design career. In 2023 he published Hammered History in English; in 2024 came Fåking Danmarkshistorie; and in 2025 the catalogue includes Norse Mythology Encyclopedia. bogshop.bod.dk+2
The Æsir Academy is another sign that he’s moving from simply writing about history to actively teaching and presenting it. asir.dk
If I had to describe the public persona without turning it into a ranking or judgment, I’d put it this way:
Hasse “Hassan” Sørensen is a Copenhagen creative who started from graphic design and visual communication and has progressively built a second identity around books, publishing, Norse culture and irreverent historical storytelling. His work intentionally sits somewhere between popular history, satire, cultural commentary and entertainment.
And there’s an interesting distinction between Hasse the designer and Hassan the storyteller: the former gives his projects their visual and commercial structure; the latter gives them their deliberately provocative voice.
If you’d like, I can go one level deeper and reconstruct his career chronologically—from his early design/business years through Propagandaministeriet, his relationship with Martin Dybdal, and his transition into Vikingology and writing, including the companies and projects he’s been associated with.
