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More Dutch Classics More Dutch ‘As long as people keep More Classics Dutch looking for insights into their precarious existence, modern classics will continue to be written.’ Abdelkader Benali Dutch Foundation for Literature Classics Fiction 4 Abdelkader Benali Non-fiction 16 Introduction Children’s Books 28 Poetry 40 Modern classics are a curious result of a unique style. In Sunken phenomenon. They bring together Red, Jeroen Brouwers tries to exor- two seemingly contradictory things: cise the trauma of his experience in urgency and timelessness. What a Japanese internment camp in the modern classics lose in urgency Dutch East Indies in a way that’s with time – as they are overtaken by so obsessive as to be hypnotizing. other works of literature that cap- I had a hard time facing up to what I ture the zeitgeist of their moment – was reading: a child crushed by his they make up for in timelessness. mother’s pain. Whether it be a novel, a poem or Sometimes the style shows the a non-fiction book, the work ends up way to liberation. In We Slaves of becoming perennial. The innocence Suriname by Surinamese resistance that crackles between the lines in fighter Anton de Kom, the colonial Cees Nooteboom’s Philip and the system is deconstructed in baroque Others is still there today – it’s just language that seeks to transcend held suspended in amber. A mod- history. The former colony’s lush ern classic whisks us away from natural landscape sprouts up out of our tired world into an altogether the language, forcing the colonizer different world, one that’s more to see the land not as a resource to vital, more necessary. The delight be exploited but as a unique ecosys- we felt on first reading lingers for tem with its own inalienable rights. the rest of our lives. The poet Hans The German translation was on Lodeizen died young. He wrote: ‘We the list of banned books issued by will approach life with the utmost the Nazi Propaganda department seriousness / as we would a mur- in 1938 – they feared the book’s derer among us.’ Hans. Lodeizen. radicalism. Modern. Classic. The Dutch literary scene also A man slowly loses his grip on boasts stellar, bold young-adult fic- reality, a woman regains her grip tion – books that take young people on reality, the war casts its long seriously. I know this from close shadow on a generation that wasn’t personal experience, because it was touched directly by it – modern clas- YA literature that gave me a sense sics come about when the author of direction in the world. Hidden manages to drive a wedge between beneath my bedsheets, I devoured the protagonist and the time they Thea Beckman’s Children of Mother live in. The sensitivity, the sense of Earth, in which survivors of a nuclear claustrophobia we feel and the inti- war live in Greenland, a country now macy we share in – they are all the ruled by women. This gripping story 2 Fiction 4 Abdelkader Benali Non-fiction 16 Introduction Children’s Books 28 Poetry 40 Modern classics are a curious result of a unique style. In Sunken phenomenon. They bring together Red, Jeroen Brouwers tries to exor- two seemingly contradictory things: cise the trauma of his experience in urgency and timelessness. What a Japanese internment camp in the modern classics lose in urgency Dutch East Indies in a way that’s with time – as they are overtaken by so obsessive as to be hypnotizing. other works of literature that cap- I had a hard time facing up to what I ture the zeitgeist of their moment – was reading: a child crushed by his they make up for in timelessness. mother’s pain. Whether it be a novel, a poem or Sometimes the style shows the a non-fiction book, the work ends up way to liberation. In We Slaves of becoming perennial. The innocence Suriname by Surinamese resistance that crackles between the lines in fighter Anton de Kom, the colonial Cees Nooteboom’s Philip and the system is deconstructed in baroque Others is still there today – it’s just language that seeks to transcend held suspended in amber. A mod- history. The former colony’s lush ern classic whisks us away from natural landscape sprouts up out of our tired world into an altogether the language, forcing the colonizer different world, one that’s more to see the land not as a resource to vital, more necessary. The delight be exploited but as a unique ecosys- we felt on first reading lingers for tem with its own inalienable rights. the rest of our lives. The poet Hans The German translation was on Lodeizen died young. He wrote: ‘We the list of banned books issued by will approach life with the utmost the Nazi Propaganda department seriousness / as we would a mur- in 1938 – they feared the book’s derer among us.’ Hans. Lodeizen. radicalism. Modern. Classic. The Dutch literary scene also A man slowly loses his grip on boasts stellar, bold young-adult fic- reality, a woman regains her grip tion – books that take young people on reality, the war casts its long seriously. I know this from close shadow on a generation that wasn’t personal experience, because it was touched directly by it – modern clas- YA literature that gave me a sense sics come about when the author of direction in the world. Hidden manages to drive a wedge between beneath my bedsheets, I devoured the protagonist and the time they Thea Beckman’s Children of Mother live in. The sensitivity, the sense of Earth, in which survivors of a nuclear claustrophobia we feel and the inti- war live in Greenland, a country now macy we share in – they are all the ruled by women. This gripping story 2 also raises important questions worlds, between imagination and about the environment, sustain- realism, with ease. The form also ability and the devastating conse- transcends taboos; sometimes quences of an arms race. Beckman form itself can be dangerous. When wrote in her time and looked beyond The SS Men – a non-fiction portrait her time. Why shouldn’t women rule of eight former SS members – was the world? first published in 1967, Armando A man in São Paolo, Brazil writes and Hans Sleutelaar were met with letters home. His name is August widespread opposition for having Willemsen, a young student of given a platform to these voices of Portuguese literature whose love evil. But their examination of the of Brazilian writing has brought enemy’s motivations is a necessary him to the biggest country in South tour de force – in our time, too, we America. He writes letters to his find ourselves wondering what friend back in the Netherlands drives people to turn on their fellow about his life in the Brazilian humans. metropolis, with all of its irritations As long as people keep looking and discomforts, and about his trav- for insights into their precarious els to the landscapes described by existence, modern classics will his literary heroes. Brazilian Letters continue to be written. As the is a wonderfully unique work of Surinamese-Dutch poet Hans autobiographical writing, a portrait Faverey (1933 - 1990) so aptly put it: of a society and a travelogue all rolled into one. ‘May the god who is hiding inside me Dutch authors like to experiment be willing to hear me out, to let me finish, with new forms of storytelling, before he strikes me dumb and kills me suspending the boundaries between under my very eyes, under your very eyes.’ Abdelkader Benali (b. 1975) was four years old when he and his family, of Berber background, migrated to The Netherlands and settled in Rotterdam, where his Fiction father worked as a butcher. At 21, he made his debut with Wedding by the Sea, about a Dutch Moroccan who goes back to his home country in search of his sister’s deserted bridegroom. Benali was awarded the presti- gious Libris Literature Prize for his second novel, De langverwachte (The Long-Awaited, 2002). He has since published the novels Laat het morgen mooi weer zijn (Let Tomorrow Be Fine, 2005) and Feldman en ik (Feld man and I, 2006). He also writes plays, poetry, children’s books and essays. In 2005, with the historian Herman Obdeijn, he published Marokko door Neder- landse ogen 1605 - 2005 (Morocco through Dutch Eyes 1605 - 2005). His most recent novel is De weekend- miljonair (The Weekend Millionaire, 2019). 3 4 also raises important questions worlds, between imagination and about the environment, sustain- realism, with ease. The form also ability and the devastating conse- transcends taboos; sometimes quences of an arms race. Beckman form itself can be dangerous. When wrote in her time and looked beyond The SS Men – a non-fiction portrait her time. Why shouldn’t women rule of eight former SS members – was the world? first published in 1967, Armando A man in São Paolo, Brazil writes and Hans Sleutelaar were met with letters home. His name is August widespread opposition for having Willemsen, a young student of given a platform to these voices of Portuguese literature whose love evil. But their examination of the of Brazilian writing has brought enemy’s motivations is a necessary him to the biggest country in South tour de force – in our time, too, we America. He writes letters to his find ourselves wondering what friend back in the Netherlands drives people to turn on their fellow about his life in the Brazilian humans. metropolis, with all of its irritations As long as people keep looking and discomforts, and about his trav- for insights into their precarious els to the landscapes described by existence, modern classics will his literary heroes.
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