Jan Hendrik Wolkers was a Dutch author and painter. Wolkers is considered by some one of the "Great Four" writers of post-World War II Dutch literature, alongside Willem Frederik Hermans, Harry Mulisch and Gerard Reve, he became noted as an author in the 1960s for his graphic descriptions of sexual acts. His 1969 novel Turks Fruit was translated into ten different languages and published in English as Turkish Delight, it was made into a successful movie, the Paul Verhoeven-directed Turks Fruit, nominated for an Academy Award for Best Foreign Language Film and in 1999 won the award for Best Dutch Film of the Century. Wolkers declined several literary awards. In 1982 he refused the Constantijn Huygensprijs, in 1989 he refused the P. C. Hooftprijs. From 1980 until his death, Wolkers resided on the Dutch island of Texel, he died on 19 October 2007, aged 81, at his Texel home and was cremated in Amsterdam at De Nieuwe Ooster cemetery. A number of his outdoor sculptures in the Netherlands have been subject to vandalism due to his use of glass as a construction material.
Some examples are the Auschwitz monument in Amsterdam and the monument on the dike at Ceres on Texel. In reaction to the destruction of the monument in 2003, Wolkers announced that he would use less glass and more steel for such monuments in future; the Jac. P. Thijsse monument on Texel does contain more steel, but glass is still a substantial part of the artwork. 1961, Serpentina's petticoat 1962, Kort Amerikaans/Crew Cut 1963, Gesponnen suiker/Cotton Candy 1963, De Babel/The Babel 1963, Een roos van vlees/A rose of flesh 1964, De hond met de blauwe tong/The dog with the blue tongue 1965, Terug naar Oegstgeest/Return to Oegstgeest 1967, Horrible tango 1969, Turks fruit/Turkish Delight 1971, Groeten van Rottumerplaat/Greetings from Rottumerplaat 1971, Werkkleding/Workclothing 1974, De walgvogel/The dodo 1974, Dagboek 1974/Diary 1974 1975, Dominee met strooien hoed/Vicar with straw hat 1977, De kus/The Kiss 1979, De doodshoofdvlinder/The death-head hawkmoth 1980, De perzik van onsterfelijkheid/The peach of immortality 1981, Alle verhalen/All stories 1981, Brandende liefde/Burning Love 1982, De junival/The June trap 1983, Gifsla/Poisoned lettuce 1984, De onverbiddelijke tijd/The unforgiving time 1985, 22 sprookjes, verhalen en fabels/22 fairy tales and fables 1988, Kunstfruit en andere verhalen/Artificial fruit and other stories 1989, Jeugd jaagt voorbij/Youth passes by 1991, Tarzan in Arles 1991, Wat wij zien en horen/What we see and hear 1994, Rembrandt in Rommeldam 1995, Zwarte bevrijding/Black Liberation 1996, Icarus en de vliegende tering/Icarus and the wasting disease 1997, Mondriaan op Mauritius/Mondrian on Mauritius 1998, Het kruipend gedeelte des aardbodems/The crawling part of earth's surface 1999, Omringd door zee/Surrounded by sea 1999, De spiegel van Rembrandt/Rembrandt's mirror.
2005, Zomerhitte/Summer heat 2005, Dagboek 1974/Diary 1974 2006, 2 Texel: Drummers Double Bill & Jan Wolkers 2007, De ladder naar lust/The scale towards lust 2008, Het was wel een heel lief varkentje In 2006 and 2007 the novel Kort Amerikaans was made into a graphic novel by Dick Matena. Turks Fruit, directed by Paul Verhoeven, nominated for an Academy Award for Best Foreign Language Film Kort Amerikaans, directed by Guido Pieters Brandende Liefde, directed by Ate de Jong En Ros Av Kött, directed by Jon Lindström, Swedish television film based on Een roos van vlees Terug naar Oegstgeest, directed by Theo van Gogh Summer Heat, directed by Monique van de Ven Obituary in The Times, 24 November 2007 Jan Wolkers on IMDb
Leo Vroman was a Dutch-American hematologist, a prolific poet in Dutch and an illustrator. Vroman was studied biology in Utrecht; when the Nazis occupied the Netherlands on May 10, 1940, he fled to London, from there he traveled to the Dutch East Indies. He finished his studies in Batavia. After the Japanese occupied Indonesia he was stayed in several prisoner-of-war camps. In the camp Tjimahi he befriended the authors Rob Nieuwenhuys. After the war, Vroman went to the United States to work in New York as a hematology researcher, he gained American citizenship and lived in Fort Worth until his death in 2014, aged 98. In 1946, he published his first poems in the Netherlands, since has won every Dutch literary poetry prize possible. In 1970 Vroman was awarded the Individual Science Award by Wayne State University in Detroit, Michigan. In 2003, his former high school, de Goudse ScholenGemeenschap, changed its name into de Goudse ScholenGemeenschap Leo Vroman. Gedichten Gedichten, vroegere en latere Poems in English Inleiding tot een leegte Uit slaapwandelen De ontvachting en andere gedichten Twee gedichten Fabels van Leo Vroman Manke vliegen 126 gedichten Almanak 144 gedichten Ballade van mezelf 262 gedichten God en Godin Huis en Tuin.
Fabels en strips Nieuwsgierig Het verdoemde carillon De ballade van Jantje Liefde, sterk vergroot Avondgymnastiek De cultuurgeschiedenis Gedichten 1946-1984 Fractaal Ongebundelde gedichten 1937-1941 Dierbare ondeelbaarheid Een soort van ziel in negen delen Neembaar Toen ik nog leefde De godganselijke nacht Psalmen en andere gedichten Vergelijkingen De roomborst van Klaas Vaak Details Spiegelbezoek Bij duizenden Aan elkaar De gebeurtenis en andere gedichten Een stilte die niet bestaat Aan elkaar / Herhaling Tweede verschiet De mooiste gedichten uit Hollands Maandblad Alle malen zal ik wenen Nee, nog niet dood Soms is alles eeuwig Zodra Daar Poems in English Just one more world Tineke De adem van Mars Snippers van Leo Vroman Tineke / De adem van Mars/Snippers van Leo Vroman Agenda uit het jaar 2000 Sdsi'Boek' pfhpfh Het Carnarium Brieven uit Brooklyn Proza, een keuze uit de verhalen Warm, nat & lief Vroeger donker dan gisteren. Herfstdagboek. Misschien tot morgen: dagboek 2003-2006. Stiemer en Stalma De trapeze 10 Het Grauwse Diep Voorgrond, achtergrond E.g.
Surface contact and thromboplastin formation. Blood, Garden City, N. Y.: Published for the American Museum of Natural History, Natural History Press, 1967. With Edward F Leonard: The Behavior of blood and its components at interfaces, Columbia University Seminar on Biomaterials, New York Academy of Sciences, New York, 1977. Vol. 283 in Annals of the New York Academy of Sciences with Edward F Leonard and Vincent T Turitto: Blood in contact with natural and artificial surfaces, New York Academy of Sciences, New York, N. Y. 1987. Vol. 516 in Annals of the New York Academy of Sciences Vroman effect Leo Vroman on IMDb The Vroman Effect by C. H. Bamford, S. L. Cooper, T. Tsuruta, 1992 Poetry International on Vroman Vroman's publications at WorldCat The Vroman Foundation Interviews with Leo and Tineke Vroman. Part 1, March 19, 2009, Part 2, March 19, 2009, Part 1, March 20, 2009, Part 2, March 20, 2009, Part 3, March 20, 2009, Part 4, March 20, 2009, Part 1, March 21, 2009, Part 2, March 21, 2009, Part 3, March 21, 2009, Part 3, March 21, 2009 University of Texas at San Antonio: Institute of Texan Cultures: Oral History Collection, UA 15.01, University of Texas at San Antonio Libraries Special Collections.]
Lucebert was a Dutch artist who first became known as the poet of the COBRA movement. He was born in Amsterdam in 1924, he entered the Institute for Arts and Crafts in 1938 and took part in the first exhibition of the COBRA group at the Stedelijk Museum, Amsterdam in 1949. Lucebert's talent was discovered. After half a year of art school, he chose to be homeless between 1938 and 1947. In 1947, a Franciscan convent offered him a roof over his head, in exchange for a huge mural painting; because the nuns could not appreciate his work, they had it painted over with white paint. He belonged to the Dutch literary movement of De Vijftigers, influenced by the European avant-garde movement COBRA. Lucebert's early work shows this influence, his art in general reflects a rather pessimistic outlook on life, his strong personality appealed to many. As a poet he laid foundation for revolutionary innovation in Dutch poetry. Most of his poems were collected in Gedichten 1948–1965. After this period of composing poetry, he worked in the visual arts known as figurative-expressionist from the 1960s.
His work is being translated to english on collected works. Well known is his line "Alles van waarde is weerloos" from the poem De zeer oude zingt; the adjective "weerloos" means "defenseless", "unable to defend oneself", so the meaning is "All things of value are defenseless". This line was put on top of the office building of an insurance company in Rotterdam in neon letters, including his name, sometime in the 1980s or earlier, it wasn't the first but is the most prominent commercial use of the line. Written on the city's central library just across the street is "Heel de wereld is mijn vaderland – Erasmus", "All the world is my fatherland – Erasmus". Lucebert died on 10 May 1994 in Netherlands. Lucebert was a noted anti-apartheid activist. 1949 – International Exhibition of Experimental Art, Stedelijk Museum, Netherlands 1959 – Stedelijk Museum, Netherlands 1961 – Stedelijk van Abbe-Museum, Netherlands 1963 – Staedtlische Kunstgalerie, Germany 1963 – Marlborough New London Gallery, London 1964 – Museum Boymans-van Beuningen, Rotterdam.
Br. Germany 1988 – Landesmuseum Oldenburg, Galerie im Taxispalais, Austria 1989 – Kunsthalle zu Kiel, Germany 1989 – Städtische Kunstgalerie, Germany 1989 – Kunsthaus Grenchen, Switzerland 1954 – prize for literature from the city of Amsterdam 1959 – "Mediterranean Prize" of the Paris Biennale 1962 – 2nd "Marzotto Prize" 1964 – "Carlo Cardazzo" prize at the 32nd Biennale in Venice, Italy 1965 – "Constantijn Huygensprijs" 1967 – "P. C. Hooftprijs" – the highest Dutch Governmental prize for literature 1983 – "Prijs der Nederlandse Letteren" for Dutch literature Among the public collections holding works by Lucebert Swaanswijk are: Museum de Fundatie, Zwolle
Ferdinand Bordewijk was a Dutch author. His style, terse and symbolic, is considered to belong to New Objectivity and magic realism, he was awarded the P. C. Hooftprijs in 1953 and the Constantijn Huygensprijs in 1957. Character, an Academy Award-winning film directed by Mike van Diem, was based on his novel Karakter. Ferdinand Bordewijk was moved to The Hague when he was ten years old, he studied law at Leiden University. After graduation he worked first at a Rotterdam law firm and became an independent lawyer in Schiedam in 1919, remaining an inhabitant of The Hague all of his life, he was married to the composer Johanna Bordewijk-Roepman. He wrote the libretto for her opera Rotonde, his first published work was a volume of poetry titled Paddestoelen under the pseudonym Ton Ven. It was not well received, his breakthrough came with the short novels Blokken, Knorrende Beesten and Bint, two longer works: Rood paleis and Karakter. Blokken was a dystopian work, perceived as a criticism of communism, it is comparable to Aldous Huxley's Brave New World, which appeared one year and which Bordewijk deemed to be junk.
1916 – Paddestoelen 1918 – Een koning van de frase in: Groot Nederland 1919 – Fantastische vertellingen, short stories 1923 – Fantastische vertellingen, tweede bundel, short stories 1924 – Fantastische vertellingen, derde bundel, short stories 1931 – Blokken, novel 1933 – Knorrende beesten. From Dutch by E. M. Prince. Filmed as 1997 Dutch/Belgian film, directed by Mike van Diem. 1940 – De Korenharp 1940 – Drie toneelstukken 1941 – Apollyon 1946 – Eiken van Dodona 1946 – Veuve Vesuvius 1947 – Bij gaslicht 1947 – Vijf fantastische vertellingen 1948 – Noorderlicht 1948 – Plato's dood, symfonisch gedicht 1948 – Rotonde 1949 – Blokken, Knorrende beesten, compilation 1949 – Het eiberschild 1949 – Nachtelijk paardengetrappel 1949 – Zwanenpolder.
Gerard Kornelis van het Reve was a Dutch writer. He started writing as Simon van het Reve and adopted the shorter Gerard Reve in 1973. Together with Willem Frederik Hermans and Harry Mulisch, he is considered one of the "Great Three" of Dutch post-war literature, his 1981 novel De vierde man was the basis for Paul Verhoeven's 1983 film. Reve was one of the first homosexual authors to come out in the Netherlands, he wrote explicitly about erotic attraction, sexual relations and intercourse between men, which many readers considered shocking. However, he did this in an ironic and recognizable way, which contributed to making homosexuality acceptable for many of his readers. Another main theme in combination with eroticism, was religion. Reve himself declared that the primary message in all of his work was salvation from the material world we live in. Gerard Reve was born in Amsterdam and was the brother of the Slavicist and essayist Karel van het Reve, who became a staunch anti-communist in his own way.
They broke up altogether in the 1980s. He insisted that homosexuality was a motif in his work, the deeper theme being the inadequacy of human love. Since the publication of Op weg naar het einde and Nader tot U, marking his breakthrough to a large audience, he articulated his views on God's creation and human fate in the many collections of letters that he published; these writings stress a symbolic, rather than literal, understanding of religious texts as the only intellectually acceptable one, the irrelevance of the Gospel's historical truth. Religion, according to Reve, has nothing to do with the literal, the factual, the moral or the political, it has no quarrel with modern science, because religious truths and empirical facts are in different realms. The observable world has no meaning beyond comparing facts, while revelation may not make sense, it has meaning, it is this meaning that Reve was after in everything he wrote. Philosophically, Reve was influenced by Arthur Schopenhauer, whose works he re-read every winter, more so by Carl Jung, according to a Dutch painter who spent some time with the author in France to paint several portraits of him.
Reve's erotic prose deals with his own sexuality, but aims at something more universal. Reve's work depicts sexuality as ritual. Many scenes bear a sado-masochistic character, but this is never meant as an end in itself.'Revism', a term coined by him, can be described as consecrating sexual acts of punishment, dedicating these acts to revered others, to higher entities. This is again a quest for higher significance in a human act, devoid of meaning in its material form, his style combines the formal with the colloquial, in a recognisable way. His humour and paradoxical view of the world relies on the contrast between exalted mysticism and common sense; the irony that pervades his work and his tendency towards extreme statements has caused confusion among readers. Many doubted the sincerity of his conversion to Catholicism, although Reve remained adamant about the truthfulness of his faith, claiming his right to individual notions about religion and his personal experience of it. Reve's literary career was marked by many controversies.
Early on, the Dutch ministry of culture intervened when Reve was to receive a grant, citing the obscene nature of his work. A member of the Dutch senate, the Calvinist senator Hendrik Algra, spoke on the same subject in a plenary debate; that was the beginning of a string of scandals that didn't stop until the Belgian king Albert refused to hand out a literary prize to Reve when his partner had been charged with indecencies with minors. Reve sometimes welcomed the publicity, but complained about his continual struggle with the authorities, public opinion and the press. Reve was prosecuted in 1966 for breaking a law against blasphemy. In Nader tot U he describes the narrator's love-making to God, a visitor to his house incarnated in a one-year-old mouse-grey donkey. In April 1968 he was acquitted by the High Council. Although it would take decades for the Netherlands to decriminalize blasphemy, in 2013 the law was abolished, the outcome of this case — known as the “Donkey Trial” — rendered the existing law obsolete Reve came from a communist and atheistic family, but converted to Roman Catholicism.
He was a liberal Roman Catholic, his ridiculing of some aspects of Catholicism led to tensions in the Dutch Roman Catholic community in the 1960s. He contributed as a literary advisor to a new Catholic Bible translation, the'Willibrord' translation. One of Reve's main themes, along with religion and love, is his intense hatred of communism, its regimes and the tolerance toward it in leftist circles in the western world. In 1975, he appeared at a Dutch poetry festival, wearing a swastika as well as a hammer and sickle on his clothes, read a poem that spoke of immigration in racist terms, though stressing cultural differences and using zwart rather than neger/nikker, in a solemn language that insulted many people Afro-Surinamese, many of whom had arrived on the eve of the decolonization of Surinam, to take place in November 1975; this event led to much controver
K. Schippers is a Dutch poet, prose writer and art critic, he was born in Amsterdam on 6 November 1936. Credited with having introduced the readymade as a poetic form, the whole of his work is dedicated to looking at everyday objects and events in a new way. Together with J. Bernlef and other friends, Schippers founded the Neo-Dadaist magazine Barbarber. In the years that followed the launch he co-operated with Bernlef in editing selections from the magazine and, in Een cheque voor de tandarts, in commenting on the ancestry of its literary stance. Another binding link with Bernlef is the fact that in 1960 they married twin sisters, the daughters of the Dutch poet Ed. Hoornik; as an art critic, Schippers has written studies of the history of Dada in the Netherlands and of the bride theme in the work of Marcel Duchamp, as well as writing his own text inspired by the work of Man Ray and editing the experimental poems of Theo van Doesburg. Among the literary awards he has gained have been the 1966 Amsterdam Municipal poetry prize for his second collection of poetry, Een klok en profil.
C. Hooft Award for his work as a whole. After his selected poems of 1980, he published no new collections until 2011. In 2014 his collection Buiten Beeld was chosen as the gift volume to accompany other poetry purchases during National Poetry Week in the Netherlands and Flanders; when Schippers helped launch Barbarber, it was called a ‘magazine for texts’ and was distrustful of the work of the preceding 1950s generation of experimental poets on the grounds that their concern had been more with aesthetics than with the nature of reality, which ought to be the real focus of poetry. The anti-poetic gestures appearing there were inspired by Dada and introduced ‘literary ready-mades’ in order to call into question the boundary between art and reality. One item provided by Schippers was a newspaper item about a lost tortoise; the same iconoclastic attitudes continued into his work. In Buiten Beeld, for example, bare dots on the two-dimensional page are titled “The position of moles in the sky”, drawing a parallel between a conventional star map and molehills in the earth by the suggestiveness of the title alone.
Though much of his poetic work has an apparent form, it seldom rhymes or makes use of metaphor and its main purpose is to draw attention to the ordinary and everyday. In “White” Schippers affirms that “white is noticed/ because it’s not alone/ on the paper” This same approach is confirmed too in Buiten Beeld in the poem “Black”, with its final appeal to a child’s vision: ‘Look at / like a five-year-old/ who has never/ read a word’; such a fresh way of looking at ordinary things from unfamiliar angles was suggested by Marcel Duchamp’s saying that ‘when a clock is seen from the side it no longer tells the time’, from which Schippers took the title of his second poetry collection, Een klok en profil. He extended this vision into his novels. Eerste Indrukken is subtitled ‘the memoirs of a three-year-old’, where nothing unusual happens to the youngster, but it is related from an unusual, fresh perspective; some poems were recycled into these novels. The sentence “Take a good look around you and you see everything is coloured” in his novel Bewijsmateriaal first appeared as a 4-line poem in his collection Een vis zwemt uit zijn taalgebied.
The four sentences of De la grammaire anglaise et hollandaise avec un coup de théâtre triste, which are the same in English as in Dutch, are repeated in Zilah. In general, the fantastic situations in these novels flow from a single initial supposition or macguffin. In Zilah it is the consequences that follow when the heroine buys the rights to the Dutch language as a trademark name. In the case of the poem repeated in Bewijsmateriaal, there was another form of recycling when it was put to use by the artist Klaas Gubbels. There the lines accompany one of the artist’s typical coffee pots on a Nijmegen house-end; the mural was the winner of the Jurylid Chabotprijs. The two co-operated in a joint print-poem art publication, De kan. 1966 - Poëzieprijs van de gemeente Amsterdam 1980 - Cestoda-prijs 1983 - Multatuliprijs 1990 - Jan Greshoffprijs for Museo sentimental 1995 - Zilveren Griffel for's Nachts op dak 1996 - P. C. Hooft-prijs 1997 - Pierre Bayle-prijs 1999 - Zilveren Griffel for Sok of sprei 2006 - Libris Literatuur Prijs for Waar was je nou 1963 De waarheid als De Koe 1964 Barbarber, tijdschrift voor teksten.
Een keuze uit dertig nummers 1964 Wat zij bedoelen 1965 Een klok en profil 1967 128 vel schrijfpapier 1967 Een cheque voor de tandarts 1968 Barbarber, een keuze uit tien jaar, 1958-1968 1969 Verplaatste tafels, research, vaudeville 1971 - Een avond in Amsterdam, tien gesprekken met Ben ten Holter 1972 Sonatines door het open raam. Gedichten bij partituren van Clementi, Kuhlau en Lichner 1974 Holland Dada 1975 Edits Nieuwe woordbeeldingen. Verzamelde gedichten van I. K. B
J. C. Bloem
Jakobus Cornelis Bloem was a Dutch poet and essayist. Between 1921 and 1958 he published fourteen volumes of poetry. In 1949 he won the Constantijn Huygensprijs, one of the country's highest literary awards, in 1952 the P. C. Hooft Award for his literary oeuvre. In 1965, in declining health, he was awarded the highest Dutch-language literary award, the Prijs der Nederlandse Letteren, he was nominated for the Nobel Prize in Literature. Dubbed the poet of unfulfilled desire, he is hailed as one of the 100 greatest Netherlanders of the twentieth century. In his early years, Bloem was a great admirer of the symbolist poetry of Charles Baudelaire; the poem lent its title to a popular anthology of Dutch poetry. His legacy, beside his poetry, remains a bit controversial: he was suspected of antisemitism and of sympathizing, at least with the German Nazi government, in a recent biography the possibility of his having been homosexual was proposed. Still, his importance to the country was reaffirmed at the fortieth anniversary of his death, a celebration of his life and work in Paasloo, where he and his wife Clara Eggink were buried.
Het verlangen. 1921. Media vita. 1931. Nederlaag. 1937. Sintels. 1945. Quiet though sad: gedichten ’s-Gravenhage, A. A. M. Stols, 1946. Verzamelde gedichten. ’s-Gravenhage, A. A. M. Stols, 1947. Verzamelde Beschouwingen. ’s-Gravenhage, A. A. M. Stol, 1950. Afscheid. ’s-Gravenhage: L. J. C. Boucher, 1957. Poëtica. Amsterdam: Athenaeum/Polak & Van Gennep, 1969. Ongewild archief. ’s-Gravenhage: BZZTôH, 1977. ISBN 90-6291-009-2