17 May 2024
Continental cookbooks
From 17 May to 3 June 2024, the British Library celebrates its sixth Food Season, with a range of events that highlight the stories, the politics, and the people behind how and why we eat. While practical in their intent, cookbooks offer fascinating insights into the time and place of their production. The British Library’s rich collection of cookbooks provides an engaging way to trace evolving attitudes and tastes that have shaped cuisines and cultures. To mark this year's food season, today’s blog features a selection of some of our favorite cookbooks within the European Collections at the British Library. Bon appetit!
Kuharske Bukve
The first cookbook in Slovene was printed in 1799 as “the beginning of the Slovene cuisine”. It was compiled and edited by Valentin Vodnik, a Slovene poet and journalist. He translated recipes mainly from a variety of German cookery writers and titled his book Kuharske Βukve (Cook Books).
Facsimile reprint of Valentin Vodnik’s 1799 work, Kuharske Βukve (Lublin, 1999) YF.2012.a.5. The original can be seen in the Slovene Digital Library.
The book comprises Vodnik’s introduction on healthy food and translations of 300 recipes arranged in 22 sections: soups; vegetable, meat and poultry dishes; sauces; egg and dairy dishes, fish and seafood dishes; cakes, drinks, etc. Each recipe has a title in Slovene culinary terminology.
This cookbook was printed at a time of important activities to further advance the Slovene language and was also significant for Slovene culinary practice. In his introduction Vodnik posed the questions: “Why would we steal words? Isn't the Slovenian language quite capable?” He stated the basic rules of healthy eating and asserted that “everything from which dishes are cooked must be healthy, and the cooking method must also be healthy”.
Frontispiece of Vodnik’s cookbook with the inscription “Good food for hungry people”
Selected by Milan Grba, Lead Curator of South-East European Collections
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History on Our Plate: Recipes from America’s Dutch Past for Today’s Cooks
In History on Our Plate, Peter G. Rose describes how some of today’s favourite American staples, such as coleslaw and cookies were introduced by Dutch settlers.
Cover of Peter G. Rose, History on Our Plate: Recipes from America’s Dutch Past for Today’s Cooks (Syracuse, 2019). YK.2021.a.586.
Rose takes inspiration from the earliest (anonymously) published cooking book in the Dutch language: De Verstandige Kock (‘The Sensible Cook’), which also includes De Hollandtse slacht-tydt (‘The Dutch Butchering time’) as well as De verstandige confituurmaker, (‘The Sensible Confectioner’). This highly rated book was often sent to Dutch settlers by their relatives back in the Netherlands.
The title page of De Verstandige Kock (Amsterdam: Marcus Doornick, 1669) 441.b.21.(7.)
Other sources he uses are manuscript (so unpublished) cooking books, written by American / Dutch women. Around 2011 a database was set up to digitise some of these handwritten recipe books, the ‘Manuscript Cookbooks Survey’. Now we can all try out centuries old Dutch /American recipes!
Selected by Marja Kingma, Curator of Dutch Language Collections
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Hodēgos mageirikēs kai zacharoplastikēs, aka Tselementes
Authored by chef Nikolaos Tselementes, the 1926 Hodēgos mageirikēs kai zacharoplastikēs was Greece’s first complete cookery book that triggered the modernisation of Greek cuisine with the introduction of European components such as béchamel sauce. The book was so influential that the surname Tselementes is used as a synonym for a cookbook to the present day.
The cover of the 1976 edition Nikolaos Tselementes, Hodēgos mageirikēs kai zacharoplastikēs (Athens, 1976) X.622/2509.
Despite its revolutionising elements, the book reflected the reality of what was still a male-dominated Greek society. In its first few pages, it featured the ‘Decalogue to the Ladies’, an outdated and anti-feminist text written by Carmen Sylva (real name Elisabeth of Wied, first Queen of Romania), which urges the woman - housewife to serve only as ‘queen’ in the kitchen, act as servant to her husband, and be obliged always to agree with, obey, flatter him and, above all, respect his mother whom he had loved first!
The ‘Decalogue to the Ladies’ at the start of Tselementes’s cookbook from the 1976 edition.
Selected by Lydia Georgiadou, Curator of Modern Greek Collections
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La cucina futurista
Here is a cookbook you can’t live without. Marinetti’s 1932 Futurist Cookbook challenges the perception of Italian cuisine: everything is subverted, from the order of the courses to the scandalous rejection of pasta. The recipes suggested were actually prepared during ‘futurist’ banquets, gatherings resembling performance art where everything, from the crockery to the sound, was created on purpose. Despite being a satirical work, the application of modern science and technology to gastronomy suggested in the book (ozone generators, UV lamps, nutrient-dense powders) is an innovative element that anticipates today’s molecular cuisine. What never changes is the pleasure of hosting and sitting at the table, sharing a meal and enjoying conviviality.
The cover of F.T. Marinetti and Fillìa, La cucina futurista (Italy, 1932) Cup.408.ww.45.
Selected by Valentina Mirabella, Curator of Romance Collections
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Forbidden cuisine: a book about delicious prison food
Lapitsiĭ is a pen name of Andrey Sannikov, a Belarusian oppositionist and a champion of human rights, who stepped into the arena of the 2010 presidential elections, challenging the entrenched power of Alexander Lukashenko. The aftermath of that fateful election was nothing short of a whirlwind: Sannikov found himself imprisoned, a captive of his convictions, after taking part in a demonstration organised by the opposition. The walls closed in, and for 16 months, his voice was silenced, but his spirit remained unbroken.
Cover of Zapreshchennaia kukhnia: Kniga o vkusnoĭ tiuremnoĭ pishche (Warsaw, 2023) YF.2023.a.24545
In the depths of captivity, Sannikov grappled with the stark reality of losing more than just his physical freedom. The very act of choosing what to eat — a simple, everyday privilege — was dictated by others. Hunger became a harsh reminder of his constrained existence, a tool used to bend the will of the incarcerated. Food, often bland and scarce, became a canvas for creativity. In the face of deprivation, inmates concocted imaginative variations of borscht, herring beneath a fur coat salad, and layered birthday cakes. For them, ‘cooking is a territory of freedom,’ a small triumph of choice and creativity amid confinement.
A prison cell with a table set for a meal, illustration from Zapreshchennaia kukhnia
And so emerged Zapreshchennaia kukhnia: Kniga o vkusnoĭ tiuremnoĭ pishche (‘Forbidden cuisine: a book about delicious prison food’) —a symbol of resilience and defiance. Beyond a mere meal, food became an act of rebellion, an assertion of their humanity. In these culinary creations, born out of necessity and ingenuity, lay the embodiment of the most imaginative and delicious declaration of independence.
Potato soup from Zapreshchennaia kukhnia.
Selected by Olga Topol, Curator of Slavonic and East European Collections
03 May 2024
In a whirlwind of change. The European Writers’ Festival returns to the British Library
26 October 2023
Repairing the Past: on We Slaves of Suriname
On Monday 30 October the Dutch Centre hosts an event to mark the new translation by David McKay of a seminal work on the history of Suriname: We Slaves of Suriname, by Anton de Kom.
Anton de Kom, We Slaves of Suriname, translated by David McKay (Cambridge, 2022) YC.2023.a.2655
Anton de Kom. From: Wij slaven van Suriname 10th ed. (Amsterdam, 2001) YA.2002.a.34205.
Anton de Kom (1898-1945) tells the history of Suriname and how it was shaped by slavery from a Surinamese perspective. He adds a passionate attack on Dutch colonial rule, a system that keeps many of the structures of the past in place, thereby keeping the Surinamese people in poverty and powerlessness. His main aim in writing the book was to instil a sense of self-worth and pride into the Surinamese people. Thus he created both a historic account and a book of historic importance, according to Michiel van Kempen’s Een Geschiedenis van de Surinaamse literatuur.
The Dutch language edition, first published in 1934, is the first text about Dutch colonialism in Suriname, written from a Surinamese, anticolonial perspective. It stands at the beginning of a tradition of anti- and postcolonial writing, inspiring authors such as Tessa Leuwsha, Albert Helman and Astrid Roemer. De Kom himself took inspiration from Max Havelaar, written by Multatuli, pseudonym of Edward Douwes Dekker, a white Dutch civil servant based in the Dutch East Indies, in the 1860s.
Title page of Anton de Kom, Wij slaven van Suriname (Amsterdam, 1934) X.529/73312
De Kom had aligned himself with the communist community in the Netherlands, because they were the only political group that opposed colonialism. However, they were not free of racist prejudice. When De Kom offered the manuscript to a socialist publisher, they believed him to be illiterate, based on his appearance and accent. A Dutch publicist Cees de Dood was enlisted to review the manuscript. He regarded the language to be ‘bad Dutch’, dismissing the text wholesale. He should have known better, because De Kom had published articles in communist journals and magazines before (under the pen name Adek). De Kom agreed the manuscript needed improvement. De Dood asked Jef Last, a good friend of his and a well-known socialist publicist to help improve the manuscript. Last reviewed the manuscript together with De Kom putting more emphasis on the communist political message that slavery is exploitation of the proletariat by the capitalist system. He even claimed to have written the book himself, but later retracted that claim. However, this falsehood remained in circulation for a long time, again reaffirming racist ideas prevalent at the time.
It would take far too long in this space to recount the full range of events that surrounded publication of Wij Slaven van Suriname, fascinating though it is. Instead I refer to the article by Rob Woortman and Alice Boots ‘De geschiedenis van een manuscript: De wording van Wij slaven van Suriname van Anton de Kom’. Central in their piece is the question what part Jef Last played in re-writing the text and the role of the CID, the Central Intelligence Service in censuring the text.
In the end Gilles Pieter de Neve, of the Contact publishing house agreed to publish the book. He and De Kom rewrote the entire manuscript, taking out the most strident communist passages that might fall foul of the CID, and finally, in 1934 the book was published. De Neve had added a subtle rebuke to the CID, not included in later editions: ‘In conjunction with the interest shown in this book from certain quarters, the publishers deem it necessary, in order to ensure the undisturbed circulation of the work and in agreement with the Author, to change a number of passages in the book, without diminishing the value of the book.’
Preface to the first edition of Wij Slaven van Suriname, published by Contact in 1934. X529/73312.
Contact had only started as a publishing house the year before, when Hitler came to power in Germany, in order to warn the Dutch against the dangers of national-socialism and fascism.
It is therefore all the more tragic that De Kom would fall victim to the Nazis in 1944, when he was arrested for his activities in the Dutch resistance. He died in a concentration camp in Germany in April 1945. He is buried at Ereveld Loenen, the Field of Honour in Loenen.
It seems ironic that the ship that brought De Kom to Suriname and back again in exile to the Netherlands in 1933 would carry copies of Wij Slaven van Suriname to Suriname in 1934. This was reported in the Surinamese newspaper De banier van waarheid en recht (‘The banner of truth and justice’) of 7 March 1934.
For decades the book and its author remained relatively unknown. De Kom was shunned in the Netherlands as well as in Suriname because of his communist sympathies. So it wasn’t until 1971 that the book saw its second edition. From then on the only way was up, right to the top ten bestsellers in 2020, the year Anton de Kom was included in the Dutch Canon for History.
The latest Dutch edition, the 22nd, was published in 2021 by Atlas/Contact, with introductions by Tessa Leuwsha, Mitchell Esajas, and Duco van Oostrum. Atlas/Contact also published Rob Woortman’s and Alice Boots’ biography of Anton de Kom.
Rob Woortman, Alice Boots, Anton de Kom: biografie 1898-1945, 1945-2009 (Amsterdam, 2016) YF.2022.a.928
In 1987 an English translation was announced by Palgrave/Macmillan, but for unknown reasons was never realised. It took another 36 years before another attempt was made, this time successful. On Monday 30 October we are going to celebrate that event at the Dutch Centre in London. Writer Gabriel Gbadamosi will chair a discussion with guests Mitchell Esajas, Tessa Leuwsha and my colleague, curator and author Nicole-Rachelle Moore. The event is supported by the Dutch Foundation for Literature and the Embassy of The Kingdom of the Netherlands and programmed by Modern Culture as part of New Dutch Writing. Tickets are still available and can be booked via the Dutch Centre’s website.
Marja Kingma, Curator Dutch Language Collections
References/Further reading:
Albert Helman, Zuid Zuidwest. 8th ed. ([s.n.], 1948) 010058.f.30.
Michiel van Kempen, Een Geschiedenis van de Surinaamse literatuur (Breda, 2003) YF.2005.b.2101
Michiel van Kempen, Anton de Kom. Boek ‘Wij slaven van Suriname’ at literatuurgeschiedenis.org
Anton de Kom, Wij slaven van Suriname. 8th ed. (Amsterdam, 1991) – with a preface by Anton’s daughter Judith de Kom. The verso of the title page mentions the publication year of the second edition as 1977, where it was 1971.
Anton de Kom, Wij slaven van Suriname; met een voorwoord van John Jansen van Galen. 10th ed. (Amsterdam, 2001). YA.2002.a.34205.
Anton de Kom, Wij slaven van Suriname, inleidingen Tessa Leuwsha, Mitchell Esajas, Duco van Oostrum. 22nd ed. (Amsterdam, 2021)
Tessa Leuwsha, Plantage Wildlust (Amsterdam, 2020) YF.2021.a.13192.
Tessa Leuwsha, Fansi’s Stilte : een Surinaamse grootmoeder en de slavernij. 4th ed. (Amsterdam, 2018). YF.2022.a.3364.
Nicole-Rachelle Moore, Sarah Garrod, & Sarah White, Dream to change the world: the life & legacy of John La Rose : the book of the exhibition. (London, 2018) YK.2019.b.783
Rob Woortman and Alice Boots ‘De geschiedenis van een manuscript: De wording van Wij slaven van Suriname van Anton de Kom’, OSO Tijdschrift for Surinaamse taalkunde, letterkunde en geschiedenis, Vol. 29, 2010 , pp 30-48. Available in full from the Databank Nederlandse Literatuur.
Duco van Oostrom, ‘“Someone willing to listen to me”: Anton de Kom’s Wij Slaven van Suriname (1934) and the “We” of Dutch post-colonial literature in African American literary context’ Dutch Crossing: Journal of Low Countries Studies, Volume 44: Number 1 (2020) pp 45-80, and available online via the White Rose University Consortium.
31 August 2023
Women in Translation Month 2023
August is Women in Translation Month, an initiative that celebrates and promotes literature by women from around the world in English translation. As in past years, members of our team have picked some titles to recommend. We hope they will inspire you!
Heda Margolius Kovály, Under a Cruel Star: a Life in Prague 1941-1968, translated from the Czech by Franci Epstein and Helen Epstein with the author (London, 2021) YK.2012.a.24219
Chosen by Alice Pappon, British Library Trainee
Under a Cruel Star memoirs the life of author Heda Margolius Kovály who was born in Prague in 1919. In describing her experiences living in Auschwitz and Communist Czechoslovakia, this memoir offers a magnificent and raw account of human endurance in the face of the most brutal atrocities. Kovály provides a chilling recollection of operating under constant scrutiny and suspicion from the Communist regime and a life of constantly looking over one’s shoulder. This book was first published in 1973 with a British edition published the same year under the title I Do Not Want to Remember (X.809/18317). It has since been re-translated by Franci and Helen Epstein who worked with Kovály herself to capture the truest version of the author’s experience.
J.S. Margot, Mazel Tov: the Story of my Extraordinary Friendship with an Orthodox Jewish Family, translated by Jane Hedley-Prôle (London, 2020 ) ELD.DS.484114
Chosen by Marja Kingma, Curator Germanic Collections (Dutch and Flemish Languages)
Margot Vanderstraeten’s memoir Mazel Tov (published in English under the name J.S. Margot) was one of the books in the goody bag at the launch in April this year of ‘Flip Through Flanders’, the campaign to promote translated Flemish literature in the UK. It is the story of the author as a student in 1987, when she tutored the children of an orthodox Jewish family in Antwerp. These people could almost not have been more different from herself. She knows nothing of Jewish orthodox culture, which leads to some embarrassing moments. Her having an Iranian boyfriend doesn’t help either. However, over time both parties come to understand and appreciate each other more and they even become friends. It is a story about identity and coming of age that feels very uplifting.
Mazel Tov is translated by Jane Hedley-Prôle who has translated books from Dutch into English for over ten years.
Petra Procházková, Freshta, translated by Julia Sherwood (London, 2012). H.2014/.5570.
Chosen by Olga Topol, Curator Czech, Slavonic and East European Collections
Petra Procházková is a Czech war correspondent, humanitarian worker and journalist, recipient of Medal of Merit awarded by President Václav Havel. She is known for her in-depth interviews with women struggling to survive in conflict-ridden areas of the post-Soviet world. Procházková covered news from Abkhazia, Ossetia, Georgia, Tajikistan, and Afghanistan. For reporting on the atrocities of Chechen War, she was forbidden to enter Russia for many years. In her novel Freshta, set in Afghanistan before the Taliban returned to power in 2021, Procházková explores Afghan culture following Herra, a Russian-Tajik woman who falls in love with an Afghan man. Colourful characters, and a sensitivity towards local culture and customs gained through the author’s personal experience, make Procházková’s book a captivating read.
Kathrin Rohmann, Apple Cake and Baklava, illustrated by Franziska Harvey, translated by Ruth Ahmedzai Kemp (London, 2018) YKL.2019.a.17272
Chosen by Susan Reed, Lead Curator Germanic Collections
Kathrin Rohmann’s children’s story Apple Cake and Baklava, translated by Ruth Ahmedazi Kemp, is told from the perspectives of two children, Leila and Max. Leila is a Syrian refugee who has just arrived with her mother and brothers in the German village where Max lives. As her family try to settle into their new home, they wait anxiously for news of the children’s father and grandmother, still in Syria. Leila treasures a walnut from her grandmother’s garden that carries memories of home for her. When she loses it she is deeply upset and Max, who feels drawn to his new classmate, offers to help her find it. A friendship develops between the two, and also between Leila and Max’s grandmother Gertrud, who herself was a refugee from Pomerania after the Second World War. Gertrud still bakes apple cake and lebkuchen to her own grandmother’s recipes as a link with her lost home and family, just as Leila’s brothers try to recreate the baklava that their father used to make in his bakery (there are recipes for all three at the end of the book).
Apple Cake and Baklava is a touching story of friendship, family and food and a good introduction for younger readers to the themes of exile and loss.
Alki Zei, The Mauve Umbrella, translated by Ian Barnes (London, 2016) H.2020/.5039
Chosen by Lydia Georgiadou, Curator Modern Greek Collections
In the summer of 1940, shortly before the Second World War reaches Greece, 10 year-old Eleftheria lives with her parents and twin brothers in Athens. She despises the household chores expected from women of the time, while she adores anything her father does not approve of: reading fanatically, going to the theatre, hoping to one day become a lawyer, inspired by Sophocles’ Antigone. One floor above, lives the Frenchman Mr Marcel, whose nephew Benoit becomes an inseparable friend of the children. Their toys are few, but their imagination endless. Their enchanting games are only constrained by the grownups’ harsh experiences.
A book about two completely different worlds – that of children and that of the adults – each one carrying its own truth. A book that puzzles and entertains at the same time. Through its pages, the beloved Greek novelist Alki Zei (1923-2020) depicts the characters’ ethos, childhood innocence, the agony of war and the upheavals in our lives. Yesterday meets today on a journey… with a purple umbrella.
14 August 2023
Paul Vincent - 40 years of translating
Paul Frank Vincent (1942-) is an award winning translator of Dutch and German texts into English; in 2016 he and John Irons won the Oxford-Weidenfeld Prize for 100 Dutch-Language Poems (London, 2015; YC.2017.a.3500). His career spanned many decades, but now he is retiring from translation at the age of 81. That is proof of his passion for languages, literature and translations, especially German, French and Dutch, all of which he studied at Cambridge. His choice for languages was influenced by his father who had fought in the Second World War on the continent, from where he brought back French and German songs. They fascinated the young Paul. He read translations of Grimm fairy tales as well as English classics such as Black Beauty.
Paul Vincent could have chosen to study German or French and he did indeed study these languages for a while when he realised that not many students did Dutch, so he switched. His decision proved the correct one when Paul came back from a holiday in the Netherlands with a desire to know more about the meaning of “strange letter combinations” in vowels such as ‘au’ (similar to ‘cow’) and ‘ui’ (not found in English).
For 22 years Vincent taught Dutch language and literature, including translation, at Bedford College and later at University College London (UCL), before taking the plunge into freelance translation in 1989. His teaching experience served him well, although finding work as a translator was and is not easy. Like every starting translator he had to accept what was on offer. That first offer was a jackpot: The Discovery of Heaven by Harry Mulisch, one of the Big Three in Dutch literature. Not the easiest of novels if you ask me, but Paul pulled it off.
Front cover of Harry Mulisch, The Discovery of Heaven, translated by Paul Vincent. (London, 1998) H.2000/2442
Works by Dutch and Flemish authors, both still alive and long dead followed. Vincent has quite a wide ranging repertoire: from Louis Paul Boon, Guido Gezelle, Louis Couperus to Katrien Hemmerechts, Tom Lanoye and Silvio Alberto (Tip) Marugg. He prefers the big beasts of Dutch literature, such as Harry Mulisch and Willem Frederik Hermans. He has translated fiction, poetry and the odd non-fiction work.
Harry Mulisch, Siegfried, translated by Paul Vincent. (London, 2003) Nov.2003/1794
Vincent’s favourite project was translating one of Mulisch’s later novels, Siegfried (2001). Translating is a puzzle; the easy bit is that there is an original text, the hard part is turning the original in an acceptable text. A good translator is able to find the middle-ground between staying true to the original text and making sure the text makes sense in the target language. If you then find word plays, such as anagrams in the text, that poses an additional challenge. Paul struggled with the anagram the protagonist made of the name Hitler, but found an elegant solution by using his first name as well.
The anagram in Dutch reads: Helrit, Relhit (ride to hell, riot hit).
In English it reads: I, dart of hell, Half Riot-Led.
Anagram in Dutch from Harry Mulisch, Siegfried (Amsterdam, 2001) YA.2002.a.19603
The anagram of Hitler’s name in English.
Vincent translates poetry, too. He has tackled 17th-Century poets Joost van den Vondel , P.C. Hooft , Gerbrand Bredero, the 19th-century writer De Schoolmeester (‘The Schoolmaster’, pen name of Gerrit van de Linde), Guido Gezelle and many others. His last poetry project was Mei (May) by Herman Gorter (Nijmegen, 2021; YF.2022.a.18897; you can read the original Dutch text here).
Herman Gorter, May, translated by Paul Vincent. (Nijmegen, 2021) YF.2022.a.18897
The Translations Database of the Dutch Foundation for Literature lists 125 titles translated by or contributed to by Paul Vincent. The database lists every Dutch title that has been translated into a foreign language. The organisation that runs it is responsible for the promotion of the quality and diversity of literature in the Netherlands and abroad. Its counterpart in Flanders is the Flemish Literary Fund.
Vincent sees a definite uptake in the UK of translated Dutch literature, mainly thanks to campaigns such as New Dutch Writing and Flip Through Flanders.
Banner New Dutch Writing
Banner Flip through Flanders
Over the space of his long career Paul built a large library, containing literary works and works on translation. He has very kindly donated some 200 books to the British Library which we didn’t yet have. This is a welcome chance to fill some gaps in our collections, for which I would like to thank Paul very much, indeed! They will soon appear on our catalogue with a note about their provenance, so anyone who reads them knows they came from him.
F.E.J. Malherbe, Zuidafrikaanse Letterkunde (Pretoria, 1968) Awaiting shelfmark.
Happy retirement, Paul, and thank you!
Marja Kingma, Curator Germanic Collections
25 May 2023
Seminar on Textual Bibliography for Modern Foreign Languages
This year's Seminar on Textual Bibliography for Modern Foreign Languages will take place on Monday 12 June 2022 in the Eliot Room of the British Library’s Knowledge Centre (formerly Conference Centre). The programme is as follows:
11.00 Registration and coffee
11.30 IAN CHRISTIE-MILLER
Tyndale’s first New Testament fragment
12.15 Lunch (own arrangements)
1.30 EMILY DI DODO (Oxford)
A text in exile: towards a bibliographical history of Las cient novelas de Juan Bocacio
2.15 DAVID SHAW (Canterbury)
The BL’s French post-incunables
3.00 Tea
3.30 MARJA KINGMA (London)
The Dutch Church Library: a library with nine lives.
4.15 BARRY TAYLOR (London)
Foreign books in Dr Williams’s Library, London.
The Seminar will end at 5.00 pm.
All are welcome and the event is free, but please notify us by email if you are able to attend. If you know of others who might be interested, please pass on the invitation.
Barry Taylor ([email protected])
Susan Reed ([email protected])
A depiction of an early printing shop from Joannes Arnoldus, De chalcographiæ inventione poema encomiasticum (Mainz, 1541) G.9963.
05 May 2023
Wim de Bie (1939 – 2023)
Wim de Bie (1939 -2023) Source: Wikimedia Commons
‘Godverdegodver, van Es!’, one person on Twitter exclaimed, following the news of Wim de Bie’s death, at the end of March 2023.
Van Es was one half of the duo Jacobse en Van Es – Jacobse being played by Kees van Kooten De Bie’s partner in comedy since the early 60s. They ruled supreme on Dutch television when it came to satire; no one has ever surpassed them.
‘Free Guys’ who made a living out of petty crime, black market trading and moonlighting in their home city of The Hague. Wim de Bie was the first to appear on television in 1978 as Tedje Van Es. Van Kooten/F. Jacobse had his debut shortly after. In 1979, Jacobse and Van Es began performing as a duo, a partnership that lasted until 1988. They were most popular as leaders of their right wing populist party, the Tegenpartij (Anti-Party, or Counterparty). Van Kooten and De Bie’s aim was to warn against populist parties, but reality threatened to overtake the satire. Had the Tegenpartij been a real party in Dutch politics it might have gained a few seats in parliament during the 1982 General elections. Instead the newly formed Centrumpartij, or Centre Party, which held similar views to the Tegenpartij won one seat, occupied by its leader Hans Janmaat (1934 – 2002). In response Jacobse and Van Es were killed off in a ‘failed coup attempt’, but they remained so popular that they were resurrected for a few more appearances in other programmes.
Jacobse en Van Es with a poster of their political party The Anti-Party, from Ons Kent Ons, 7th ed., (Amsterdam, 2013) LF.31.a.6523.
Jacobse en Van Es were only two of the more than 400 comedy characters and caricatures portrayed by Kees van Kooten and Wim de Bie in their various television shows from 1980 to 1998, when Van Kooten bowed out of television. Wim de Bie continued solo with programmes such as ‘Wim de Bie’, ‘Nachtcrème’ (Night Crème) and, ‘Beetje Laat’ (Bit Late).
Clips from their programmes are available in television archives such as Beeld en Geluid (‘Sound and Vision’) and their YouTube channel. A selection of their characters appears in the book Ons Kent Ons (‘Like Knows Like’). It is partly an homage to their makeup artist Arjen van der Grijn. Most of the images in this blog post are taken from the book, because they are simply the best.
De Bie wrote a number of books in which he explored some of his characters further, most notably Mr Foppe, his alter–ego.
Portrait of Mr Foppe. Roel van Bazen, from Ons Kent Ons.
Meneer Foppe over de rooie (‘Mr Foppe Loses It’) is the first story De Bie wrote about this shy bachelor who feels most at home in his apartment, where he leads a solitary, strictly regimented life. However, a cold snap and subsequent breakdown of the central heating force him out of his comfort zone to look for help. That leads to all sorts of tragi-comic events.
Front cover of Wim de Bie, Meneer Foppe over de rooie (Amsterdam, 1995). YA.1996.a.3688
De Bie had various successful female characters. In De liefste van de buis (‘The darling of the gogglebox’) the main protagonist is Mémien Holboog, a psychologist and ethics specialist. She regularly appears in Van Kooten and De Bie’s television show Keek op de Week (‘View on the Week’). The book starts with De Bie (the ‘I’ figure) receiving letters from viewer Mémien Holboog; something totally impossible and frankly disturbing. Mémien complains that she is no longer invited to his show. The correspondence leads to a passionate relationship. How? That is the crux of the book!
Mémien Holboog, from Ons Kent Ons.
Front cover of De liefste van de buis (Amsterdam, 1992) YA.1993.a.23886
A character that vents De Bie’s anger with Dutch society more directly appears in Schoftentuig (‘Bastard Scum’), a collection of short stories interspersed with interviews with the ‘recluse and former mining engineer’ Walter de Rochebrune. Through this embittered man De Bie can let rip and he does so with great relish. De Bie won the Henriette Roland Holst Prize in 1990, an award for a literary work that expresses great social engagement.
It is not only De Bie’s books that will provide lasting entertainment to grieving fans. He also lives on in the dozens of neologisms he and Van Kooten invented. ‘Geen Gezeik, Iedereen Rijk’ (‘No whining, everyone rich’), or ‘Samen voor ons eigen’ (‘Together for Ourselves’) are Jacobse en Van Es staples.
‘Houd je d’r buiten, Cock!’ (Keep out of it, Cock!) is used by many Dutch people to gently shut up a loved one. It refers to the couple Cock van der Laak and her husband Cor van der Laak, who is strongly opposed to the Anti-Party, and therefore one of De Bie’s longest standing characters, and one of the most popular.
Wim De Bie will be sorely missed. I can hear the former teacher German O. den Besten cry: Warum?! Warum?!
O. den Besten, former teacher German, from Ons Kent Ons
Marja Kingma, Curator Germanic collections
30 December 2022
An A to Z of the European Studies Blog 2022
A is for Alexander the Great, subject of the Library’s current exhibition.
B is for Birds and Bull fighting.
C is for Czechoslovak Independence Day, which marks the foundation of the independent Czechoslovak State in 1918.
D is for Digitisation, including the 3D digitisation of Marinetti’s Tin Book.
E is for Annie Ernaux, who was awarded the Nobel Prize in Literature in October.
Examples of Fraktur letter-forms from Wolfgang Fugger, Ein nützlich und wolgegründt Formular manncherley schöner Schriefften ... (Nuremberg, 1533) C.142.cc.12.
F is for Festive Traditions, from songs to fortune telling.
G is for Guest bloggers, whose contributions we love to receive!
H is for Hryhorii Skovoroda, the Ukrainian philosopher and poet whose anniversary we marked in December.
I is for our series on Iceland and the Library’s Icelandic collections.
J is for Jubilees.
Abetka (Kyïv, 2005). YF.2010.a.18369.
K is for Knowledge systems and the work of Snowchange Cooperative, a Finnish environmental organisation devoted to protecting and restoring the boreal forests and ecosystems through ‘the advancement of indigenous traditions and culture’.
L is for Limburgish, spoken in the South of the Netherlands.
M is for Mystery – some bibliographical sleuthing.
N is for Nordic acquisitions, from Finnish avant-garde poetry to Swedish art books.
O is for Online resources from East View, which are now available remotely.
Giovanni Bodoni and Giovanni Mardersteig, Manuale tipografico, 1788. Facsimile a cura di Giovanni Mardersteig. (Verona, 1968) L.R.413.h.17.
P is for our wonderful PhD researchers, current and future.
Q is for Quebec with a guest appearance by the Americas blog featuring the work of retired French collections curator Des McTernan.
R is for Rare editions of Ukrainian poet Taras Shevchenko’s Kobzar.
S is for Samizdat and the Library’s Polish Solidarity collection.
T is for Translation and our regular posts to mark Women in Translation Month.
Alphabet Anglois, contenant la prononciation des lettres avec les declinaisons et conjugaisons (Rouen, 1639). Digital Store 1568/3641.(1.)
U is for Ukrainian collections and our work with Ukrainian partners.
V is for Victory – a contemporary Italian newspaper report of the Battle of Trafalgar.
W is for Richard Wagner who wrote about a fictional meeting with Beethoven.
X is for... (no, we couldn’t think of anything either!)
Y is for You, our readers. Thank you for following us!
Z is for our former colleague Zuzanna, whom we remembered in February.
Azbuka ōt knigi osmochastnye̡, sirěchʹ grammatikii (Lviv, 1574). Digital Store 1568/3641.(1.)
31 August 2022
Women in Translation Month 2022 (Part 2)
August is Women in Translation Month, a 2014 initiative aimed at celebrating and promoting women writers in translation, as well as their translators and publishers. As in previous years, we are highlighting a selection of books from across the European collections that we have recently enjoyed. We hope you enjoy them too.
Lize Spit, The Melting, translated by Kristen Gehrman (London: Pan Macmillan, 2021) ELD.DS.611746.
Chosen by Marja Kingma, Curator Germanic Collections
‘It wasn't a good day, but at least there's a story in it.’ Lize Spit consoled herself as a child with writing when life was against her. After a long, hard struggle she entered the literary world in Flanders and the Netherlands with her debut novel Het Smelt, or The Melting. It is part coming-of-age novel, part thriller about a young woman who takes revenge on her childhood friends for things done to her 13 years before. Spit doesn’t pull any punches, doesn’t flinch from cruelty. Just how good it is can be seen from the number of languages Het Smelt was translated into: Arabic, Bulgarian, Catalan, Danish, German, French, Greek, Hebrew, Hungarian, Italian, Croatian, Norwegian, Polish, Spanish, Czech, Swedish and English. The English translation is by Kristen Gehrman, who translates from Dutch into English, German and French.
Contemporary Georgian Fiction, translated and edited by Elizabeth Heighway (Champaign, Ill., 2012), Nov.2013/1985
Chosen by Anna Chelidze, Curator Georgian Collections
Published in 2012, this volume brings together stories by 20 prominent contemporary Georgian writers. It affords a view into a vibrant literary world that has been largely inaccessible to English-speaking readers. Written over the last 50 years, the selection of stories offers a very broad mix of writers with different literary styles. Some of the writers are well known, while others have only recently entered the literary world. Among them are five female authors, all from different generations and backgrounds, and each with a distinct authorial voice. They have achieved success in a number of literary competitions and have been awarded literary prizes, both Georgian and international. Some have previously been translated into other languages, for others this is their first published translation. Their names are: Mariam Bekauri, Teona Dolenjashvili, Ana Kordzaia-Samadasvili, Maka Mikeladze, and Nino Tepnadze. They succeed in creating powerful images of Georgia and its inhabitants, seen from different perspectives. The variety of contexts reflects changes in Georgian society in recent years, while the variety of narrative styles highlights the challenges presented to the translator, Elizabeth Heighway.
Madeleine Bourdouxhe, A Nail, a Rose, translated by Faith Evans (London, 2019) ELD.DS.439385 and Marie, translated and with an afterword by Faith Evans (London, 2016) H.2018/.7905
Chosen by Sophie Defrance, Curator Romance Collections
After years of neglect, the fiction of Belgian author Madeleine Bourdouxhe is undergoing a revival with new editions of her work appearing in the UK, the US and Germany. In her stories, Bourdouxhe explores the themes of resistance, but also the life, routine, sexuality, and ennui of women in the 20th century. First rediscovered in France with the reissue of La femme de Gilles in 1985, she has since become something of a feminist icon. Faith Evans’s recent translations of two of Bourdouxhe’s books into English put her works into their historical, political and stylistic context. She also shares with us her translator’s impressions, feelings and reasoning; and perhaps even more surprisingly, as it is so rare, the author’s impressions at being translated.
Iryna Shuvalova, Pray to the Empty Wells, translated by Olena Jennings and the author (Sandpoint, Idaho: Lost Horse Press, 2019). Awaiting shelfmark
Chosen by Katie McElvanney, Curator Slavonic and East European Collections
Presented in dual-language format, Pray to the Empty Wells is Ukrainian poet Iryna Shuvalova’s first book-length collection of poems in English. Drawing heavily on Ukraine’s folk culture and themes ranging from memory, the natural environment and Russia’s war in Ukraine, Shuvalova’s poems are meditative, intimate, unflinchingly direct and often visceral. The collection is beautifully translated from Ukrainian by Olena Jennings and Shuvalova, and forms part of Lost Horse Press Contemporary Ukrainian Poetry series.
Shuvalova will be appearing in the Worldwide Reading of Ukrainian Literature event at the British Library on 7 September, along with a host of other award-winning Ukrainian writers and translators. The event is free to attend and will also be live streamed on the LKN website.
05 May 2022
John Cruso of Norwich: a man of many parts
John Cruso (b. 1592/3) of Norwich, the eldest son of Flemish migrants, was a man of many parts: author, virtuoso networker, successful merchant and hosier, Dutch church elder and militia captain. His literary oeuvre is marked by its polyvocality. He wrote verse in English and Dutch, often sprinkled with Latin and French. He was also a noted military author, publishing five military works, which made a significant contribution to military science before and during the English Civil Wars. These works display Cruso’s knowledge of the canon of classical and Renaissance literature, allowing him to fashion himself as a miles doctus, a learned soldier, and to contribute to military science in Stuart England. Cruso’s great nephew, Timothy, studied with Daniel Defoe at the Dissenters’ Academy in Newington Green, London, and thus inspired the name of Defoe’s great literary creation, Robinson Crusoe.
Cruso’s parents, Jan and Jane, left Flanders in the years after the Iconoclastic Fury and Alva’s Council of Troubles. They arrived in Norwich, which already had a thriving Stranger community and Jan worked as a textile merchant.
The Strangers’ Hall in Norwich, the merchants’ house of the Flemish Strangers (Image from Wikipedia Commons)
Their eldest son, John, received a classical humanist education at Norwich free grammar school, which he would draw on in his published verse and prose. He became a freeman and took over running the family hosiery and cloth business from his father. In 1622, he published his first verse, a Dutch elegy. This appeared in a collection of Latin and Dutch elegies to the late minister of the London Dutch church, Simeon Ruytinck. It included verses by Constantijn Huygens and Jacob Cats and is arguably the most important Anglo-Dutch literary moment in the seventeenth century. In the late 1620s, Cruso wrote three English elegies, including one sonnet, on the late minister of St. Andrew’s Church, Lawrence Howlett. He was also the subject of an English verse by the Norfolk prelate and poet, Ralph Knevet.
Between 1632 and 1644, Cruso published several military works. In 1632, he published Militarie Instructions for the Cavallrie, which was the first book published in England devoted solely to the cavalry. This was republished in 1644. In 1639 and 1640, Cruso published his English translations of two French military works, one of which was re-published in 1642. In the same year, as the opening shots in the First English Civil War were being fired, he published two military handbooks on the construction of military camps and the order of watches. He also had time, it seems, to publish two Dutch verses, an elegy to Johannes Elison, the late minister of the Dutch church in Norwich and an amplificatio on Psalm 8. His final publication, in 1655, was a collection of 221 Dutch epigrams, printed in quarto by Arnold Bon in Delft.
John Cruso, Militarie Instructions for the Cavallrie (Cambridge, 1632) 717.m.18
John Cruso, Castrametation, or the Measuring out of the quarters for the encamping of an army (London, 1642) 1398.b.7.
Most of Cruso’s works are in the British Library. A copy of the epigram collection, EPIGRAMMATA Ofte Winter-Avondts Tyt-korting (‘Epigrams or Pastimes for a Winter’s Evening’), shelfmark 11555.e.42.(4.), is the only known copy of this work.
Title page of I. C., Epigrammata, ofte Winter Avondts Tyt-korting (Delft, 1655) 11555.e.442 (4).
On the title page, Cruso uses his initials, I.C. In this copy someone has made C into O with a pen. Beneath the title are two lines from the Roman epigrammatist, Martial, which hint at the scabrous nature of some of the verses: ‘Non intret Cato theatrum meum: aut si intraverit, spectet’ (‘Do not let Cato enter my theatre: or if he does enter, let him look’), and ‘Innocuos permitte sales: cur ludere nobis non liceat?’ (‘Allow harmless jests: why should we not be allowed to joke?’). Many of Cruso’s Dutch epigrams are like Latin epigrams written by Sir Thomas More, and Cruso may have been inspired by some of these. One example is Epigram 94:
In Nasutissimum
Vergeefs ghy voor u Huys een Sonne-wijser stelt;
Want gaapt maar, en men stracx aan uwe Tanden telt
De Uyren van den Dach. De Son dat wijst gewis
End uwen langen Neus den besten Gnomon is.
(On someone with an extremely large nose.
In vain, you place a sundial in front of your house;
For just open your mouth and people will be able to
Count the hours of the day by your teeth. And the sun shows
That for sure your long nose is the best style (gnomon) for the sundial.)
We know little about the reception of this collection, but the fact that the British Library has the only extant copy is one example of the importance of the Library to modern scholarship.
Christopher Joby, Adam Mickiewicz University
Christopher Joby is Professor in Dutch Studies at Adam Mickiewicz University, Poznań, Poland, and Visiting Scholar at the Academia Sinica, Taipei, Taiwan. His research focusses on the intersection of the Dutch language and culture and other languages and cultures in a historical context. His latest book is John Cruso of Norwich and Anglo-Dutch literary identity in the seventeenth century (Cambridge: D S Brewer, 2022) DRT ELD.DS.659151 (non-print legal deposit)
European studies blog recent posts
- Continental cookbooks
- In a whirlwind of change. The European Writers’ Festival returns to the British Library
- Repairing the Past: on We Slaves of Suriname
- Women in Translation Month 2023
- Paul Vincent - 40 years of translating
- Seminar on Textual Bibliography for Modern Foreign Languages
- Wim de Bie (1939 – 2023)
- An A to Z of the European Studies Blog 2022
- Women in Translation Month 2022 (Part 2)
- John Cruso of Norwich: a man of many parts
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