'Septentrion' Gets a Mention in CAANS's August Newsletter

The Canadian Association for the Advancement of Netherlandic Studies (CAANS-ACAEN) mentions Septentrion in its August 2016 newsletter. Here is what Basil Kingstone writes about our French language review:

Septentrion issue 2 for 2016 has as its main theme the portrayal by authors of their mothers, who are presented as anything from marvellous to awful. Out of a large number of such works discussed, we get to read translated extracts from three of the 28: Tom Lanoye’s Sprakeloos, Adriaan van Dis’s Ik kom terug, and Erwin Mortier’s Gestameld liedboek.

Also presented in this issue is Marente de Moor, with extracts from her De Nederlandse maagd and Roundhay, tuinscène (it is the title of the first movie sequence ever made, in 1888 by Louis-Aimé Le Prince, whose unsuccessful struggle to be recognized for his invention, claimed by Edison, is the subject of the novel).

Meanwhile Septentrion laments the death of two of its superb team of translators: Liliane Wouters, who devoted her life to making known both contemporary poetry and medieval Flanders, and Marnix Vincent, who introduced French-speaking readers to a great variety of poetry and prose, both.

Another theme of this issue is Ostend. We have poems by Hugo Claus which evoke that city, as well as a historical sketch going back to when it was the vacation favourite of the king. Another article recalls the history of the Belgian national soccer team and its ups and downs over the years.

In the fine arts, we meet Willem Marinus Dudok, architect of the Collège néerlandais (the Dutch student residence in the Cité universitaire in Paris) a pleasing building still today, with its regular forms. Matthieu Ronsse’s installations feature paintings of his, re-used or re-worked or cut up or enlarged or shrunk, a constantly evolving body of work. And Felix Nussbaum, who died on a death march when Auschwitz was evacuated, left a pictorial record of persecution and death which recalls Hieronymus Bosch, but with an added realism hard to look at. There are things we remember with pleasure, and things we remember because we should never forget them

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