Neeltje Maria Min

De poëzie van Neeltje Maria Min

The small but incomparable oeuvre of a sixties poetic icon

Neeltje Maria Min’s spectacular 1966 debut Voor wie ik liefheb wil ik heten (Name me after who I Love) was an unprecedented success, enjoying reprint after reprint. Min was a literary sensation. She was invited to give interviews and performances, but she said she would rather ‘stay at home’ than stand in the spotlights. Her limited output and the withdrawn attitude she adopted in interviews only added to Min’s enigmatic reputation. In spite of their simple, natural language, the poems, too, seem to contain undisclosed secrets – there sometimes appear to be allusions to incest, to abandonment, to something that must not be said.

After her debut, Min remained silent. She later explained this lull by saying that time and attention are needed to write a poem, and she had neither. Her own family came first. However, in 1985, Een vrouw bezoeken (Visiting a Woman) was published, a collection that once again combined images from childhood with grotesque, nightmarish poems.

Min’s poetry is suffused with an awareness of transience. Birth and death go hand in hand. With a new life, mortality also rears its head. She lovingly and soberly put this notion into words in Kindsbeen (Childhood, 1996): ‘His props are still a long way off: / the walking stick, the glasses, the hat. / This is just the beginning, feeding and sleep, and in between / the mother with the gentle voice.’ Some critics felt that this collection surpassed her legendary debut.

Not a great deal has been heard from Min in recent years, although she has published a series of drawings and writes the occasional poem. And although this is not much, every poem is an experience. The deceptive simplicity of the words, the calm rhythm, the ingenious enjambments, the music, never intrusive but always present, and the way those things that usually slip past unnoticed are paused for a moment and made visible – all of this combines to make poetry that you want to read over and over again.

Min expresses the joys, tensions and disillusions in the lives of a child, parents and grandparents. She generally does this in tightly metrical lines, but doesn’t hesitate to wrong-foot the reader where necessary. The language is simple, but the formulations are invariably compelling. Everything is clearly written just as it had tobe.

NRC Handelsblad

Unperishable poetry from 1966 in an almost disintegrating cover. The book includes a poem that so peerlessly considers absence – and its opposite too, I believe, at the same time – that I dog-eared that page a long, long time ago. No matter how often you read it, some poetry is indestructible.

Ester Naomi Perquin

From where I am I can hear it all.
I hear the table creaking under heavy bowls.
I hear that there are children being born.
I always hear those children being born.

I hear the sound that slowly fills the room.
I hear the rusting of the locks.
I hear the rotting of the fruit.
I always hear the fruit that slowly rots.

All I can do is listen in, I cannot speak.
I only listen while my father reads.
Each word begins with that short restless wheeze.
I am not there. I never was, nor could have been.

(Translated by David Colmer)


Neeltje Maria Min

In 1966, Neeltje Maria Min made a spectacular debut as a 22-year-old with the collection Voor wie ik liefheb wil ik heten (Name me after who I Love). At the time, poetry in the Netherlands was largely a man’s world – and most poets wrote in an experimental style. Min, however, wrote in an…

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De poëzie van Neeltje Maria Min (1966). Poëzie.

Thema's: klassiek


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