Life story
Louis Ferron was conceived in Leiden out of a two-faced connection between a wedded German warrior and a server from Haarlem named Ferron. His dad took the kid to Germany, and when he was slaughtered right away before the finish of World War II, Karl Heinz was brought up in Bremen as the stepchild of his dad’s widow. After the war he came back to the Netherlands, where he was renamed Aloysius (Louis) Ferron. He was raised by his mom’s folks, yet in addition remained with temporary families and in kids’ homes. At first he wanted to be a painter; at age 18, he wedded a girl of the writer Lizzy Sara May, and his better half urged him to turn into a writer.[1]
Ferron’s abstract introduction was a lot of sonnets called “Kleine Krijgskunde,” in the May 1962 issue of the scholarly diary Maatstaf, which likewise distributed, in August 1965, his short story “Ergens bij de grens.” His first booklength production was the verse assortment Zeg nu zelf, is dit ontroerend?, distributed in 1967. In 1974 he distributed a second book of verse, Grand Guignol. After that he distributed essentially exposition work, for which he is known best. Ferron was additionally an interpreter of James Baldwin and Vladimir Nabokov.[2]
He passed on of intestinal malignant growth, three days in the wake of accepting the main duplicate of his last novel, Niemandsbruid.[3]
Subjects
Ferron’s work includes subjects found in crafted by Friedrich Nietzsche and Sigmund Freud; he was impacted by Thomas Bernhard and particularly by Louis-Ferdinand Céline.[4] In his books, Ferron exposes belief systems and sentimental figments to reveal the bedlam of want and mystery formal shows. Various pundits call his work postmodern, particularly thinking about his introduction of reality as mysterious. In Turkenvespers (1977), for example, the hero (a temperamental storyteller regardless), at long last never again knows whether he himself exists freely, or is just an entertainer in the creative mind of an unreasonable film director.[5]
In his treatment of chronicled subjects Ferron likewise thematizes a fairly muddled reality. Particularly German history interested him; the books Gekkenschemer, Het stierenoffer, and De keisnijder van Fichtenwald are frequently alluded to as his “Teutonic trilogy,”[3] and were republished in a solitary volume in 2002.
Grants
Multatuliprijs, 1977, De Keisnijder van Fichtenwald of de Metamorfose van een Bultenaar
AKO Literatuurprijs, 1990, Karelische nachten
Ferdinand Bordewijk Prijs, 1994, De walsenkoning
Constantijn Huygens Prijs, 2001, for his whole oeuvre
Select list of sources
Gekkenschemer. Amsterdam: De Bezige Bij. 1974. ISBN 90-234-0486-6.
Het stierenoffer. Amsterdam: De Bezige Bij. 1975. ISBN 90-234-0506-4.
De keisnijder van Fichtenwald: of de metamorfosen van een bultenaar. Amsterdam: De Bezige Bij. 1977. ISBN 90-234-0524-2.
Turkenvespers. Amsterdam: De Bezige Bij. 1977. ISBN 90-234-0598-6.
Karelische nachten. Amsterdam: De Bezige Bij. 1989. ISBN 90-234-3103-0.
De walsenkoning: een duik in het autobiografische diepe. Amsterdam: De Bezige Bij. 1993. ISBN 90-234-3333-5.
Een aap in de wolken: de niet zo vrolijke ditty van een monter ingezet kunstenaarschap. Amsterdam: De Bezige Bij. 1995. ISBN 90-234-3491-9.
Niemandsbruid. Amsterdam: De Bezige Bij. 2005. ISBN 90-234-1764-X.
References
“26-08-2005 Louis Ferron overleden”. Literatuurplein.nl. 2005-08-26. Recovered 2009-07-20.
Bork, G.J. van (February 2004). “Louis Ferron”. DBNL. Recovered 2009-07-18.
Sloot, Sarah (2005-12-09). “Afsluiting van een oeuvre: Louis Ferron – Niemandsbruid”. 8Weekly. Recovered 2009-07-20.
Freriks, Kester (2007). “‘Laat je zwarte metaforen woeden’: Over het werk van Louis Ferron”. Ons Erfdeel. 40 (2): 187. Recovered 2009-07-20.
Wesseling, Lies. “Louis Ferron en de historische roman”. Recovered 2009-07-18.