Introduction

Whatever line or development one tries to find in Dutch literature, there are always those writers who as a result of style or subject matter do not seem to "fit". Sometimes they are outsiders, too far removed from the Dutch scene, such as Leo Vroman, or they may be "older" writers more in tune with an earlier generation than with the authors of their own times, such as Pierre Kemp. In some cases it is the subject material that places them outside the main stream as was the case with Hans Lodeizen.

When his poetry was published after his death, Lodeizen seemed unlike most poets of his generation. He was not concerned with the "great issues" of the time, neither was he fighting the literary establishment. Instead, the subject matter of his poetry showed an overwhelming concern with the self, expressed in encapsulated images often describing foreign scenes.

It was this self-absorption that appealed to many young Dutch poetry readers in the 1950's, including myself when I came into contact with Lodeizen's work when I started working for the publisher of Lodeizen's work, Geert van Oorschot.

Over the years, Lodeizen's poetry has remained a favourite of mine, although some of his romantic Weltschmertz does not seem as moving as it was so many years ago. That is probably not so much Lodeizen's fault as it is my loss of innocence.

Lodeizen's studies in the United States, his close friendship with James Merrill, the sometimes American subject matter of his poetry, his use of anglicisms, and the simplicity of his language aided me in translating some his work.