Hoornik, Eduard 1910–1970

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Hoornik, Eduard 1910–1970

(Eduard Jozef Antonie Marie Hoornik)

PERSONAL: Born March 9, 1910, in The Hague, Netherlands; died March 1, 1970, in Amsterdam, Netherlands.

CAREER: Poet, playwright, novelist, critic, and editor. Editor of magazines Werk, Criterium, De Gids, and Delta.


Dichterlijke diagnose, Bigot & van Rossum (Amsterdam, Netherlands), 1937.

(With Jac. van Hattum and Gerard den Brabander) Drie op één perron, A.A.M. Stols (Maastricht, Netherlands), 1938.

J. Greshoff, dichter en moralist, P.N. van Kampen (Amsterdam, Netherlands), 1939.

Tafelronde; studies over jonge dichters, A.A.M. Stols (Rijswijk, Netherlands), 1940.

(Editor and author of introduction) Twee lentes, de beste gedichten uit "Werk" 1939 en "Criterium" 1940, A.A.M. Stols (Rijswijk, Netherlands), 1941.

Tweespalt: gedichten, Mansarde (The Hague, Netherlands), 1943.

Dooden herdenking in Dachau, De Bezige Bij (Amsterdam, Netherlands), 1945.

(With Jef Last and A. den Doolard) Dit is Walcheren, illustrations by C.A.B. Bantzinger, H.D. Tjeenk Willink & Zoon (Haarlem, Netherlands), 1945.

Geboorte gevolgd door Mattheus en andere gedichten, A.A.M. Stols (The Hague, Netherlands), 1946.

Steenen: gedichten, A.A.M. Stols (The Hague, Netherlands), 1947.

De erfgenaam, A.A.M. Stols (The Hague, Netherlands), 1947.

Ex tenebris, A.A.M. Stols (The Hague, Netherlands), 1948.

Verzamelde gedichten, foreword by J.C. Bloem, A.A.M. Stols (The Hague, Netherlands), 1950, reprinted, J.M. Meulenhoff (Amsterdam, Netherlands), 1972.

Het menselijk bestaan, D.A. Daamen (The Hague, Netherlands), 1952.

De man in de stad, A.J.G. Strengholt (Amsterdam, Netherlands), 1952.

De bezoeker: toneelspel in drie bedrijven, D.A. Daamen (The Hague, Netherlands), 1952.

Achter de bergen, A.A.M. Stols (The Hague, Netherlands), 1955.

Na jaren: gedichten, D.A. Daamen (The Hague, Netherlands), 1955.

De zeewolf: toneelstuk, Querido (Amsterdam, Netherlands), 1955.

Kains geslacht: toneelspel in drie bedrijven, P.N. van Kampen (Amsterdam, Netherlands), 1955.

(Editor and author of introduction) W.S.B. Klooster, Reizend achter het heimwee: vroegere en latere verzen, C.P.J. van der Peet (Amsterdam, Netherlands), 1955.

De muze zwerft door Nederland; een bloemlezing van gedichten uit haar ontmoetingen met provincies, steden en stadjes, Vereniging ter Bevordering van de Belangen des Boekhandels (Amsterdam, Netherlands), 1956.

24 uur in Amsterdam, Het Wereldvenster (Baarn, Netherlands), 1957.

(Translator and author, with W.A. Brassem) De donkere lier: godheid en schepping, mens en dier, liefde en rouw, in de poëzie der primitieve volkeren, J.M. Meulenhoff (Amsterdam, Netherlands), 1957.

Over en weer: beschouwingen over poëzie, D.\ A. Daamen (The Hague, Netherlands), 1962.

De dubbelganger: Matteus, Geboorte, Requiem, De dubbelganger, Achter de bergen, Bert Bakker (The Hague, Netherlands), 1962.

De vis. Gevolgd door in de vreemde, J.M. Meulenhoff (Amsterdam, Netherlands), 1962.

De vis, illustrations by Dick Effers, Stichting de Roos (Utrecht, Netherlands), 1965.

De overweg, J.M. Meulenhoff (Amsterdam, Netherlands), 1965.

Vijf gedichten. Matteus, Geboorte, Requiem, De vis, De overweg, J.M. Meulenhoff (Amsterdam, Netherlands), 1968.

De overlevende, J.M. Meulenhoff (Amsterdam, Netherlands), 1968.

De vingerwijzing (novel), J.M. Meulenhoff (Amsterdam, Netherlands), 1969.

Voor altijd Dachau, Bert Bakker (The Hague, Netherlands), 1970.

Matteus, gevolgd door Uit gemis: een beschouwing over eigen werk, Meulenhoff Educatief (Amsterdam, Netherlands), 1970.

Ed. Hoornik, compiled by Mies Bouhuys, De Bezige Bij (Amsterdam, Netherlands), 1973.

Verhalend proza, J.M. Meulenhoff (Amsterdam, Netherlands), 1973.

Journalistiek proza en brieven, J.M. Meulenhoff (Amsterdam, Netherlands), 1974.

Dramatisch werk, J.M. Meulenhoff (Amsterdam, Netherlands), 1975.

Kritisch proza, J.M. Meulenhoff (Amsterdam, Netherlands), 1978.

Matteus, J.M. Meulenhoff (Amsterdam, Netherlands), 1982.

Contributor to books, including Toetssteen, D.A. Daamen (The Hague, Netherlands), 1951; Het is maar tien uur sporen naar Berlijn: Mies Bouhuys over Ed. Hoornik, met een keuze uit zijn werk, J.M. Meulenhoff (Amsterdam, Netherlands), 1985; and Briefwisseling met Ed. Hoornik, by Gerrit Achterberg, Querido (Amsterdam, Netherlands), 1990.

SIDELIGHTS: Eduard Hoornik's poetry, coupled with his influential position at major literary magazines, made him a significant player in the arena of contemporary Dutch literature. As editor of the magazines Werk, Criterium, De Gids, and Delta, Hoornik was able to play an important role in Dutch literary life, especially after 1945. This is all the more noteworthy when one considers his reaction to poetry of the experimental "Vijftigers," or poets of the 1950s: they mostly left him indifferent. However, this indifference did not stem from arrogance. On the contrary, Hoornik was genuinely interested in the poetry of others. He nurtured new, talented poets, offering encouragement and advice, and reveled in the work of those whose verses were different from his own. In the end, these traits enriched his poetry, and he earned great respect from the literary community. On the organizational side, Hoornik took care in assuring that the product that ultimately reached the readers would only be the very best. Again and again his contemporaries commented on his exceptional editing and proofreading skills and his excellent relationships with colleagues.

The role death plays in life was a constant element in the work of Hoornik. As a child he had to face the death of his mother, but the theme of death became all the more prominent with his experiences in the Dachau concentration camp. Taken further, the elements of death and victimization became saturated with the author's guilt at having at one point or another identified with his Nazi captors—revealing the dark side of his nature. Such themes also reflected a deeper guilt inherent in existence itself, associated with misery inflicted on others. Twenty years after World War II, he drew a parallel between the pain and suffering in the concentration camps and the hunger and poverty existing in many countries. Hoornik's verse demonstrates his belief that he could only reach for (but never obtain) redemption by writing.

Hoornik, who also wrote plays, was an outspoken activist against oppression, violence, war, colonization, and fascism. Moreover, his work as an editor brought him into contact with a large number of people from diverse walks of life. Considered by many to be the ideal editor, mentor, and trusted friend, he was a powerful man with a great deal of influence in the Dutch literary world. Despite his ever-present obsession with death, Hoornik was able to pen simple, evocative poetry, voicing the state of mind of a generation that survived World War II and assuring his place in Dutch literary history.



De Gids, Volume 133, issue 3, special Hoornik issue, 1970.

Levende Talen, August, 1974, G.P.F. Buddingh, "Ed Hoornik 2 × op het appèl," pp. 319-323.

Maatstaf, Volume 10, 1965, H.M. van Randwijk, "Ook een dode vis is nog een vis," pp. 246-255; Volume 11, 1963, Martien J.G. de Jong, "Van geboorte tot keizersnede," pp. 597-612.

Ons Erfdeel, Volume 13, 1970, Paul de Wispelaere, "Definitieve geboorte?," pp. 110-111.

Standpunte, Volume 88, 1970, Pierre H. DuBois, "Kroniek der Nederlandse letteren VII," pp. 56-62.



AB Bookman's Weekly, March 23, 1970.