Charlotte Van den Broeck

Boekarest

jezik: nizozemščina

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Boekarest

Sommige plaatsen zijn zo klein
dat ze in een vingertop passen.
Ik probeer te wijzen waar alles is geweest
maar ik weet het zelf nog amper.

Tussen het puin van het vergeten staat de boekenkast
van mijn grootvader en de zondagmiddag
waarop we samen de atlas lazen, zijn vinger
op de hoofdstad van Roemenië.

Dat men daar ‘een schitterende verzameling hoertjes’ had
en dat ik dacht, dat een hoer zoiets als de Eiffeltoren was
en hem verweet dat hij daarvan nooit
een miniatuurversie voor mij meebracht.

Later bleken landsgrenzen en grootvaders relatief
enkel die middag staat in reliëfalfabet
in de pagina’s van de atlas, als de middag
waarop ik in hem nog een uitstekende gids zag.

Charlotte Van den Broeck

Foto © Stephan Vanfleteren

* 29.06.1991, Turnhout, Belgija
živi v: Turnhout, Belgija

Charlotte Van den Broeck won her poetical spurs in a similar way to Maud Vanhauwaert, namely onstage. The accompanying familiarity of her name provided her debut Chameleon with the necessary impetus. Chameleon would appear to be the perfect title for a debut volume of poetry. Changeability is the chameleon’s foremost characteristic: the animal adopts various colours depending on its surroundings at any given time. By giving her first book this title, Charlotte Van den Broeck seems to be aware of the fact that not all the poems are of equal strength, but are still part of her identity. The possible criticism overcome by this attitude distances it from the Schein des Naiven that Friedrich Schiller ascribes to the female gender in the motto prefacing the volume.

Foto © Stephan Vanfleteren für Ehrengast Flandern und die Niederlande FBM16’

At the same time, the chameleon’s changeable and convertible nature is an appropriate image to summarise the search for female identity in this volume. The poems deal with landscapes, the relationship with her grandfather, with a lover and especially with her mother, but the recurring theme is that of an I in search of identity. However, this identity appears as something difficult to attain, because it is inherent in a process of continuous assimilation to others and what is other (‘I am however available in various flavours’ as the poem ‘Charlotte Pudding’ has it) and of reacting against this (‘the mother is a stone’, as a line says in ‘Genealogy’). The conquest of the self lies in this double bind that a chameleon puts into practice on a daily basis.

The poems only appear naïve. They seem to have been written down as a direct reflection of performance poetry, but also effectively display sublayers hinting at greater coherence and themes. They are lyrical in the sense that their eloquence fans out in all directions with many surprising images, but also with a reprisal of images, such as the stone in varying contexts, which forces the reader to reread the book, to return to earlier poems.

Chameleon marks Charlotte Van den Broeck’s successful and promising debut.

Charlotte Van den Broeck (1991) holds an MA in English-German language and literature and is now studying Verbal Arts at the Antwerp conservatory. She twice reached the top 100 of the Turing National Poetry Prize and published in Het Liegend Konijn. She is already a household name as a performance poet. In 2015, on the advent of her debut volume Chameleon, she was added to the line-up of the Saint Amour tour through Belgium and the Netherlands.

English translation: Willem Groenewegen

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