CPNB annual figures: in search of the S10 of Dutch-language literature

'Dutch-language music has been unabatedly popular for years in a variety of genres; from pop to hip-hop, competing with English-language music. That's where you see what you can achieve with attention. The same can happen with books.' This quote from author Gustaaf Peek, recorded in a press release from the Authors' Association, is quite inspiring. 

The press release, in which the advocacy group of 1750 Dutch writers and translators argues that the sharp decline (-10%) in sales of Dutch-language books is mainly due to a lack of attention, appeared in response to the booksellers' annual figures. Who cannot complain about a slight growth in sales after corona time, and years of contraction. But so that growth was not in Dutch-language books.

Unexpected robbery

At the New Year reception of the CPNB, the club that finances booksellers from the sale of the Boekenbon, the subject was also discussed. In the Rode Hoed (Red Hoodie?), the place that, according to chairman of the day Johan Fretz, was rather fraught because Wim Kok once shook off the ideological feathers of the PvdA there, it was therefore mainly about marketing. And how it has still not been able to reverse the decline in popularity among young Dutch people. 

On this Thursday afternoon, it seemed a bit like the collected book industry has been caught completely unawares by the media revolution, which began some 15 years ago with the introduction of the smartphone. Now the industry is already not known as the most innovative. The chain still consists of publishers who do business with certain physical bookshops and, because of the costs involved in online sales, can only be found sporadically on social media. The market is still ruled by a focus on bestsellers, where then, as panelist Christiaan Weijts astutely noted, all the big prizes also go. 

Disappointing focus groups

What does the customer actually want? A small bookseller still knows, but large chains have to rely on big numbers. CPNB therefore now also conducts qualitative research. Interviews with so-called focus groups (selected parts of the (potential) public) now yield a lot of information, but also a lot of disappointment. That's true: when you really start listening to people, you hear things about your product that you would rather not have heard. So too with young people and reading. 

Most striking quote: Dutch books feel at best like poorly translated English books. And translated English books are 'cringe' anyway, delivering another nice jab at the Dutch translators and publishers who shell out idiotically low sums for a bit of good translation. 

You read books in English, you talk about them with your (inter)national network in English and you also get your tips from influencers who aim for the biggest possible audience, and that is not the 30 million Dutch speakers in the world, but the few billion who possess some form of English.

In search of the best rhymez

Is there hope? Perhaps there is in that quote by Gustaaf Peek at the beginning of this article. Spoken Word and HipHop sometimes produce gems, and at least two representatives of that culture were present on this day: rapper Lev Avitan and cabaret artist, word artist and quick-witted poet Andries Tunru. It produced nice fat lyrics, great stories, and Tunru's razor-sharp improvisational skills made the audience wildly enthusiastic. 

These are artists who effortlessly bridge gaps, and whose virtuosity contributes to the development of Dutch in youth culture. Because, like the Rederijkers 700 years ago, at some point it is a necessity to come up with the best rhymes if you want to keep up. 

Gatekeepers, mind your saeck

Back to Peek: the fact that Dutch-language music has been popular for years is no thanks to the critics, funds, and other gatekeepers of culture who still call the shots in the arts. Dutch-language music boasts a long tradition of popular culture, complemented by artists who emulate their great international examples, but in their own language. 

Such copycat behaviour, and such yearning for attention from the masses, which makes people like Froukje and S10 national heroes, and rightly so, would never pass selection in literature. Froukje and S10, as well as Doe Maar and Bløf, are imitators, but also original and original. They are just not the Beatles or Mahler. In literature, we always seem to be looking for the Bach of Dutch literature. So perhaps the gatekeepers should take a look at their admission policy. 

Then the attention will probably be fine too.