Discord Consensus

26 Salverda, ‘Een Indisch Testament’, 449.
27 Rob Nieuwenhuys, Oost-​Indische Spiegel –​Wat Nederlandse schrijvers en dichters over
Indonesië hebben geschreven vanaf de eerste jaren der compagnie tot op heden, 3rd edn.
(Amsterdam: Querido, 1978).
28 Nieuwenhuys, Oost-​Indische Spiegel, 532 and 535.
29 In his Oost-​Indische Spiegel, Nieuwenhuys endorses Tjalie Robinson’s review (‘Nogmaals
Oeroeg’, Oriëntatie –​Cultureel Maandblad 9 (1948), 56) who famously criticised Haasse’s
Oeroeg for being ‘insincere’. The support and acknowledgement Tjalie Robinson received
for defending ‘Indische’ identities explains why, for Pamela Pattynama, Robinson’s name
remains inextricably linked to ‘Indische’ identity politics in the Netherlands. Pamela
Pattynama, ‘26 februari 1948: Oeroeg van Hella Haasse verschijnt als boekenweekgeschenk’,
in Rosemarie Buikema and Maaike Meijer (eds.), Cultuur en migratie in Nederland.
Kunsten in beweging 1900–​1980 (Den Haag: SDU, 2003), 207–​21 (208).
30 Braidotti, Nomadic Theory, 60.
31 Haasse, Sleuteloog, 107–08.
32 Haasse, Sleuteloog,124–25.
33 Homi K. Bhabha, ‘The World and the Home’, Social Text (1992), 141–​53 (147).
34 Jeroen Vullings, ‘Ebbenhouten kist zonder inhoud’, in Vrij Nederland, 29 November 2002,
emphasis added [accessed via LiteRom, 5 October 2015].
35 Max Pam, ‘Herinneringen in ebbenhout’, HP/​De Tijd, 14 November 2002 [accessed via
LiteRom, 5 October 2015].
Chapter 8
1 Marieke de Pol and Ben Sombogaart worked together again on the film Bride Flight (2008),
a film with a similar heritage aesthetic created by de Pol.
2 Anna is left unable to conceive after she is brutally beaten by her uncle and guardian
Heinrich.
3 Jaimey Fisher, ‘German Historical Film as a Production Trend: European Heritage Cinema
and Melodrama in The Lives of Others’, in Jaimey Fisher and Brad Prager (eds.), The Collapse
of the Conventional: German Film and its Politics at the Turn of the Twenty-​First Century
(Detroit: Wayne State University Press, 2010), 186–​215 (191).
4 Jolanda Vanderwal Taylor, ‘Nature, Nurture, and Narcissism in Two Recent Dutch
“European” Novels: Nelleke Noordervliet’s De naam van de vader and Tessa de Loo’s
The Twins’, in Blake Lee Spahr, Thomas F. Shannon and Wiljan de Akker (eds.), Vantage
Points: A Festschrift for Johan P. Snapper (Publications of the American Association
for Netherlandic Studies, vol. 10) (Lanham, MD: University Press of America, 1996),
239–​54 (240); Liesbeth Minnaard, New Germans, New Dutch: Literary Interventions
(Amsterdam: Amsterdam University Press, 2008), 28.
5 Ian Buruma, Wages of Guilt: Memories of War in Germany and Japan (New York: Farrar,
Straus & Giroux, 1994), 3, quoted by Vanderwal Taylor, ‘Nature, Nurture, and Narcissism in
Two Recent Dutch “European” Novels’, 240.
6 A survey of 15-​to 19-​year-​olds carried out by the ‘Clingendael’ research institute found
that nearly half of respondents saw Germany (and Germans) as warlike (‘oorlogzuchtig’,
46 per cent) or as wanting to take over the world (47 per cent). Figures are taken from
Lutsen B. Jansen, Bekend en onbemind. Het beeld van Duitsland en Duitsers onder jongeren van
vijftien tot negentien jaar (The Hague: Nederlands Instituut voor Internationale
Betrekkingen Clingendael, 1993), 26.
7 Krijn Thijs, ‘Holland and the German Point of View: On the Dutch Reactions to German
Victimhood’, in Helmut Schmitz and Anette Seidel-​Arpacı (eds.), Narratives of
Trauma: Discourses of German Suffering in National and International Perspective (German
Monitor 73) (Amsterdam and New York: Rodopi, 2011), 181–​200 (193).
8 Following attacks on various individuals and refugee centres in the German former East,
members of the Dutch public sent postcards to the German government with the statement
‘I am angry’ written on them as a way of communicating Germany’s responsibility to fight
right-​wing extremism in light of its history. Thijs, ‘Holland and the German Point of View’,
193; Minnaard, New Germans, New Dutch, 101.
NOTES
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