Tonight, Hugo Claus' 'The Sorrow of Belgium' legacy is explored with contemporary writers: Kristien Hemmerechts, Tom Naegels, Peter Terrin and Annelies Verbeke, in conversation with Arjen Fortuin. Organised by SLAA.

What Louis Paul Boon would have thought about the writers that came out after him is no longer an issue. Fact is: Flemish literature has only yielded a handful of high points – of which Hugo Claus' The Sorrow of Belgium is the most well-known post-war novel. This Belgian sorrow gave an insight into widespread collaboration and a large part of the inheritance in particular. Under the grey skies of Flanders, nothing appeared to thrive further in any significant way. That is all now in the past.

A group of headstrong, uncompromising Flemish writers are determinedly forging new roads which, above all, make contact with the outside world. They know that there are adversaries – conservative catholics, provincialism, the bourgeoisie – but they are not under the illusion that that will ever disappear.

That the Flemish writers fail in the big world of money, the mafia and the pop world, shows that they also the sorrow of Belgium has given it international allure. Are the Flemish writers absolutely ready with the sorrows of Belgium? Kristien Hemmerechts, Tom Naegels, Peter Terrin and Annelies Verbeke answer.

Arjen Fortuin has a debate with the writers about – perhaps to regret – parting from the Belgian sorrows.

Kristien Hemmerechts is a writer and English literarture teacher. She wrote, amongst others, V: Notities bij een reis naar Vietnam (2004), De waar gebeurde geschiedenis van Victor en Clara Rooze (2005) and Als een kinderhemd (2006).

Tom Naegels wrote, amongst others, Meester Kader (1999), Walvis (2002) and Los (2005).

Peter Terrin wrote Blanco (2003), Vrouwen en kinderen eerst: De ontmanteling van AT-289 (2004) and De bijeneters (2006).

Annelies Verbeke is a writer and scenarist. She wrote Slaap! (2003) and Reus (2006).

Language: Dutch

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