Havank, pseudonym of Hendrikus Frederikus (Hans) van der Kallen (February 19, 1904 – June 22, 1964), was a Dutch writer, journalist and translator. He published over 30 crime novels and is considered one of the founding fathers of the Dutch detective genre.
Van der Kallen was born in Leeuwarden and, under the pen-name of Havank, published over 30 crime-novels and stories, with as principal characters French police officers Bruno Silvère and Charles C.M. Carlier (the latter better known as De Schaduw, “the Shadow”).
During World War II Havank worked as an editor and occasionally as a war correspondent for the London edition of the Dutch weekly Vrij Nederland. Shortly after the war he was invited to ghost-write the memoirs of Lieutenant-Colonel Oreste Pinto, the original spycatcher. These memoirs were serialized in the News Chronicle.
Havank also translated some 45 novels into Dutch, mainly of fellow crime writers like Leslie Charteris, Raymond Chandler and E. Phillips Oppenheim. Since the mid-1950s his books were published in paperback editions with covers designed by the illustrator Dick Bruna.
Havank is estimated to have sold more than 6 million copies in his lifetime. His books remained in print until the early 1980s when sales began to decline. However, they still are available in print-on-demand editions.
To date, only two of the books have been translated into another language; both in German but published in Switzerland. After his death, an unfinished novel was finished and published by journalist Pieter Terpstra, who continued to churn out Havank titles
under the name Havank-Terpstra.
Havank lived most of his life abroad in the south of France, on Majorca (Spain), and in England. He died of a heart attack back in Leeuwarden, less than thirty yards distance from his birthplace. The Dutch forensic system HAVANK, which links criminals and their fingerprints via what is called a HAVANK number.
KALLEN, Hendrikus Frederikus van der (1904-1964) Kallen, Hendrikus Frederikus van der, (pseudonym Havank), writer of detective novels (19-2-1904 Leeuwarden – Leeuwarden 22-6-1964). Son of Martinus van der Kallen, shopkeeper, and Jacoba Maria Huberdina Louwhoff. Married on 23-9-1946 with Cynthia Isobel Trevor Vickers (1907-1986). This marriage was childless.
Rieks van der Kallen, the elder of two sons of a shopkeeper in hats and caps received a solid Catholic education. After primary school in Leeuwarden, he left to be at the age of twelve to the gymnasium of the Augustinian friars in Eindhoven with the intention priest.
The clerical atmosphere and the prospect of a celibate life started him increasingly afflict however, so he decided not to complete this training. Upon returning to his hometown, Van der Kallen in 1922 clerk at the local dairy. Same humble respect, he would after moving his family to Eindhoven, from September 1928 to hold NV Philips’ Gloeilampenfabriek. But as before in Leeuwarden it again came to disagreements with the “bosses” and he began to dream of writing a wandering existence.
In the second half of the twenties hit Van der Kallen in a crisis of faith: Roman Catholicism put him under too much emphasis on the moral and too little on mysticism.
The death of his mother, early in 1929, however, resulted in a period of reflection on the positive values of Catholicism; liturgy and hymns would continue to charm him afterwards. In 1932, he earned his living as a salesman short time in ecclesiastical art in South Limburg.
Maastricht taught Van der Kallen – ‘Hans’, as he now called – the typographer and publisher Ch. Nypels know. On his advice, he left in March 1932 to Amsterdam to deposit literary contacts.
W. Merckens, art editor at the daily newspaper De Telegraaf, he found a strong mentor. In his house he met writers and journalists, to whom he listened eagerly. Van der Kallen held in Amsterdam for a job in an insurance office, while he also did translation work.
On the advice of Merckens Van der Kallen ventured into writing what he called “detective novels’ mentioned. The end of 1934 he had two in manuscript ready: the widely read British author Edgar Wallace had served him as an example. Van der Kallen’s protagonists were Superintendent Bruno Silvère French Sûreté national and his subordinate CM Charles Carlier, nicknamed ‘The Shadow’.
Knowledge of French locations Van der Kallen had partially gained from brochures. His attempts to transfer the manuscript to a publisher, however, came to nothing. When the Utrecht publisher AW Bruna & Zoon, who had refused to work initially in 1935 by the death of Ivan – pseudonym of J. van Schevichaven – lost his topauteur of detective novels, Van der Kallen was still approached. After editing, appeared in 1935. The Mystery of St. Eustache under the author’s name Havank (H K “), a pseudonym analogy Ivans (J S).
A few days after Bruna had accepted his firstborn, Havank took the train to Paris, where he lived for many years with interruptions. France made Havank exploration in Brittany and Provence, in order to accurately situate next job. Especially the latter region attracted him, and he would often stay there. In 1937 and 1938 he lived in Rome. In the prewar years Havank wrote thirteen detective novels, especially NV Mateor and Something is wrong, both from 1938, and made Polka Mazurka 1939 impression.
Although his book following a very different formula wrote Ivan, they were an even bigger success. “Stop! ‘N Havank’ ushered in the thirties the famous slogan on posters in kiosks and stations. Prime Minister H. Colijn – a great lover of detective novels – might even have repeatedly called the management of Bruna to ask whether the latest Havank already appeared.
The main character in the first novels, Superintendent Silvère was appearance and cultural interest Havanks idealized image: a tall, slender stature, with gray-blue eyes, a high forehead and back hair, charming and tidy, although some solitary in nature, the perfect gentleman, a good friend and a generous and entertaining conversationalist. In the course of the series ‘Havankjes’ Carlier was intended as Silvères opposite, gradually the protagonist. Through Shadow Havank could show off not only with his wide erudition, especially in the English and French classics, but also expressing his dislike of politicians – “demagogues” -, moral theologians, rich men and bureaucrats. “Curiously, most remarkable ‘were winged and much-quoted words of Shadow. As this figure was sharper form were Havanks metaphors, aphorisms and puns original and underwent the composition of his novels changes. Also entered a substantive change to: increasing Shadow got the character of a private investigator, without much connection with the Sûreté National. Of ‘Policiers’ were Havanks books until novels of adventure. “
Havanks political sympathies were sometimes left, sometimes right. However, he was anti-Nazi, he also showed in his novels. When the German attack on the west, in May 1940, Havank lived in Paris. Here he was, with interruptions, until October 1942, when he succeeded in through Spain and Portugal to flee to Britain. He found work in the publicity department of a chemical company.
Soon he was also active journalism, such as a war correspondent in liberated Europe and as chief editor at the London Free Netherlands. The offer of a job at Lord Beaverbrooks newspaper The Daily Express Havank however pointed out. Publisher Bruna repeatedly begged for new work, and he himself could not loosen his tale figures. In October 1946 a new Havank appeared again with the telling title: The Shadow is back. London had Havank Cynthia Vickers know, the daughter of a high-colonial civil servant, and the divorced mother of three children. In 1946 they were married, followed a nomadic existence.
After a year in London, having lived they settled from 1947 to 1950 in Heemstede. Then the couple stayed with interruptions in Cagnes-sur-Mer on the Cote d’Azur. This place in 1953 was exchanged for the cheaper Palma de Mallorca.
A harmonious marriage did not exist. The couple had always disagreement. Often, they raised about the meager finances because Havank nor in wealth reared wife could handle money. By incompatibilité des humeurs their relationship a stormy character, with Cynthia him ever escaped and sought solace in the bottle and ‘intermediate adventures. Ultimately, Cynthia, who spoke no Dutch word and Havanks books never read, settle in 1955 final in London.
The traces of these marital problems can be found in the novels back. Between Shadow and his – to Cynthia modeled – “eternal fiance ‘Aranea Forster came from The Secret of the seventh key 1951 also to removal.
The wandering spent fifties when he was abandoned by “God, everybody and Cynthia” for Havank were a little creative period. In addition to his own work as pontiff Black and red peppers, respectively in 1952 and 1954 were mostly translations provide income, mainly of work by British mystery writer Leslie Charteris, creator of The Saint, with whom he felt related. It went Havank bad; He drank a lot and had more often suffer from depression.
After falling on a rock on Mallorca in 1957, where he broke a rib and a damaged lung, he was recovering in a hospital in Utrecht. There he again embraced the Catholic faith. Havank moderated his alcohol consumption, was in southern England living in rural areas to be concentrated work and visited on weekends his wife in London.
Although the paperback edition of his novels was a great success, the debts to his publisher were incurred by advances so that Havank from 1956 to 1960 had to give up his royalties.
One in Britain suffered hernia followed by peritonitis, led in 1963 to a hospital in the Netherlands, this time in Leeuwarden. After his healing Havank moved into the close to his birthplace located Hotel ‘Amicitia’. The hotel owner was publisher Bruna manage the request Havanks finances, a task he performed meticulous and discreet. During his stay in the hospital Leeuwarden Havank had, moreover, a relationship established with the 38 years younger nurse Tonia Damsma, who would remain faithful to him until his death.
Sought in these years Havank like the publicity that he had initially out penchant for mystification shunned. He seemed always to identify more with Shadow. He wore a deceptively real looking alarm gun with him, which he occasionally made people frightened. Childlike pride was Havank the gray Triumph Herald with registration HVK 55, in which he was driving his private speed limit of 40 km per hour.
Havank had always been interested in psychic matters; already his first novels point this out. Mysticism and mystery got him more and more captivated. While staying on the outside Dekema State in Leeuwarden he became obsessed by a painting that hung from the 21-year-old Friesian damsel Anna Maria Burmania (1733-1808). Havank spoke of an “outside temporary love affair.”
He thought “to feel a bond between her and his soul” and claimed that he was guided by the instructions on seeing her portrait came to him. His last two books, Caviar and cocaine from 1958 and Menuet midnight, witnesses of this ‘inner voice’. The latter novel was three-quarters finished when Havank in his room in hotel ‘Amicitia’ died of a heart attack. At his funeral was there, submitted in accordance with his wishes, a color photograph of the portrait of his muse Burmania From him in the chest.
Havank wrote 29 novels and two collections of short stories. During his lifetime sold over six million copies. After his death the Shadow Romans were successfully by journalist Peter Terpstra – under the name ‘Havank-Terpstra’ – continued.
Havanks first work was not written in a relatively sober, yet personal prose, eventually went the comic element in his speech an increasingly important role. In some books the language jokes are so dominant, that the plot is nothing left. Also, the recurring story figures in the course of the time, appeared to be more important than the pursued criminals. A good characteristic of Havanks work gave Ab Visser, on the one hand the “windy verbal grapjasserij ‘and also denounced” the carefree vacation atmosphere’ who called his novels, praised (Visser, 80).
JPM Passage, Bibliography of HF van der Kallen ‘Havank (including Havank-Terpstra’s) (Haarlem 1994); CJ Aarts, Havank bibliography, 1946-1955 (Amsterdam 2000). An overview of Havanks novels and stories by JPM Passage in the bundle listed under L In the shadow of Havank, 93-95.
Press Documentation in Dutch Literary Museum and Documentation Centre in The Hague and in the Frisian Literary Museum and Dokumintaesjesintrum Leeuwarden.
Henk van der Meulen [others], In the Shadow of Havank (Drachten [etc.] 1988) 74 [Van der Kallen in 1958]. JPM Passage
The Guardian, 29-7-1950; Interview with Cynthia van der Kallen Vickers Tom Brewers, De Telegraaf, 27-1-1967; Ab Visser, Shadow why? “, In The Monastery of Saint Jurriaan. Pauwhof memories (Utrecht [etc.] 1974) 76-91; Highly remarkable. About Havank. Samengest. by Pieter Terpstra (Utrecht [etc.], 1974); Frank van Dijl, ‘The Shadow’ n million affair in Het Vrije Volk, 18-2-1984; JPM Passage, ‘Havanks novels of adventure: a breeze? “In Bzzlletin 14 (1986) 137 (June), 63-72; Henk van der Meulen [others], In the Shadow of Havank (Drachten [etc.] 1988); Diny of Manakker, “The eternal value of Havank” Vrij Netherlands, 15-6-1996; JPM Passage, Havank. Sketch of the life and work (Groningen 1997).
1. ^ a b c Vanacker, Sabine (2003). ” ‘Whodunnit?’: A History of Crime Fiction in Flanders and the Netherlands” (http://books.google.com/books?id=7qiz3jNLMH0C&pg=PA230). In Robert B. Howell. History in Dutch Studies (in Dutch). Jolanda Vanderwal Taylor. UP of America. pp. 223–36.
2. ^ Grijpink, J. (2012). “Large-Scale Information Exchange: Breaking Views and Challenges” (http://books.google.com/books?id=CgQweokGACsC&pg=PA191). In I. Th. M. Snellen. Public Administration in the Information Age: Revisited. Marcel Thaens, Wim B. H. J. van de Donk. IOS. pp. 182–204. ISBN 9781614991366.
. Retrieved from “http://en.wikipedia.org/w/index.php?title=Havank&oldid=586671035“
. Original version included in: Netherlands Biographical Dictionary 5 (The Hague 2002) Last modified on 12-11-2013