Bart Moeyaert as Writer, Author, Performer, and Public Figure:"That's Also What Literature Can Be" Vanessa Joosen (bio) Though only in his mid-fifties, Bart Moeyaert began his writing career over forty years ago, when at age thirteen, he addressed a diary to an imaginary friend called Judith. Caught and ridiculed by one of his brothers, Moeyaert turned the diary into his first novel, which he published at nineteen. In the course of almost four decades as a published author, Moeyaert's views and writing practices have inevitably evolved. These developments can be attributed to personal experiences from living through adolescence, young adulthood, and middle age, which include his increased independence from his family, influential encounters, and the development of his career as an author and teacher. As a writer, he had the chance to experiment with new genres, topics, and writing styles, gradually growing into Belgium's most acclaimed children's author and gaining international fame. In this article, I will highlight four crucial experiences that transformed Bart Moeyaert's views on children's literature and had an impact on his subsequent books: the influence of Aidan Chambers and his distinction between author and writer; the experience of writing primers with specific, target-audience restraints; the pleasure of performing for a dual audience; and his mandate as Antwerp's city poet, which provoked a reflection on the writer as a public figure. What these experiences have in common is that they produced a tension between Moeyaert's personal and artistic desires on the one hand and considerations for his readership and broader social needs on the other. As such, this article seeks to contribute to a better understanding of Moeyaert's developing poetics and diverse oeuvre, and to consider how an author's growing age and concomitant experiences can influence their views and work. Click for larger view View full resolution Author or Writer? Moeyaert wrote his first novels, Duet met valse noten (Duet with False Notes; 1983) and Terug naar af (Back to Square One; 1986), in his teens and early twenties—a time when he was still close in age to the audience of the [End Page 38] books. The novels are both set in school and draw on Moeyaert's intimate knowledge of adolescence. Terug naar af even features an alter ego with the same initials (Matthias Brandt) who, like the author himself, is made to repeat his final year in secondary school. Despite this obvious autobiographical input, Moeyaert wanted the story to be more, and when the book met with some criticism, he felt frustrated that many readers did not pick up on the symbolism in the story: "Apparently it is not expected of an adolescent novel that you would construct another level under the narrative" (qtd. in Lambrechts).1 The desire to construct this additional layer coincided with an incisive experience that Moeyaert often foregrounds in his development as an author: his reading of Aidan Chambers's Dance on My Grave. In 1987, Moeyaert dedicated the thesis of his degree in education to Chambers's works and visited him to discuss views on literature. In an interview a decade later, Moeyaert contrasted Chambers's views with those of his publisher at Altiora/Averbode (Verbeken). His publisher spurred him to keep his young audience in mind when writing—Moeyaert's youth had, after all, been a key factor in the success of his best-selling debut. Chambers made a distinction, inspired by Roland Barthes, between "authors" and "writers" (Chambers 14). Whereas writers are led by their audience, authors are led by their own artistic views and their stories' needs. This is reflected in Dance on My Grave, which Moeyaert describes as "[a] beautiful story about a friendship, if not to say, love, between two boys. But also a formal masterpiece full of flashbacks, repetitions, changes in narrative perspective, and so forth. A magnificent literary kaleidoscope that taught me: ah, that's also what literature can be" (qtd. in Verbeken).2 Moeyaert developed the novels Suzanne Dantine (1989) and Kus me (Kiss Me; 1991) along the lines that Chambers taught him. "Forget about the earlier books," he would say about Suzanne Dantine in 1991. "With...