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2007
Today, Saturday 8 September 2007, on the First (Dutch) National Day of the Blurb and during a festive meeting in Bookshop Selexiz Donner, Rotterdam, prices for The Big Blurb Contest 2007 have been presented.
Winner of the Twan Breewel Cup 2007 is Adri van Beelen with his blurb for the book Pyramid. The four Twan Breewel Special Mention Cups 2007 have been presented to Vicky Francken (Interface Prose/Poetry) , Marcel de Laat (The Human Factor), Marjet Maks (Suspense) and Nicole Munneke (Fantasy).
Mariëlle Jansen, Lector at the Faculty Art of Leisure of UvG, gave a short introduction on Creative Reading (Het Nieuwe Lezen).
As a consequence of a sudden and really unexpected crisis in the Board of the Association of Friends of The First Chapter, Frans van Zoelen was found available to present the prices. Also he has been asked to be a mediator to get all parties concerned around the table again.
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Rotterdam, Thursday 30 August 2007 - The Nominees for The Big Blurb Contest 2007 are announced: Adri van Beelen, Jasmine Embrechts, Vicky Francken, Henk Hardeman, Frank Heinen, Marcel de Laat, Marjet Maks, Nicole Munneke, Jet Steinz, Margriet Zuidgeest.
These are the final candidates for the Twan Breewel Cup 2007 and the four Twan Breewel Special Mention Cups 2007.
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Donny's World of Twisters and Spammers - Part Two
Question Marks At The Border Between Soho and TriBeCa
New York, July 2007 - What makes a good jumpmaster? Donny Lewali is clear about this: "A jumpmaster needs street discipline." Even now, Donny Lewali is not immune to the odd case of acute stage fright. "Fear is our constant companion. For us, it is always the question whether or not we can maintain the upper hand, or if the storyline is played out from under us. There is very little you can do in terms of actual preparation." This would be a violation of the principles of stand-up story telling, where it's all about improvisation. "That fear, it's something you have to learn to live with as a freestyler. Honestly, I am so tired of these guys who just refuse to see this, who dismiss us as romantic weathervanes." In the past, Lewali experimented with tranquillizing roots from the Andes. It seemed to work for a while, but then he started experiencing the hallucinogenic effects on stage. This wasn't helpful, and now he just rolls with the punches. The only thing Donny Lewali does as the performance nears is slowly retreat from the outside world. In his own words: "I completely block out any world news for instance. I can't afford to occupy myself with issues that are beyond my control." Lewali's momentary state of isolation, Peet Abspoel doesn't know whether to consider it a weakness or a strength: "I'm going to have to suspend judgment on that."
In her book LingoDales, Amy Levin discusses how jumpmasters deal with a traumatic experience, such as a crash, or worse, a blackout. "There's no fixed recipe for that. What you see is that every jumpmaster has his own distinct way." The core of her message is that freestyling is essentially a cry for attention. Her research reveals that the population is made up of predominantly helpless males. The success of these tormented souls surprises her. "And what strikes me even more is their appeal to others. It starts with innocent mimicking, but before long, someone has ventured onto the slippery slope of becoming a copy of the jumpmaster they idolize. Jeopardizing their own self in the process," says Amy Levin with a subtle nod in the direction of Abspoel who is hoisting up his dungarees, getting ready to check the audience for spammers. Still, she religiously follows Donny Lewali's career, rarely missing a performance. "Donny is a sensitive boy. He puts lots of question marks; question marks at what is going on in the world. At the same time he is not afraid to put a question mark at his own attention. That makes Donny Lewali so interesting." Later she adds: "But I couldn't be happier when someone pulls me by the sleeve and confides that it was my book that made them decide against that vocal chord correction that would give them a Donny Lewali voice."
The world Donny Lewali acts out in his monkey vaults during the first set is all around us here. The night seems to be dedicated to those who desperately need an excursion away from reality. Feeling that something huge is being thought up right here, and wanting to be a part of that. That this has nothing to do with being spoonfed a ready-made story, but that, as an active twister, you can make your presence felt: A one-on-one with the jumpmaster as the ultimate act of emancipation.
Not until the third act does the audience truly let go. There is cheering as the twisters tiger through the crowd trying to reach the stage. After a one-on-one with Donny Lewali, they jump back into the audience; oblivious to the beer and coins thrown at them.
There are young men, old men, poor, rich, futureless, or with promising prospects, with or without headgear and in all styles of urban dress that New York boasts. Women, young and old, with or without pashminas are eagerly allowing themselves to be passed overhead (crowd surfing has long been prohibited in Europe). And then Donny Lewali senses the precise moment where there is only one thing the cheering and screaming mob wants: To conquer a spot in the story, as insignificant as it may be, to escape the daily grind, under direction of Donny Lewali, someone with a face not too soft, but not bony either, with an inconspicuous, but at times also farcical expression, with hair that curls just wild enough, but with low-slung jeans, revealing a subtle easy-goingness that balances an unchallenged authority.
Fear is overcome by routine, which is exactly why Donny Lewali spends so much time doing practice gigs. He further finds reassurance in categorizing techniques, which has proven a lifesaver in some precarious situations.
Spammers and Twisters
A spammer aims to throw the jumpmaster off balance with treacherous one-on-ones. Donny Lewali is most apprehensive about professional spammers, often working for competing jumpmasters. They are compensated at a no-crash-no-pay basis, according to a clear rate structure. Two successes with the same jumpmaster are more lucrative than two separate crashes with different jumpmasters. The highest reward follows a blackout, the complete derailing of a jumpmaster. "A blackout paying $1000, just like that, you can never make up for that in ten $100 crashes," explains Malicia, one of only a handful of professional female spammers. "Let's be honest, it's a pride thing as well."
Monkey Vaults-------------Ultra short storylines, spat out in the beginning of a performance to loosen up the audience.
Bridging----------------------Precision jump by a jumpmaster with which he combines two story lines without loosing sight of the curve.
Curve-------------------------The leitmotiv introduced by the freestyler that serves as a prop and, when necessary, can be used to fall back on; also functions as tension curve.
Demitour--------------------Intermezzo to divert attention away from the curve, often utilized after a successful one-on-one.
One-on-one----------------The core of freestyle storytelling. The jumpmaster leaves himself vulnerable and allows active audience members (twisters, but spammers as well) to interject their comments and suggestions, with the aim to influence the storyline.
Twister----------------------Listener who participates in the story by shouting out interjections in the hope that the jumpmasters picks up on these. The twister is a loyal interventionist and is sincere in his attempts to influence the story (unlike the spammer).
Spammer------------------Non-loyal interventionist who attempts to throw the jumpmaster off balance with treacherous one-on-ones intended to make him crash.
Revolt-----------------------Successful intervention by a twister.
Crash-----------------------Successful intervention by a spammer: the jumpmaster is distracted and looses his grip on the story.
Blackout-------------------Complete derailing of a jumpmaster by a spammer.
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Donny's World of Twisters and Spammers - Part One
Freestyling on the Border Between Soho and TriBeCa
New York, July 2007 - Things are moving fast for freestyling storyteller Donny Lewali, very fast. Already, even though Donny Lewali has only been touring the smaller venues of a less sophisticated New York, he is considered the narrative jumpmaster, representing the voice of his generation. Here, on the border between Soho and TriBeca, Donny experienced many personal lows. It should in fact be considered somewhat of a miracle that he is even alive today. This is why he returns here, night after night, telling his stories with awe-inspiring spontaneity. Many of them dealing with the difficult times he overcame, the lack of self-confidence after another failed attempt at keeping to the straight and narrow.
Freestylers responding to prompts yelled out from the audience to influence the story, are criticized severely by spammers. Stand-up story telling, as far as spammers are concerned, is simply about telling a story, from A to B. Nothing more and nothing less. They try to throw the freestylers off balance with treacherous one-on-ones. "According to the spammers, your competition, freestylers are better off composing verses. How do you feel about this comment?" I ask Donny Lewali. It's late in the afternoon and Donny is rushing to the next back-alley stage, his support team in tow. "Of course I understand that our audacious verbal somersaults and twists make the spammers a little insecure. But what do you expect, we are after all the jumpmasters of the narrative adventure."
In a city where box-office success and intellectual depth rarely go hand in hand, Donny Lewali is considered a breath of fresh air. Even so, it was a deliberate decision for Lewali to take as much time operating under the radar as he did. It allowed him to perfect his story-telling technique. He explains that the extensive training period turned out to be a decisive factor in his development. It is his meandering narrating style, combined with his raw, hoarse voice speaking the credible language of the street, that many recognize themselves in. It's only a matter of time before Donny Lewali will be embraced by a mainstream audience. "Absolutely, whether Donny likes it or not!" interjects Peet Abspoel. Peet Abspoel, a Dutchman, is the sole European included in Donny Lewali's handpicked entourage that supports him during his shows. It is a trial period necessary for Abspoel to be admitted to story telling school. And even then, it will remain to be seen whether Abspoel possesses the qualities necessary to make it to jumpmaster, a goal achieved by but a few storytellers, "I have only been a member of Donny Lewaldi's inner circle for a month, but I am already greatly indebted to him. As gripman, it is my job to check the audience for hostile spammers. All they're after is having Donny fall on his face. If there are any, I politely but urgently request they leave the venue. It's not the easiest job, but everyone here has to start at the bottom. I'm no different."
We pass streets with boarded-up windows. "Deterioration, loneliness and the stench of beer and piss," I answer when Lewali's asks me what I notice about the alley we are walking down. As a boy, Donny Lewali often came to this neighborhood to listen to Lucky Travor, Bashar Palik and Karvin Jarvin, the stand-up storytellers of that time. "After my last stint in rehab, I just knew that this was where I had to start freestyling, if I was going to have a shot at all. I will always come back here, whatever the future has in store for me." Through the basement of Fiesta de Tapas, a Spanish take-out restaurant, we enter a complex of halls that is no longer accessible from the street at which it is on. "It is empowering in a way, to be able to walk inside somewhere and truly understand what it's about," says Lewali.
Peet Abspoel explains that Donny Lewali is generally considered the founder of the freestyle technique. It's a narrative response to the original stand-up story telling that only tolerates a straightforward storyline. What makes freestyling so interesting is that spectators can influence the story. They yell out prompts hoping the freestyler will pick up on them. Experienced twisters even climb up on stage, hijack the storyline and give it their own spin. When they join the audience again, it is up to the jumpmaster to reclaim the adjusted story. "Donny is obviously far too modest to brag about his contribution in adding a completely new element to the narrative tradition," Abspoel continues. "The only thing Donny will say is: I freestyle to the best of my ability and that should be enough." On the verge being usurped by popular culture and launched into stardom, a reluctant Donny Lewali dreads the inevitable loss of a private life. "On the other hand, he wants people to be able to enjoy his CDs and videos at home. And that's something Donny will have to pay the price for."
Donny Lewali loves to begin his set with monkey vaults. Before he knows he runs into a magnificent curve, says an urban cult reporter who does not like to have his name mentioned. "The curve is the leitmotiv which is his lifeline for when he is under fire of one-on-one's. It is a good spammer who then still throws him out of balance."
The best sets are those where Lewali makes brave demitours and it seems it is not a question of improvising. "Donny Lewali combines beautiful story lines. The words seem whispered to him by a higher power, pure gold!" These unique Lewali-stories are grained by funk and jazz, but also aggression as reaction to rejection and loneliness. These are the gigs which motivate this anonym reporter to mention Donny Lewali already now in the same line with great storytellers as Trolley Mccann and Cody Witt. "And your own Twan Breewel of course has to be mentioned here too. Is it right he has been seen lately on Ibiza working as a virtuosic beach sand carver?"
In the next edition of Donny's World of Twisters and Spammers: how Donny copes with stage fear and goes wild with tranquillizing roots from the Andes.
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On Wednesday 7 March 2007 The Big Blurb Contest 2007 starts. The challenge is to write the jacket text for a book you are dreaming of and so far has not yet been written. The jacket text in its turn (hopefully) inspires others to write this book you are yearning for.
The Big Blurb Contest 2007 is the follow up of the The Big First Chapter Contest 2006. The organizing Society for Friends of The First Chapter is very conscious that it is difficult to match the success of The Big First Chapter Contest 2006. Therefore the society choose a different theme for the contest, i.e. inspiring others by writing a magnificent jacket text.
The prize day is planned for Saturday 8 September 2007, which day is the First (Dutch) National Day of the Blurb.
Wednesday 28 February 2007: for the first time a congress with scientific focus will be dedicated to the phenomenon of Het Nieuwe Lezen (Creative Reading). The achievements of the congress will be published in a magazine which can be ordered via vooys@let.uu.nl.
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2006
The year 2006 is the year in which the for the first time ever organized The Big First Chapter Contest was successfully completed. This contest - in Dutch called: De Grote Eerste Hoofdstukken Wedstrijd - was open only for in Dutch written first chapters.
The contest did get from the moment of launching positive media attention.
It is also fair to say that a fundamental discussion on how to evaluate the quality of a first chapter, caused serious delay in the nominations and results of the The Big First Chapter Contest.
Finally the festive prize-giving of The Big First Chapter Contest took place on Friday 17 February 2006, a month before the start of Boekenweek 2006 (i.e. the Dutch national book week).
The prize winners in the various categories are Orhan Izmit, Julia Lith and Frans van Zoelen. Donny Lewali the stand-up fairy tale teller from New York was the surprise of the evening. Donny Lewali's performance was his debut in Europe. The prize-giving did get a lot of media attention which proves that the first chapter movement has now a firm position in the Low Countries. A commentary including a webcam impression are available on the page "Actualiteiten en reacties" of this website.
On request of many one of the winning first chapters is available also in English: Total Spam by Frans van Zoelen, the winning first chapter in the category Internet Caprioles.
Total_Spam
Oshima, Mahinder, Tracilly, Shawna, Ninette, Pauletta, Kelly, Rochella, Ginette, Goldie, Kisha, Chantal, Joette, Maroeska, Kimmie, Georgette, Verity, Estelle, Candy, Ilonette, Terency, Linny, Fabiette, Anoeska, Lenette, Randi, Nymphine, Claudette, Tammy, Beyonce, Kimlee, Tischa, Jilly, Nénette, Tibi, Tyra, Shelly, Kirna, Mitzi, Lucetta, Sheena, Lingie, Sue, Loletta, Masja, Temy, Valenzuela, Rianda, Leilacetta, Angelina, Roxanne, Bärbel, Darlene, Kimberly, Vanessa, Milina, Tasha, Arnetta, Madeline, Julitta, Cayley, Trinette, Blanche, Vonda, Raquel, Karaugh, Holley, Valeria, Kayla, Lilia, Lucina, Vicky, Tamra, Glenda, Charlette, Shawnie, Consuela, Traugott, Angelia, Wila, Hershel, Laviolette, Roseann, Maksime, Horacia, Elsa, Donette, Jessia, Rupindette, Jolyonne, Heather, Conchetta, Cheryl, Tyronella, Whitney, Esmée, Melody, Destée, Terri, Palmira, Ashley, Maxette, Chelsea, Estelle, Minouche, Zetta, Valance, Brinette, Joëlle, Chella, Ritka, Lane, Carice, Monic, Charity, Felicity, Daphne, Izaline, Blofske, Marouschka, Rosita, Aliya, Desy, Reanne, Annuksa, Sandrette, Dana, Helmi, Ditty, Dorretta, Pearl, Chantelle, Prescilla, Diënne, Lovetta, Romy, Tiffany, Wipke, Georgina, Keny, Nadja, Fee, Ricky, Mirell, Minuschka, Berbette, Daniëtte, Minouche, Carice, Mariska, Dashley, Priscilla, Bo, Limberley, Kimberlie, Chanelle, Fay, Minoeska, Ashley, Wendell, Linette, Alonza, Micheline, Chanel, Jetkey, Zenzi, Lingynette, Tanisha, Melba, Tari, Jolette, Manoe, Maknara, Tubette, Marcia, Annick, Carice, Izaline, Roksana, Tiffeny, Manou, Fabulette_Fabulette, Manou, Tiffeny, Roksana, Izaline, Carice, Annick, Marcia, Tubette, Maknara, Manoe, Jolette, Tari, Melba, Tanisha, Lingynette, Zenzi, Jetkey, Chanel, Micheline, Alonza, Linette, Wendell, Ashley, Minoeska, Fay, Chanelle, Kimberley, Limberley, Bo, Priscilla, Dashley, Mariska, Carice, Minouche, Daniëtte, Berbette, Minuschka, Mirell, Ricky, Fee, Nadja, Keny, Georgina, Wipke, Tiffany, Romy, Lovetta, Diënne, Prescilla, Chantelle, Pearl, Dooretta, Ditty, Helmi, Dana, Sandrette, Annuksa, Reanne, Desy, Aliya, Rosita, Marouschka, Blofske, Izaline, Daphne, Felicity, Charity, Monic, Carice, Lane, Ritka, Chella, Joëlle, Brinette, Valance, Zetta, Minouche, Estelle, Chelsea, Maxette, Ashley, Palmira, Terri, Destée, Melody, Esmée, Whitney, Tyronella, Cheryl, Conchetta, Heather, Jolyonne, Rupindette, Jessia, Donette, Elsa, Horacia, Maksime, Roseann, Lavoilette, Hershel, Wila, Angelia, Traugott, Consuela, Shawnie, Charlette, Glenda, Tanra, Vicky, Lucina, Lilia, Kayla, Valeria, Holley, Karaugh, Raguel, Vonda, Blanche, Trinette, Cayley, Julitta, Madeline, Arnetta, Tasha, Milina, Vanessa, Kimberly, Darlene, Bärbel, Roxanne, Angelina, Leilacetta, Rianda, Valenzuela, Temy, Masja, Loletta, Sue, Lingie, Sheena, Lucetta, Mitzi, Kirna, Shally, Tyra, Tibi, Nénette, Jilly, Tischa, Kimlee, Beyonce, Tammy, Claudette, Nymphine, Randi, Lenette, Anoeska, Fabiette, Linny, Terency, Ilonette, Candy, Estelle, Verity, Georgette, Kimmie, Maroeska, Joette, Chantal, Kisha, Goldie, Ginette, Rochella, Kelly, Pauletta, Ninette, Shawna, Tracilly, Mahinder, Oshima
The board of the society investigates the possibility to open the contest in 2007 as well for in English written first chapters. The society also aims at getting on the agenda a First Chapter Festival. This festival should focus on first chapter writing related skills and techniques and deliver master classes by the various hero's of the international first chapter writing community. It should also create a platform for the winning first chapters and its writers of the next The Big First Chapter Contest. In other words: a port of call the first chapter movement is yearning for.
1.
What is the aim of CREATIVE READING?
CREATIVE READING aims to defuse the literary crisis that has kept us in its clutches for over ten years. This crisis is the result of the continuous flow of numerous new books that started in the last decade of the Twentieth Century, combined with the fact that there are fewer and fewer readers. Add these two circumstances and this will explain the intensity of the literary crisis.
So far this crisis has led to two adverse consequences. First of all, for the reader, it is impossible to keep track of every book that is written, not even with the best of intentions. No one has the complete overview of the literature, which is exceptionally harmful. The second consequence touches the writers themselves. Every writer wishes his or her work to be read by as extended an audience as possible. But with the discharge in books of fellow writers growing and growing, the available readership, in absolute numbers, remains constant. This forces writers to invest precious time and effort in gaining the reader's attention. If we also take into account the alarming results of periodical reader-satisfaction surveys, it becomes all to clear that writers can count on an attentive readership less and less. CREATIVE READING is the solution to this problem.
At the same time CREATIVE READING aims to create an equal playing field between reader and writer. By doing this CREATIVE READING hopes to end the century-long dominance of writers. Writers that keep intimidating with confining total stories that do not allow for the tiniest hint of imagination on the part of the reader will eventually lose their literary status.
2.
How does CREATIVE READING work?
CREATIVE READING calls on the reader to consciously limit himself to the first chapter of any book. This enables him to take cognizance of more titles. It is a concept that works as soon as the reader is sufficiently competent in forming his own representation of the further course of the story aided by only the first chapter. He feeds himself with dreaming up the story after, and based on, that first chapter. The reader does this entirely on his own strength - using his own imagination - and without any help from the writer. In this way the reader himself determines the course of the story - the story becomes his story.
At the same time the reader refuses to impose his story on others. He respects the imagination of his fellow readers and grants them their own story. Some people point out that therefore the story as such does in fact not exist. This is incorrect. Only confining total stories do not exist.
3.
Can CREATIVE READING be learned?
The secret lies within the ability of the reader to address his own imagination - and yes, this is most definitely something that can be learned. The emancipated reader limits himself, as mentioned earlier, quite deliberately to the first chapter. At the same time he is as responsive as possible, opening his mind to the maximum. With his growing imaginative powers he is able to reap the full benefits of his own fantasy. It is also a matter of guts to allow a well-written first chapter to work its promise on you. For those who would like to acquire the skill of CREATIVE READING, better courses and methods are becoming available all the time. The last step in becoming one of the select emancipated readers is the Toolkit for CREATIVE READING with wich you can master the new way of reading in just ten easy-to-follow steps.
This product has come about in close collaboration with the Society for Friends of the First Chapter.
4.
What is CREATIVE READING specifically not?
CREATIVE READING doesn't intend to position the reader in the writer's chair. Whatever the reader conjures after reading the first chapter may be considered the ending of the story, but it is his ending - and nothing more than that. It is essential that he refrains from imposing his ending on others. The new reader is not only aware of his own freedom to imagine, but also respects the right of others to do so.
5.
Can the writer help the emancipated reader get started?
It is obvious that CREATIVE READING is a joint venture between readers and writers. There is a distinct connection between the activities of both groups. The new reader should train his imaginative powers, but the writer should also get onboard. Along the way the new writers who have made a conscious choice to limit themselves to writing only first chapters, will discover this secret.
They will become increasingly apt at effectively hiding the ending potential in the first chapter. In this way they help titillate the reader's imagination to the fullest. This is often reflected in small, but nonetheless crucial details. There is, for example, a sub movement within CREATIVE READING posing that writers should have a clear head in choosing character names - the rest will follow automatically. In this vision it makes a world of difference whether you are sent on your way by a Harwig or an Oostwegel as fictional character. It does not get any clearer than this.
6.
Are there any dangers in CREATIVE READING?
Yes, but these are relatively harmless dangers. After the first episode of a TV series you will assume you already know it all. And you are right! With a well-trained imagination, and given that it was a potent and powerful pilot, you will indeed be able to think up the course of events on your own strength.
In your professional life you will risk reading only the first paragraph of the many notes and meeting minutes. The rest you can guess for yourself. Many emancipated readers find they have to suppress this urge.
7.
Where did CREATIVE READING originate?
CREATIVE READING (in The Netherlands known as The New Reading or het nieuwe lezen) has been invented in a Rotterdam attic room by Twan Breewel. It is the Dutch answer to the literary crisis. After having conquered the Low Countries the new phenomenon qualifies as a succesful Dutch export product which makes passes at the rest of the world.
In the English-speaking world the phenomenon came to be known as CREATIVE READING or Provocative Reading. The accompanying readers are referred to as creative readers, provocative readers and are also commonly called emancipated readers. Of writers that have embraced the movement, it is said that they are involved in creative writing or provocative writing and as such are called creative or provocative writers.
8.
Why has it taken so long for CREATIVE READING to be recognized as the solution to the literary crisis?
As is well known, many parties have an interest in the unrestrained production of new titles.
First and foremost, there are the publishers, the distributive trades, the printing houses and the paper industry that may be considered as the major driving forces behind the continuation of the literary crisis. Especially the two latter branches benefit from the overproduction of books that leads to a growing demand for paper and printing capacity. But of course there are also the writers themselves. For far too long they have been able to imagine themselves safe and secure in the comfort zones of their own making. For far too long too, they have felt it the most natural thing in the world to restrain the readers imagination as if it were a fattened calf.
9.
Have any Dutch writers already begun working according to the demands of CREATIVE READING?
Yes, writers like Maddie Decaluwé, Dulco Nawas, Ferry Colmar and Sanne Bomas have already proven that it is more than possible to please the emancipated reader. All of them are well on their way to becoming Grandmasters of the First Chapter.
10.
What does the future hold for CREATIVE READING?
By the year 2010, the Society for Friends of the First Chapter hopes to impact the market to a point at which at least twenty percent of all books are written according to the principles of CREATIVE READING. This is an attainable goal, since a growing number of emancipated readers will manage to break free from the chaos and jumble of titles fired towards them by traditional writers. Now this might still seem like a great blow to the literary establishment, but gradually writers will realize that all the new current requires is a new attitude. They will realize there is no way back. That they have brought this on by themselves and that summoning the readers imagination is the only way out. And that the reader has this imagination is no longer under argument, whether writers like this or not. In the end, the reader is a free individual and his imagination should not be pushed into a straight jacket.
It will eventually become clear that there is only room for books consisting of just a first chapter. Others, in the long run, will not be read anyway.
De Grote Eerste Hoofdstukken Wedstrijd 2006 | 10 Meest gestelde vragen | Lezersonderzoek | Toolkit for Creative Reading | FAQS Creative Reading
