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Victor Crebolder, forty-something,
is busy slaloming between job, fatherhood and
writing. Rage, frustration and anger are the
main reasons for writing this novel. After reading
No Logo by
Naomi Klein his anger was fanned even
more. Although Naomi’s flabbergasting masterpiece
about globalisation has another line of approach
it seems that the main subject of Don’t show,
don’t tell would fit in seamlessly.
Franz Kafka said that ‘a book must be the axe for the frozen sea inside us’. All awful truths have one thing in common: they all have the habit of hiding or disguising themselves. Trying to get any of them in the spotlight requires some form of aggression. For Crebolder breaking, chopping and slashing are three derivatives of Kafka’s aphorism.
Don’t show, don’t tell is a harsh novel. Appreciation and recognition of this emotionally charged subject seems too much to ask for. Erica Jong has written the following on this issue in Fear of fifty: ‘if you subside to the forces of rejection you’ll commit suicide from a creative standpoint, and then you will have joined the bastards’.
In the beginning of Conseils aux jeunes littérateurs (Advise to young writers) Charles Baudelaire mentions what he calls ‘the slow coagulation of success molecules’. Success never drops in ones lap. That is one way of looking at his decision to self-publish this book. If you cannot get it done one way you just try another.
Without the help of the following three people there wouldn’t be a Don’t show, don’t tell: Sir Jeroen van H., Mrs Van Benten and my beloved Dr. Rabbit. The author is in their debt for their love, care and appreciation.
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