Latest news with #YaelvanDerWouden
Irish Times
21-06-2025
- Entertainment
- Irish Times
Women's Prize for Fiction winner on The Safekeep, being intersex and her childhood in Israel
It sounds like a hectic afternoon in London when I speak to Yael van der Wouden , author of The Safekeep and winner last Thursday of this year's Women's Prize for Fiction . Speaking on Friday, she says life since hearing she had won the prestigious British literary award and its £30,000 (€35,000) prize has been 'like this, absolutely chaotic', referring to the sirens and beeping noises intruding through the open window. 'It was unreal,' says van der Wouden. 'You prepare yourself for every single scenario and you try to imagine how you would feel with every single scenario, but you can't.' Beyond promoting her work, 'I just get to live my life,' says the Dutch-Israeli author. 'The Netherlands is a very sober country, so no one goes into any kind of heightened emotion over an author existing.' 'It's good because I come here and they give me prizes and then I go home and I'm just a lady in a store,' she says. READ MORE Van der Wouden's debut was up against stiff competition for the prize, including novels by established American writers Elizabeth Strout and Miranda July, along with three other debuts: The Persians by Sanam Mahloudji, Fundamentally by Nussaibah Younis and Good Girl by Aria Aber. In her acceptance speech, van der Wouden shared that she was intersex. 'I was a girl until I turned 13, and then as I hit puberty all that was supposed to happen did not quite happen, or if it did happen it happened too much,' she said. 'I won't thrill you too much with the specifics but the long and the short of it is that hormonally I am intersex. [ The Safekeep by Yael van der Wouden: Beguiling love story told in language that entertains and enthrals Opens in new window ] 'This little fact defined my life throughout my teens until I advocated for the healthcare that I needed. 'In the few precious moments here on stage I am receiving truly the greatest honour of my life as a woman, presenting to you as a woman and accepting this Women's Prize and that is because of every single trans person who's fought for healthcare, who changed the system, the law, societal standards, themselves. I stand on their shoulders.' What prompted her to share this information? 'To me, that's an integral part of my life and the conversations I have with myself, with my friends and family, with my trans loved ones,' she says. So why now? 'Because it just happened to be that the moment where I and a room full of 800 people met for the first time and so they got to hear me speak for the first time. But it's not anything new on my part. It simply was a new moment for all of us together.' Creativity comes from curiosity. And when you're in survival mode, there's no space for curiosity The Safekeep, which also made the Booker Prize shortlist last year, is based on a repressed and melancholic central character, Isabel, whose world is upended when her brother's girlfriend, Ava, stays with her for the summer. A passionate love affair develops between the women, leading to a thrilling plot twist that van der Wouden asks me to be careful not to reveal. It is not exposing too much to say the novel, set in the Netherlands in 1961, concerns itself with the legacy of the second World War. Does she think there might be a through-line between how the Dutch government of the time treated Jewish people during the war and its contemporary policies under its right-wing government? 'The Netherlands has a specific penchant in using bureaucracy as a form of violence, against migrants, immigrants, refugees, poor people, marginalised people. 'This happened in the fallout of the war, this happened with every single migrant crisis that the country has had, and this specifically happened also around what we call the 'toeslagenaffaire'.' This was a scandal in which Dutch tax authorities used an algorithm to spot suspected benefits fraud. It penalised many low-income, ethnic-minority families. 'And that's what I mean with using bureaucracy as a form of violence: using the minutiae of forms and documents and having people fill in that and fill in that ... the small things that you don't think represent violence and end up creating so much suffering for so many people. 'I don't think [the Netherlands] is unique in that, but I can only speak to my country,' she adds. Being an artist in the Netherlands is more difficult than ever, she says, with funding being 'slashed' in education and the arts. She says her parents, both of whom are animators, received a universal income when they moved to the Netherlands, where her father is from, when van der Wouden was 10, after the family had spent the first decade of her life living in her mother's native Israel. She is now in the very privileged position of being an author who can live off her work, she says, but all of her friends working in education and the arts are struggling. 'They are all splitting themselves in so many ways just to make ends meet and it's hard to do that and keep going, and allow themselves to [be creative]. You can't and it's devastating, and it's infuriating. 'Anxiety shuts down the desire for creativity, but also the ability to be curious, and I think creativity comes from curiosity. And when you're in survival mode, there's no space for curiosity. There's only the next moment, the next day. How will I pay rent? How will I eat? 'I've spent many years [where] I've been on welfare, I've definitely lived off ramen, while trying to avoid medical checks and getting further and further into debt. I've done all of it. And it is possible, but it's very hard to escape into fantasy and escape into curiosity,' she says. She also noted in her acceptance speech that the conversation The Safekeep became part of 'felt all the more important to me, in the face of violence in Gaza and the West Bank and as I've said, the violence my own queer and trans community faces worldwide', she said. Asked about her relationship with Israel, where her mother is from and where she lived until the age of 10, she says, 'I want to be very careful to not create a nostalgic cloud around my childhood, even though my parents made sure I had a fantastic childhood very heavy in the arts ... I had a very creative and very free childhood. 'But I also know that – you know, speaking of what shuts down creativity – living under occupation, living in war, and that's what many Palestinians experience, have experienced then and still experience now, in even more extreme circumstances. 'And I'm in stark opposition to the [Israeli] government [and] I don't want my nostalgia for my childhood to overshadow that,' she says. On whether she would set a novel in Israel, she says: 'I think I would set a novel in a diaspora that is connected to there, but I don't think it's possible for me to set a novel entirely there because I left when I was 10, so it would be the perspective of a 10-year-old in one way or another. But perhaps one day, you never know. But for now, we're sticking to the Netherlands for a little while longer.' She completed a draft of her second novel just before going to London for the Women's Prize festivities. In her research for the book, set in a Dutch fishing village in 1929, she found further evidence of the then-government's use of what she terms 'bureaucracy as violence', as many of the men who lost their jobs in the process of the South Sea being closed off from the North Sea in the early 1930s never received the funding they were promised. And there is also a titillating premise to the novel likely to pique the interest of fans of The Safekeep: a married woman enlists the help of another woman to seduce her husband and frame him for adultery so she can divorce him. Asked why she writes in English, she says her parents mainly spoke English to each other when she was a child, although her mother is now an excellent Dutch speaker. 'I was three years old and my parents were still rummaging around the apartment, and I was already at the door with my little dress and my little sunglasses, very impatient to leave the house. And then I shouted at them, 'Let's go, we gotta go!' And suddenly they realised that they were raising a child in English,' she says, laughing at the memory. Author Paul Murray in Dublin. Photograph: Barry Cronin Van der Wouden has also spoken previously about her love of The Bee Sting by Irish author Paul Murray , and asks, laughing, if I have a spare three hours to discuss its merits. She particularly admires how Murray portrays Imelda, a leading character whose inner life and background are revealed as the book progresses. 'With Imelda, you think, because up until that moment you only see her through the other characters' perspective, and she's quite awful in their POV [point of view]. And then you go to her POV and, honestly, that was ... the most wonderful experience of being proven wrong about a character and falling in love with character, but the language just completely upended my understanding of what we could do with language in character work in novels. And she still is, and I think forever will be, one of my favourite characters in literature.'
The Guardian
13-06-2025
- Entertainment
- The Guardian
Women's prize winner Yael van der Wouden: ‘It's heartbreaking to see so much hatred towards queer people'
It has been a dramatic couple of years for 37-year-old Dutch author Yael van der Wouden: her first novel, The Safekeep, a love story that deals with the legacy of the Holocaust in the Netherlands, was the focus of a frenzied bidding war and shortlisted for the 2024 Booker prize. Last night it won the Women's prize for fiction. 'I wrote this book from a place of hopelessness,' she says when we meet. 'I was looking for a ray of sunshine.' This morning in London the sun is blazing. She could never have expected that her novel would see off shortlisted authors including Miranda July (of whose work she is a big fan) and Elizabeth Strout. Warm and open, the author is shorter than I expected. Coming as she does from a country of tall people, as she jokes: 'I have tall energy.' She has great energy, despite several glasses of champagne last night and only a few hours' sleep. On her shoulder is a tattoo of a hare – an important symbol in the novel – which she had done after completing the book. In her tearful acceptance speech, Van der Wouden told the audience that when she hit puberty: 'all at once, my girlhood became an uncertain fact.' The fact that she is hormonally intersex 'was a huge part of my 20s, and then I got the healthcare that I needed … I am receiving truly the greatest honour of my life as a woman, presenting to you as a woman and accepting this Women's prize and that is because of every single trans person who's fought for healthcare, who changed the system, the law, societal standards, themselves. I stand on their shoulders.' It was the first time she has spoken about it publicly. Not to have done so she tells me, 'wouldn't have been me. I had my five minutes on stage and I figured what better moment to share something that I care about? It's heartbreaking to see so much hatred toward trans identities, queer identities.' Set in the Netherlands in 1961, The Safekeep is a tense psychological thriller and tender love story between two very different women, Isabel and Eva. It is a story of dispossession and self-discovery, national and intimate secrets and shame. 'This is a novel about a woman who is obsessed with a house, and then a stranger comes and upends her life,' the author says. Isabel is gentile, Eva is Jewish. To say much more would be to give away clues in a narrative that unfolds in a series of jagged revelations, like the shards of broken china Isabel cherishes, that come together to make a devastating and beautiful whole. The idea for the novel came to her 'as a parting gift' in a car on the way to one of the funerals of her Dutch grandparents, who died within days of each other in 2021. 'It came from a place of trying to escape grief,' she says. 'I was trying to find distraction in my own head, as I've done since I was a kid.' Born in Israel in 1987 to a Jewish mother of Romanian and Bulgarian heritage and a Dutch father, Van der Wouden, who describes herself as a 'Dutch-Israeli mixed-bag-diaspora child', spent her first 10 years in Ramat Gan, a city just east of Tel Aviv. She is careful not to talk about her childhood through what she calls 'a pink cloud' of nostalgia because of her vehement opposition to the Israel-Gaza war – she would like to see 'a ceasefire with immediate aid'. Both her parents were animators (her father created an Israeli version of Sesame Street) and while she and her two younger sisters were encouraged to engage with all art forms, she was not at all bookish. It wasn't until the family moved to the Netherlands when she was 10 that Van der Wouden discovered books – with Frances Hodgson Burnett's The Secret Garden being a particular favourite. But she also discovered antisemitism, while living with her grandparents in a house in the forest. Though that home is still her 'happy place', going from cosmopolitan Tel Aviv to 'being the only Jew in the village' wasn't easy. To her new Dutch classmates she resembled Anne Frank. Now, she has no time for the rhetoric of tolerance. 'I think that's a terrible word, because tolerance is putting up with somebody. I want to be desired. I want to be loved. Rather than writing a story about tolerance, I wanted to write a story about love in the aftermath of war.' With Isabel, she created a character who goes from prejudice and repulsion to desire. There is a lot (an entire chapter) of sex in the novel. She laughs. 'My goal was to imbue the whole book with a sense of tension, and that tension is erotic.' Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion She deliberately chose the perspective of Isabel rather than Eva, so as not just to tell the victim's story. 'There's also many parts of perpetrator within me, within my history,' she says. Van der Wouden had never read a novel that explored what she calls 'the psyche of quiet complicity'. Through Isabel she wanted to show that 'complicity comes from small and uninteresting acts of dismissal', and it is something of which we are all guilty. 'It's part of the human experience. The question is, how do we deal with knowing that we looked away from something terrible, how do we then move forward?' The emotional power of the novel rests on the way in which Isabel reveals herself to be someone completely different, even to herself. 'What's like me,' Isabel says to her brother. 'There's no such thing. Like me.' This speaks to Van der Wouden's personal experience. 'We don't leave this life in the same bodies were born into, we are always under flux,' she says. 'This is not to say that gender and sexuality is a choice followed by change, but rather that change is an inherent part of life.' On the question of the supreme court ruling on gender rights, she adds: 'To subject that to law feels baffling to me, especially as it is accompanied by legal, verbal and physical violence.' Much of The Safekeep was written during lockdown in Utrecht, where she had an attic apartment overlooking the canal. 'A beautiful golden cage,' she says. She now lives half an hour away in Rotterdam, where she is thrilled to have a garden. She has already completed the first draft of a second novel set in a fishing village in the Netherlands in 1929. Her greatest hope for the novel as it goes on to find a bigger audience, 'if this isn't too saccharine,' she says apologetically, 'is, in fact, hope.'
The Independent
13-06-2025
- Health
- The Independent
Women's Prize winner slams ‘unbelievable' NHS doctor unemployment
Rachel Clarke, author and palliative care doctor, won the Women's Prize for Non-Fiction for her fourth book, 'The Story of a Heart.' Clarke has urged Health Secretary Wes Streeting to address the potential unemployment of resident doctors due to a shortage of training posts, with approximately 20,000 doctors expected to miss out on specialty training this summer. Clarke highlighted the absurdity of doctors being unemployed or seeking alternative work like Uber shifts when the NHS desperately needs them. Clarke referenced a Medical Defence Union (MDU) survey revealing that over a third of working NHS doctors feel their ability to treat patients is impaired due to exhaustion from staff shortages and long hours. Dutch author Yael van der Wouden won the Women's Prize for Fiction for her debut novel, 'The Safekeep,' which explores themes of displacement and generational trauma.
BreakingNews.ie
13-06-2025
- Entertainment
- BreakingNews.ie
Debut novel by Dutch author wins 2025 Women's Prize for Fiction
A debut novel by a Dutch author has won the 2025 Women's Prize for Fiction with the judges praising it as 'a classic in the making'. Announced at a ceremony held in central London on Thursday, Yael van der Wouden, 38, won the award for her novel, The Safekeep, which explores repressed desire and the unresolved aftermath of the Holocaust in post-Second World War Netherlands. Advertisement The novel follows Isabel, a young woman whose life in solitude is upended when her brother's girlfriend, Eva, comes to live with her in their family house in what turns into a summer of obsession, suspicion and desire. Writer and chair of judges for the fiction prize, Kit de Waal, said: 'The Safekeep is that rare thing: a masterful blend of history, suspense and historical authenticity. 'Every word is perfectly placed, page after page revealing an aspect of war and the Holocaust that has been, until now, mostly unexplored in fiction. 'It is also a love story with beautifully rendered intimate scenes written with delicacy and compelling eroticism. Advertisement 'This astonishing debut is a classic in the making, a story to be loved and appreciated for generations to come. Books like this don't come along every day.' Queen Camilla, fourth from right, with the 2025 Women's Prize for Fiction shortlist and chair of judges Kit de Waal (Twiggles/Women's Prize Trust/PA) Van der Wouden will receive £30,000 along with a limited-edition bronze statuette known as the Bessie which was created and donated by the artist Grizel Niven. The judging panel for the Women's Prize for Fiction included novelist and journalist Diana Evans, author, journalist and mental-health campaigner Bryony Gordon, writer and magazine editor Deborah Joseph, and musician and composer Amelia Warner. Also announced at the ceremony was the recipient of the non-fiction award which was won by physician Dr Rachel Clarke for The Story Of A Heart, a book that explores the human experience behind organ donation. Advertisement The book recounts two family stories, documenting how medical staff take care of nine-year-old Kiera in her final hours following a car accident while offering a new life to also nine-year-old Max who is suffering from heart failure from a viral infection. Journalist, broadcaster and author Kavita Puri who was the chair of judges for the non-fiction prize, said: 'The Story Of A Heart left a deep and long-lasting impression on us. Clarke's writing is authoritative, beautiful and compassionate. 'The research is meticulous, and the storytelling is expertly crafted. She holds this precious story with great care and tells it with dignity, interweaving the history of transplant surgery seamlessly. 'This is a book where humanity shines through on every page, from the selfless act of the parents who gift their daughter's heart in the depths of despair, to the dedication of the NHS workers. It is unforgettable, and will be read for many years to come.' Advertisement Clarke, who is behind Breathtaking, Dear Life and Your Life In My Hands will receive £30,000 along with a limited-edition piece of art known as the Charlotte which was gifted by the Charlotte Aitken Trust. Queen Camilla, centre, with the 2025 Women's Prize for Non-Fiction shortlist and chair of judges Kavita Puri (Twiggles/Women's Prize Trust/PA) The judging panel for the non-fiction prize included writer and broadcaster Dr Leah Broad, whose work focuses on women's cultural history along with novelist and critic Elizabeth Buchan. The writer and environmental academic, Dr Elizabeth-Jane Burnett was also a judge for the non-fiction award along with the author and writer of The Hyphen newsletter on Substack, Emma Gannon. Previous winners of the fiction prize include Tayari Jones with An American Marriage and The Song Of Achilles by Madeline Miller, while the first winner of the non-fiction prize was awarded last year to Naomi Klein for Doppelganger: A Trip Into The Mirror World. Advertisement The awards were announced by the Women's Prize Trust, a UK charity that aims to 'create equitable opportunities for women in the world of books and beyond'.
The Independent
12-06-2025
- Health
- The Independent
Women's Prize for Fiction ‘greatest honour' as an intersex woman, says winner
The winner of the Women's Prize for Fiction has said the award is 'the greatest honour of my life as a woman' as she reflected on her experience growing up intersex. Dutch author Yael van der Wouden won the accolade for her debut novel, The Safekeep, and used her winner's speech to champion the trans community, who have 'changed the system' and 'fought for health care'. The book, which explores repressed desire and the unresolved aftermath of the Holocaust in post-Second World War Netherlands, was described as an 'astonishing debut' by the head of the judges. The ceremony, held in central London on Thursday, saw the non-fiction prize awarded to physician Dr Rachel Clarke for The Story Of A Heart, which explores the human experience behind organ donation. In her winner's speech, after thanking the judges, van der Wouden said: 'I was a girl until I turned 13, and then, as I hit puberty, all that was supposed to happen did not quite happen. 'And if it did happen, it happened too much, and all at once my girlhood became an uncertain fact. 'I won't thrill you too much with the specifics, but the long and the short of it is that, hormonally, I'm intersex. 'This little fact defined my life throughout my teens, until I advocated for the health care that I needed. 'The surgery and the hormones that I needed, which not all intersex people need. Not all intersex people feel at odds with their gender presentation. 'I mention the fact that I did, because in the few precious moments here on stage, I am receiving, truly, the greatest honour of my life as a woman, presenting to you as a woman, and accepting this Women's Prize. 'And that is because of every single trans person who's fought for health care, who changed the system, the law, societal standards, themselves. I stand on their shoulders.' The NHS website says intersex, or differences in sex development (DSD), is a group of rare conditions involving genes, hormones and reproductive organs that mean a person's sex development is different to most. In contrast, people who are transgender identify as a gender separate to the sex they were born in and sometimes go through gender-affirming surgery. Van der Wouden's novel follows Isabel, a young woman whose life in solitude is upended when her brother's girlfriend Eva comes to live in their family house in what turns into a summer of obsession, suspicion and desire. The chairwoman of the judges for the fiction prize, writer Kit de Waal, said: 'This astonishing debut is a classic in the making, a story to be loved and appreciated for generations to come. Books like this don't come along every day.' Van der Wouden will receive £30,000 and a limited-edition bronze statuette known as the Bessie, which was created and donated by artist Grizel Niven. The judging panel for the Women's Prize for Fiction included novelist and journalist Diana Evans, author and journalist Bryony Gordon, writer and magazine editor Deborah Joseph, and musician and composer Amelia Warner. Clarke said she has 'literally been a feminist since I was too young to know what that word even meant', as she collected her award. The physician's book recounts two family stories, documenting how medical staff take care of nine-year-old Kiera in her final hours after a car accident, while offering a new life to nine-year-old Max who is suffering from heart failure from a viral infection. Clarke, who is behind the books Breathtaking and Your Life In My Hands: A Junior Doctor's Story, will receive £30,000 and a limited-edition piece of art known as the Charlotte, both gifted by the Charlotte Aitken Trust. The judging panel for the non-fiction prize included writer and broadcaster Dr Leah Broad, whose work focuses on women's cultural history, and novelist and critic Elizabeth Buchan. Previous winners of the fiction prize include Tayari Jones for An American Marriage and Madeline Miller for The Song Of Achilles, while the first non-fiction prize was awarded last year to Naomi Klein for Doppelganger: A Trip Into The Mirror World. The awards were announced by the Women's Prize Trust, a UK charity that aims to 'create equitable opportunities for women in the world of books and beyond'.
