main portal to the official website of composer and poet Rozalie Hirs (*1965, Gouda, The Netherlands) with introduction, music, poetry, lists of publications and musical works, research, software, media (interviews, reviews, essays), biography, distinctions, press photographs, external links
5 October 2021. In her seventh Dutch poetry book oneindige zin (infinite sense, 2021), Rozalie Hirs travels through the fluid language of inner worlds, spilling over into outer ones. From the imagination and the dream to the house, the garden, the city, the woods, the internet, and the universe. How […]
gestammelte werke (2017) is a new multilingual poetry book by Rozalie Hirs, her manifesto for multilingual reading, and living. For Europe, and the world. Published by KOOKBOOKS Verlag, Berlin, Germany, the book contains original poems in Dutch, German, and English, as well as translations of the poems into up to ten languages. The poems are selected by its publisher Daniela Seel from Hirs’ five most recent poetry books: Speling (Amsterdam: Querido, 2005), Geluksbrenger (Amsterdam: Querido, 2008), gestamelde werken (Amsterdam: Querido, 2012), Curvices and Musicles (Bleiswijk: Uitgeverij Vleugels, 2013), verdere bijzonderheden (Amsterdam: Querido, 2017). The poems are translated from Dutch or English, into German, English, French, Spanish, Chinese, Russian, Serbian, Albanian, Swedish, and/or Lithuanian, by Daniela Seel, Diego Puls, Ard Posthuma, Kim Andringa, Henri Deluy, Aurea Sison, Donald Gardner, Daniel Cunin, Anton Papleka, Jelica Novaković, Radovan Lucic, Ausra Gudaviciute, Gytis Norvilas, Nina Tarhan Mouravi, Boerje Bohlin, Moze Jacobs. The cover and book design is by Andreas Töpfer.
curvices and musicles (2013) is a chapbook with twenty poems in English by Rozalie Hirs. It was published by Uitgeverij Vleugels, Bleiswijk, The Netherlands, in 2013. A selection of its poems stood at the origins of the interactive sound and poetry installation/ interactive song cycle Curvices (2013), commissioned by Klankenbos|Musica, Neerpelt, Belgium.
“The musical poetry of Geluksbrenger (Amsterdam: Querido, The Netherlands, 2008) by Rozalie Hirs is constructed along the line of a ‘counterpoint’. Within a poem, Hirs seems to be stacking different poems on top of each other, processing them, splicing them, mixing them, shaking them, letting them flow into one another. And this is one single motion. In one breath. In sustained breath.” (Alain Delmotte, Poëzierapport)
“What is striking about [Speling], the third poetry book by Rozalie Hirs, is its strong composition: the collection opens with a one-line poem about dreaming and thought. With each consecutive poem, the poems’ length increases by one line until the whole has grown into a pathway, a poem that fills the entire page, to finally explode into the showpiece of In LA, a text spanning many pages. The reader moves within the ‘leeway’ (which is how the Dutch title [speling] could be translated) between dreaming and thinking, words and lines. The first sentence introduces the elements for the rest of the collection. Hirs is looking for the moments in which experience is no longer restricted to the single body, but extends itself to the other or even to the entire world.” (Edwin Fagel, De Recensent)
Logos, Rozalie Hirs’ second collection of poems, has the reader traveling through the human body. Inside the book there is an anatomical drawing, made by artist Noëlle von Eugen, by which the reader can navigate through the collection. The ‘logos’ of the title might refer to the laws of the body, of thought, the imagination, and the word. In the many love poems, the beloved turns out to be a human being of flesh and blood, and at the same time, language.
In her first collection, Locus, Rozalie Hirs plays with identities. The poems are new monologues by characters from Greek mythology, philosophy, the Christian tradition, theatre plays, and films. Hirs presents her archetypical characters in critical situations and lets them tell their version of the story. Most of these poems deal with taking decisions, and with the ambiguity of situations in which we find ourselves in the world.