Maria Dermoût

Dutch author
verifiedCite
While every effort has been made to follow citation style rules, there may be some discrepancies. Please refer to the appropriate style manual or other sources if you have any questions.
Select Citation Style
Feedback
Corrections? Updates? Omissions? Let us know if you have suggestions to improve this article (requires login).
Thank you for your feedback

Our editors will review what you’ve submitted and determine whether to revise the article.

Print
verifiedCite
While every effort has been made to follow citation style rules, there may be some discrepancies. Please refer to the appropriate style manual or other sources if you have any questions.
Select Citation Style
Also known as: Helena Antonia Maria Elisabeth Dermoût-Ingermann
Quick Facts
In full:
Helena Anthonia Maria Elisabeth Dermoût-Ingerman
Born:
June 15, 1888, Pekalongan, Java, Dutch East Indies [now in Indonesia]
Died:
June 27, 1962, Noordwijk, Neth.
Also Known As:
Helena Antonia Maria Elisabeth Dermoût-Ingermann

Maria Dermoût (born June 15, 1888, Pekalongan, Java, Dutch East Indies [now in Indonesia]—died June 27, 1962, Noordwijk, Neth.) was a Dutch novelist and short-story writer known for her subtle and evocative portraits of colonial life in the Dutch East Indies.

Dermoût, who was the descendant of employees of the Dutch East Indies Company, spent her childhood on a sugar plantation in central Java. She attended school in the Netherlands but returned to the islands as a young wife and remained there most of her life.

Her work was not published until she was in her 60s. Her first two novels, Nog pas gisteren (1951; Yesterday) and De tienduizend dingen (1955; The Ten Thousand Things), are fictionalized accounts of her youth. Although written in an economic style, the two novels are rich in details of island life as experienced by both the colonials and the native people. Among Dermoût’s other books are three volumes of short stories—De juwelen haarkam (1956; “The Jeweled Haircomb”), De sirenen (1963; “The Sirens”), and De kist; en enige verhalen (1958; “The Wooden Box: A Unique Account”)—and a book of sketches, Spel van Tifagongs (1954; “Tifagong’s Play”). Her work is critically acclaimed not only for its clarity but for its sensitive account of colonialism coexisting with a lush, primitive beauty and power.

This article was most recently revised and updated by Encyclopaedia Britannica.