Frankfurt 2022 - Das Mag Publishers

THE DUTCH LITERARY BESTSELLER DEBUT THAT HAS OFTEN BEEN COMPARED TO J.D. SALINGER'S THE CATCHER IN THE RYE

Original title: De geschiedenis van mijn seksualiteit

Publication: February 2021 Pages: 224

Available material: full English & full German MS, French and Italian sample

Primary agent: Stella Rieck (rieck@cossee.com)

Promoted by the Dutch Foundation for Literature. For translation grants visit letterenfonds.nl/en/grants

Copies sold: 25.000 Rights sold: Piper (German) Granta (World English) Aschehoug (Norwegian) it-lit (Swedish) Janet45 (Bulgarian) Treći trg (Serbian) Mondadori (Italian) And option on film rights (Man Up Film)

Won: Hans Vervoort Prijs

Nominated: Boekenbon Literatuurprijs, Libris Literatuurprijs, De Boon, De Bronzen Uil

The History of my Sexuality is the razor sharp and unconventional debut by Tobi Lakmaker, once deemed a muse and then a little later a lesbian fundamentalist. An essential book. About the genius that Tobi Lakmaker is, was or should have been.

Tobi Lakmaker (b. 1994) writes columns for Dutch weekly De Groene Amsterdammer and other magazines. His name used to be Sofie. After having dabbled in Russian studies and Literary studies for a bit, he finished a degree in Philosophy in 2018, and plans to continue his studies in Berlin. Lakmaker was listed by Vogue Magazine and AD Magazine as the new literary talent of 2021. He is working on a second novel.

‘Tobi Lakmaker’s debut novel has what it takes to become a big success – because it is a fiery story, unflinching and humorous, written in such an unctuous manner, you will simply fly through it. You might almost overlook the vulnerable honesty and seriousness, as well as the delicacy. Though just enough of that squeaks through the cabaret-like armour in which Lakmaker shrouds himself so comfortably.’

★★★★★, NRC HANDELSBLAD

‘A dazzling debut, written with the bouncy swagger you would expect from a debutant. Lakmaker poses a lot of questions about who he wants to be, but makes no apologies for who he is. His mixture of self-aggrandisement and selfdeprecation, his precisely dosed use of repetition and his penchant for well-crafted comparisons result in a book that is smarter than it pretends to be. The History of My Sexuality is a promising literary announcement: here is Tobi Lakmaker. Get used to it.’ – ★★★★, review in DE STANDAARD

‘Even Lakmaker’s punctuation is captivating, and this is due to the fact that he has once again mastered the subject matter to perfection, so much so that he can give the appearance of nonchalantly just doing whatever while piecing together a masterpiece on the fly. Like all great writers, Lakmaker is a superior humourist, with a serious undertone, singing along sonorously but not annoyingly. Only in the short, third and concluding section does the dark undercurrent briefly gain the upper hand, but it is soon restored to its place in the background – wherever it sounds its most penetrating.’

– TZUM

‘It doesn’t happen often that you read a debut and immediately conceive a warm-hearted love for the author, or more precisely, for the main character. I had it at the time with The Catcher in the Rye and I have it now with The History of My Sexuality by Tobi Lakmaker, 26 years old. He sounds as sharp and fresh as he is, and as far as I’m concerned he knocks Sally Rooney off her throne, and is the one and only J.D. Salinger of the Snapchat generation.’

– Jozefien van Beek in DE STANDAARD

Thehistory of my sexuality is that I have always been looking for someone to close all the doors and windows, someone who would say, okay, that’s enough now. More precisely, first I was into men and later into women, but really always into women; into Muriel, my red-headed tutor with those long legs – into so many women really – but I kept my eyes and something else extremely crucial closed. Not that any of that actually matters.

I lost my virginity to Walter the Recruitment Con sultant, and there’s really not that much to say about it. He voted conservative, and whenever I wasn’t in the mood, I tried to focus on that, to channel that weird connection between horniness and hate.

I lost my virginity on Sarphatistraat in a house on the Weesperplein with a long flagpole jutting out of the facade. I always recognize it by the flagpole. It reminds me of Walter’s chubby, demanding erection. Walter was very sweet. The night it happened he said, ‘I think I’m more nervous than you are.’ And he was more nervous than me. To be honest, I could have cared less.

SHORT

by Kristen Gehrman

GRAND, AMBITIOUS DEBUT NOVEL BY A WRITING TALENT WHO BREAKS WITH THE HACKNEYED MIGRATION NARRATIVES OF HER PREDECESSORS

Original title: Half leven Publication: August 2022

Pages: 309

Available material: English sample & short Spanish, Italian, Portuguese, Serbian, Slovenian, Romanian, Czech and Polish sample

Primary contact: Stella Rieck (rieck@cossee.com)

Promoted by Flanders Literature. For translation grants, visit flandersliterature.be/grants

Aya Sabi is a participant of the CELA talent development program, a program that offers a European context to a new generation of literary creators across 10 different countries. Visit cela-europe.com for more information

Copies sold: 3.000

A woman filling dishes in the kitchen with desires and sorrows.

A daughter using letters to count down to reuniting with her lover.

A granddaughter unravels the pain of her mother and grandmother and weaves it into a story for the first time.

Aya Sabi (b. 1995) is a writer and columnist. Her collection of short stories Crumbled Land (Atlas Contact, 2017) was nominated for the LangZullenWeLezen trophy and the Opzij Literature Prize. She studied Arab Studies at the Catholic University of Leuven and is a columnist for De Morgen. In 2020, NRC Handelsblad named her one of the literary talents of the year. Half a Life is her debut novel.

Aya Sabi pulls out all the stops in her debut novel Half a Life; a family chronicle about how pain continues to sing, breaking open generations and connecting them.

‘Aya Sabi opens doors to a world I wasn’t in before, in a form that finally floored me. I can taste all the food made in silence and full of love, I want to walk through the gardens, see the different kinds of evening reds, receive the overseas letters, see how one tears off bread correctly, give grandparents a final greeting. I have been to Morocco and know I know nothing, I have met a family, I have been allowed to look deep into three generations of women. I will not be forgetting Fatna and her daughter and grandchild any time soon.’

– Lisa Weeda, author of Aleksandra (De Bezige Bij, 2021)

‘Tender and merciless, Aya Sabi lets three generations have their say in an overwhelming family chronicle. When has a life failed? What lives do they allow each other? How do the women support each other, and how do they tear each other down? The grandmother’s life story is set in Morocco. While reading, you can almost taste the dates, cookie dough, pancakes, couscous and candied lemons. You see the mountains, the Sahara and the olive trees on a sensory journey about a woman who experiences Morocco’s struggle for independence up close. The mother writes love letters that are burned after each reading. The granddaughter expresses herself fiercely and passionately in essays exploring intergenerational pain. Despite the generational difference and their different languages, the characters find each other.’

– DE MORGEN

‘You are dealing here with three very different perceptions and different life experiences, which Sabi knows how to connect with each other in a natural way. Everything fits together. In terms of number of pages, grandmother gets the most space. Her life story has the most tension and concreteness. Towards the end of the novel, “gaps” in her life story are further coloured in, so that once you’ve finished the book, you can start reading again with different eyes. That is not a sign of weakness, but a sign of quality: that the book continues to captivate even after you have read it.’

THE TINDER SWINDLER MEETS EMMANUEL CARRÈRE'S LIMONOV

Original title: Het mirakel van België

Publication: November 2021

Pages: 436

Available material: English sample

Primary contact: Daniël van der Meer (daniel@dasmag.nl)

Copies sold: 7.000 Rights sold: Dutch documentary rights

Promoted by Flanders Literature. For translation grants, visit flandersliterature.be/grants

Years ago, Maarten Inghels made the acquaintance of Piet Van Haut, a master swindler who since the 1980s has been posing as, among others, a diplomat, director of Johnson & Johnson, an investigating judge, director-general of Belgian Railways and a billionaire, thus stealing millions from banks and individuals all over Europe.

After their first meeting, the master con artist doesn’t let go of Maarten Inghels. As their relationship grows, the novelist gets a unique insight into his endless fantasy world and internal kitchen. Attracted to this grand character, Inghels gradually realises that he too is not immune to the temptations of the criminal.

His own greed for a sensational story drags the author into the web of fiction and delusions of grandeur which the mythomaniac weaves tighter and tighter. The Miracle of Belgium is literary true crime about a master con man for whom life is one big theatre and a writer who wants to be more than a spectator. A thrilling and criminal leapfrog of fact and fiction.

Maarten Inghels (b. 1988) made his debut in 2008 with the poetry collection Tumult in the Sandwich series edited by Gerrit Komrij, and has since developed into an original artist, poet and writer. With his collection Contact, he linked poetry, images and actions. He was the City Poet of Antwerp from 2016 to 2018.

‘Inghels reinvents himself as a writer. He emerges as a courageous writer who tries to tell a story the way he wants to, despite a dangerous con artist and a wayward editor. That is what connects the con man and the artist, their willingness. They take risks, do what they find pleasure in. Even if that means their final demise.’

– DE MORGEN

‘Through his own greed for a sensational story, the writer was drawn into a web of delusions of grandeur and pseudology by the mentally ill Flemish con man. In this brilliantly written novel, it even seems that the main character is pretending to be a writer at one point.’

DE TELEGRAAF

‘

The Miracle of Belgium is fascinating not only because of its subject matter, but also because Inghels dares to expose himself and talks about his ambitions, insecurities, fears and dreams. Moreover, Inghels plays a delicate game between fact and fiction. “We all tell little lies as a lubricant for our existence.”’

HET NIEUWSBLAD

‘The former city poet of Antwerp wrote a true-crime novel about master crook Piet Van Haut. This living legend has confessed his cunning tricks and droll life story to Inghels, but whether it's all true? Hence the author calls it a novel, just to be on the safe side. But what does it really matter? The story is finger-licking good.’

– VRIJ NEDERLAND

Thomas Heerma van Voss (b. 1990) was born in Amsterdam. He used to be an editor for literary magazine De Revisor.

The characters in the book are on a journey, whether they like it or not. To uninhabitable land, distant friends, lost mothers – and an uncertain future.

They loiter, struggle and long for nothing more than to participate. But whoever leaves always leaves someone behind.

HEERMA VAN VOSS' BEST TO DATE: SIX VERSATILE STORIES THAT INTIMATELY CHRONICLE MILLENNIAL LIFE

Original

Available

Primary

van der Meer

‘Heerma van Voss is in peak form in this new collection. These are clever slices of life, carefully calibrated for maximum effect.’

HANDELSBLAD

‘Every story in Passengers/Stragglers is wholly convincing. It’s Heerma van Voss’ best book to date.’

HET PAROOL

SHORT EXCERPT FROM PASSENGERS/STRAGGLERS: Translated by Michele Hutchison

The apartment is smaller than I expected. Basically just a big room. A sofa-bed in the corner, a narrow kitchen counter, an IKEA dining table covered in academic books, an open suitcase serving as an extra wardrobe.

Jacob is sitting on the sofa-bed. No laptop in the vicinity, or phone or magazines. Why hadn’t he mentioned how little space they had? Because he wasn’t embarrassed about it, or because he was?

He looks different from how he used to. He has swapped his trusty plain t-shirts for a slim fitting shirt and jacket that cling to his slender body. Blue leather shoes on his feet.

‘Ah! There he is!’

For a moment I think he’s going to give me a hug but he holds out his hand.

‘Had a good journey? Take a seat, welcome, welcome.’ That’s what he’d written in his reply, I was incredibly welcome, the invitation definitely held. ‘Fantabulous, amigo,’ he says now. ‘The first Dutch person to visit us in Philadelphia.’

‘Philly,’ Anna says warmly. ‘Jacob often forgets, but everyone here calls it Philly.’ She presses a glass of water into my hand, points me to a chair and sits down next to Jacob on the sofa-bed, facing me, as if an interrogation is about to start. ‘And yes,’ she says, ‘so nice that you’re here. Strange too, to see a Dutch face.’

Jante Wortel

(b. 1996) wanted to become a clown, but was told in the youth circus she was too shy. That’s when she started writing. She won writing competition Write Now!-Groningen 2016 and graduated from Creative Writing ArtEZ. Silent Lightning is her debut novel.

A tour of Norway comes to an abrupt end. Or was this holiday always doomed to fail?

Silent Lightning is a brave debut novel about the suffocating dynamics of a family and the question of how to help someone who is compulsively destroying themselves.

Original title: Weerlicht

Publication: July 2022 Pages: 256

Available material: English sample

Primary contact: Stella Rieck (rieck@cossee.com)

Copies sold: 2.000

‘A family is held hostage by the daughter’s compulsion for control. The light and clear style keeps you on the edge of your seat constantly. Silent Lightning stands out thanks to its careful build-up of tension. Wortel has thought her story through to the smallest detail, so whether it is a ‘true story’, based on personal experience, doesn’t really matter. It convinces thanks to its form.’

– ★★★★, NRC HANDELSBLAD

‘The clever thing about the novel is that, just as with the meteorological phenomenon, electrical voltage is constantly present, but the thunder is absent. Silent Lightning sizzles with subdued discomfort. What makes the book surprising is the form and the way the story is told. Unadorned, a journey is reported, in fact one to adulthood. There are ups and downs, in which Lea alternately threatens to perish from her illness and shows decisive behaviour. Many adolescent girls and young women suffer from psychological problems. The pressure to perform and matter is great. Wortel tells a story about this. And she does that, to put it like a teenager would, like a boss.’ – DE TELEGRAAF

SHORT EXCERPT FROM SILENT LIGHTNING:

Translated by Isadora Goudsblom

The first time Casper came over to our house to have a talk with me, he asked if I could pinpoint when it started. No, I thought. No, of course not, silly goose, otherwise I would have tried to stop it, wouldn’t I?

His follow-up question was whether I remembered who I was then, the Lea from over a year ago. I thought that was also such a vague way of putting it. Who I was then? What did he mean by that? And am I not still that same person?

My parents have been saying things like that lately too. As though I’m possessed by a devil, like the girl in The Exorcist. That devil must get out, they seem to want to say, but I wonder which part of me then is the devil and which part is just Lea.

THE LONG-AWAITED, THRILLING FOLLOW-UP TO THE INTERNATIONAL BESTSELLING DEBUT THE MELTING

Original title: Ik ben er niet

Publication: December 2020

Pages: 576

Available material: extensive English sample & full Danish, German, Italian, French and Swedish MS

Primary contact: Stella Rieck (rieck@cossee.com)

Copies sold: 75.000 copies

Rights sold: Gutkind (Danish/pre-empt) E/O (Italian)

Fischer (German) Actes Sud (French) it-lit (Swedish)

Nominated: Libris Literatuur Prijs

Promoted by Flanders Literature. For translation grants, visit flandersliterature.be/grants

Leo has been with her boyfriend Simon for ten years. Connected by a troublesome childhood, the couple doesn’t need much except one another. Until everything collapses when Simon comes home in the middle of the night and seems to be a different person. Slowly, Leo’s carefully constructed world starts to fall apart.

I’m Not Here is a story of dedication and betrayal, of two people who are flawed in their own way, but try their hardest to get noticed, to love and to live.

Lize Spit (b. 1988) debuted with The Melting in 2016, which has been nominated for numerous literary prizes, including the Libris Literatuur Prijs. She won the Dutch Boekhandelsprijs and the Bronzen Uil amongst others. The Melting was an extraordinary success both in the Netherlands and Belgium, and subsequently went on to become an international bestseller in translation. Rights have been sold to 18 territories. I’m Not Here is Lize Spit’s second novel, and has been longlisted for the Libris Literature Prize.

‘

I’m Not Here – a paradoxical, well-fitting title reminiscent of a child ‘hiding’ by clasping its hands in front of its eyes, because narrator Leo is right there, and quite clearly so – is a marvellous, breathtaking oppression of a book. Deftly, Spit spreads information, story clues, keys. Spit grabs you by the throat. An unputdownable novel.’

– ★★★★, NRC HANDELSBLAD

‘

I’m Not Here is a small and kept story about loyalty and sacrifice, even when your partner becomes a psychiatric patient. Where does that leave you? Do you completely surrender to the situation, or do you choose yourself and leave your loved one to his fate? It is an almost classic narrative, and yet the book is completely contemporary. The metaphors are sparkling and apt. The tone is more positive than in the sometimes dismal The Melting. In a sparkling style, averse to fancy writing, Spit manages to achieve a psychological depth one rarely sees. The surprising debutante has become a great author.’

– FRIESCH DAGBLAD

‘In describing Simon’s painful odyssey, Spit brings up all kinds of universal themes such as loyalty, responsibility, integrity. In doing so, she demonstrates a feeling for deep human desires and an understanding of the importance of fundamental virtues. Not only are the pages filled with emotions such as compassion and disgust, but also with moral dilemmas and inner conflict. I’m Not Here is an impressive feat of writing. Much like her illustrious predecessors Tolstoy and John Irving, Spit wrote a literary colossus that makes you feel how complex and at the same time delicate life is. In an unadorned style that says it all without any fuss.’ –

NEDERLANDS DAGBLAD

‘

I’m Not Here is a literary novel that works towards a compelling plot with a social realist writing and averse to drama. The perfectly constructed story is developed with great discipline and carefully dosed to unravel. Spit’s biggest fear was coming up with a book that would be inferior to The Melting. She set the bar high and gets over it with great (linguistic) skill and suppleness.’

– DE TIJD

Lize

A JOURNALISTIC QUEST THROUGH BOTH KOREAS THAT READS LIKE A JAMES BOND SCRIPT

Original title: Noord-Korea zegt nooit sorry Publication: January 2022 Pages: 278

Available material: Extensive English sample Primary contact: Rik Kleuver (kleuver@sebes.nl)

Copies sold: 5 000 Rights sold: Docendo (Finnish)

North Korea Never Says Sorry is a compelling story about a disastrous North Korean spy mission. Reconstructing the story of a stranded submarine and tracking down its only North Korean survivor, Jeroen Visser brings the Korean conflict closer in a suspenseful manner.

Jeroen Visser (b. 1979)

is a correspondent for de Volkskrant. He lives with his family in Stockholm. Between 2016 and 2020, Seoul was his station, where he reported on, among other things, the American rapprochement with North Korea under Donald Trump.

‘Reads like a spy novel. In some parts, you almost forget it’s non-fiction. The author manages to explain the complex and sometimes strange intra-Korean connections with the knowledge he gained as a foreign correspondent. The result is a compelling and interesting book that tells a forgotten and enigmatic story. A story that begs to be written or made into a film.’ – ★★★★, DE STANDAARD

‘A riveting search for a defected North Korean spy that thrillingly depicts the escape attempts of his old comrades. The book gives a broader picture of the history of both Korean states and the complexity of inter-Korean relations. Visser has a fluent writing style and knows how to build suspense into his story, which certainly transforms the book into a page-turner towards the end.’ – ★★★★, NRC HANDELSBLAD

Part historical reconstruction, part personal journey, this fast-paced, cinematic account unfolds the 1996 story of a North Korean spy submarine’s stranding off South Korea’s coast, the ruthless, weeks-long manhunt that ensued, and the author’s quest to track down the only North Korean survivor, a mysterious defector.

Along the way Visser not only provides a fascinating and anecdotal history of the turbulent relations between the North and South, but also sheds light on modern Korea and how the two nations have radically grown apart. Written in a punchy, accessible style, this is an engrossing and informative work for readers of Ben Macintyre’s Operation Mincemeat, Amaryllis Fox’s Life Undercover, Barbara Demick’s Nothing to Envy or those looking for cultural and historical context for the current international boom in South Korean literature, cinema and television.

Jeroen Visser’s journey started in 2016 when he moved to Seoul as foreign correspondent for de Volkskrant, covering North and South Korea. Between reporting on Donald Trump’s squabbling with Kim Jong-un and the Winter Olympic Games, he stumbled on this nearly forgotten story, though it immediately gripped him for its relevance today:

On 17 September 1996, a North Korean spy submarine ran aground off the eastern coast of South Korea. Forced to abandon ship, the twenty-six man-crew went ashore. South Korea, catching wind

of the landing, declared the highest alert and mobilized forty-thousand soldiers to hunt down the North Koreans. In the bloody, drawn-out spectacle that followed, eleven of the crew committed suicide, thirteen were killed, one was never found and the last one, helmsman Lee Kwang-soo, was arrested. Miraculously, he wasn’t put in prison, but enlisted in South Korea’s navy, where he became an instructor and to this day leads an anonymous life.

Visser is determined to find the helmsman, especially when he learns that after all these years North Korea still wants to avenge itself on him. After all, how does one survive such a radical switch in worldview? Whereas thousands of North Korean refugees have willingly defected over the years, Lee Kwangsoo is one of the few forced to embrace the rampant capitalism and relative freedom of life in the South. The author’s journey—in which we meet witnesses, generals, journalists and K-pop singers— takes us straight through modern Korea, where the world of Squid Game, Parasite and Samsung collides with one of the most brutal totalitarian dictatorships on earth.

Michiel van Elk (b. 1980) is an internationally renowned psychologist, neuroscientist and writer. Having received his PhD at the Donders Institute, the Netherlands, he has worked at several prestigious institutions including the University of California Santa Barbara, the École Polytechnique Féderale de Lausanne in Switzerland and Stanford University.

He is currently affiliated as associate professor at Leiden University. He has conducted ground-breaking work on psychedelics, altered states of consciousness, feelings of awe, the evolution of religion and mystical experiences. His work, including more than 100 peer-reviewed scientific articles, book chapters and books, has been featured by The New York Times, Vice, New Scientist, The Daily Beast and Psychedelic Spotlight.

THE DUTCH ANSWER TO MICHAEL POLLAN: A PERSONAL, SCIENTIFIC AND HONEST ODE TO PSYCHEDELICS

Original title: Een nuchtere kijk op psychedelica

Publication: October 2021 Pages: 311

Available material: English sample

Primary contact: Daniël van der Meer (daniel@dasmag.nl)

Copies sold: 3.000

We are currently witnessing a psychedelic revival: psychedelic substances such as lsd, mdma and psilocybin are increasingly being used for the treatment of depression, anxiety and addiction. Many people frequently take a psychedelic microdose to enhance their creativity and mood. Psychedelic start-ups have made huge investments in clinical research and centres are facilitating the increasing demand for psychedelic retreats. But when is this psychedelic bubble going to burst?

With all the current hype about psychedelics and what has even been dubbed the ‘Michael-Pollan-effect’, it is easy to lose sight of the fact that psychedelics are far from a magic bullet. In A Sober Look at Psychedelics Michiel van Elk takes you on a psychedelic journey. Building on his own personal experiences and on a critical examination of the scientific literature, he discusses the promises and pitfalls of psychedelics. A Sober Look at Psychedelics unravels the myths around the current hype and sketches how psychedelics can be integrated in our society and mental healthcare.

Recent foreign rights acquisitions:

Jens Andersen - Ditlevsen. A Biography (Ditlevsen En biografi, Denmark, Gyldendal, 2022)

Ana Iris Simón - Fair (Feria, Spain, Círculo de Tiza, 2020)

Sang Young Park - I’m One-dimensional (1차원이되고싶어, South Korea, Munhakdongne, 2021)

Tove Ditlevsen - The Trouble with Happiness (Den onde lykke, Denmark, Hasselbalch, 1963)

Olga Ravn - The Employees (De ansatte, Denmark, Gyldendal, 2018)

Warsan Shire - Bless the Daughter Raised by a Voice in Her Head (UK/US, Random House, 2022)

Tove Ditlevsen - The Faces (Ansigterne, Denmark, Hasselbalch, 1968)

Sang Young Park - Love in the Big City (대도시의사랑법, South Korea, Changbi, 2019)

Marek Šindelka - Climate Sadness (Chyba, Czech Republic, Pistorius & Olšanská, 2008)

Caroline Albertine Minor - The Lobster’s Shell (Hummerens skjold, Denmark, Gutkind Forlag, 2020)

Valeria Luiselli - Lost Children Archive (USA, Knopf, 2019)

Das Mag is an Amsterdam-based, independent publishing house, established in 2015. The Das Mag team used to shake up the Dutch literary scene with their literary magazine Das Magazin, but seven years ago decided to take the next step: to start their own publishing house. According to Dutch newspaper nrc, Das Mag is the ‘the publisher that does things differently’ in The Netherlands. Das Mag only publishes around 20 books a year, works on extensive marketing campaigns for their titles, and has a vocal fan base consisting of relatively young readers. Besides publishing Dutch (e.g., Lize Spit, Tobi Lakmaker, Bregje Hofstede, Aya Sabi) and translated fiction and nonfiction (e.g. Tove Ditlevsen, Olga Ravn, Sang Young Park, Warsan Shire and Valeria Luiselli), Das Mag organises a yearly summer camp for aspiring writers between the ages of 18 and 25, hosts book clubs and book club festivals.

Daniël van der Meer, Publisher daniel@dasmag.nl

Marscha Holman, Deputy publisher & editor marscha@dasmag.nl

Isabel Harlaar, Editor & foreign rights acquisitions isabel@dasmag.nl

Bowi van Onna, Editor & PR bowi@dasmag.nl

Das Mag works with the following co-agents for some of our titles:

Cossee: Stella Rieck, rieck@cossee.com

Sebes & Bisseling: Rik Kleuver, kleuver@sebes.nl

Address: Staalstraat 7B, 1011 JJ Amsterdam, Netherlands

General inquiries: info@dasmag.nl

For more information about our books: www.dasmag.nl www.instagram.com/dasmag