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Neel Doff
Neel Doff
Neel Doff
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Cornelia Hubertina "Neel" Doff (27 January 1858 – 14 July 1942) was a writer of Dutch descent living and working in Belgium and mainly writing in French. She is one of the most important contributors to proletarian literature.

Key Information

Biography

[edit]

Born in Buggenum, Netherlands, into a family of nine, Cornelia accompanied her family on its perennial successive moves (Amsterdam, Antwerp, Brussels) facing a progressively worsening poverty. Determined to fight her way from underneath the rag and tether class she started modeling for a large number of renowned Belgian painters (James Ensor, Félicien Rops) and to a lesser extent sculptors (Charles Samuel, Paul de Vigne). She posed as Charles de Coster's character Nele by Charles Samuel (Monument Charles de Coster, Charles de Coster Monument[1] Place Flagey Ixelles) and for Paul de Vigne, The Little Dutch Girl (Royal Museums of Fine Arts of Belgium), and highly probably for the identical Metdepenningen (Ghent cemetery and Ben Cable Monuments Ben Cable Monument Chippiannock Cemetery, Rock Island in Illinois).[2] In these artistic circles she met Fernand Brouez (1860–1900) whom she eventually married. Son of Jules Brouez, a rich notary and Victorine Sapin, Fernand Brouez financed and edited La Société Nouvelle, at that time considered the most valuable socialist economical magazine in the French language.

After Brouez's death she married Georges Serigiers, a prominent lawyer from Antwerp and family friend of the Brouez family. Years later, when looking at a cluster of youngsters through the window of the Serigiers stately home in Antwerp, the hurtful memories of her past came to life. She poured her heart and soul in her first book Jours de Famine et de Détresse (Days of Hunger and Distress). In picture like stories she tells the tale of a young girl, Keetje Oldema exposed to scorn and humiliation because of her hopeless misery, eventually forced into prostitution by her mother to feed her little brothers and sisters. Laurent Tailhade became her greatest fan and, fascinated by this journey of annihilated youth, defended her work at the 1911 Prix Goncourt. She lost the prize by one vote, but remained nevertheless very impressed with the honour of being nominated.

With Keetje and Keetje Trottin, Neel Doff finalised her autobiographical trilogy. She rounded the Doff saga off with various stories about her siblings in other works. In 1907 the Serigiers moved into their splendid new summer residence in Genk. Inspired by the villagers, one family in particular, Neel Doff puts her pen to paper. Tallying her work and enjoying her life as 'Grande Dame' within a selected social circle, she published many short stories in various magazines and periodicals. She also translated three works from Dutch into French.

In December 1929 the following quote by Thibaud-Gersen appeared in Le Courier Littéraire: "When will they award the Nobel Prize to the humble and genial Neel Doff"? These words were enough to spread rumours and speculation about the 1930 Nobel Prize awards. Unfortunately the myth that Neel Doff was nominated persists in various publications. (See "Neel Doff par elle même"; Marianne Pierson-Pierard [nl]; p. 21 and in the German translation published under the title Keetje Tippel from the Dutch text of Jours de Famine et de Détresse p. 5 introduction by Dr. Josh van Soer).

Many compared her work to that of Émile Zola. In her own words in reference to Émile Zola: "He wrote about it while I lived it". Also called "The Dostojevski of the North", the character of Keetje parallels that of Sonja in Crime and Punishment. Henry Poulaille, who became her editor after the death of her husband Georges Serigiers, praises her as surpassing Colette. Neel Doff's somewhat brutish writing style on proletarian issues remains however controversial. She was an autodidact and wrote as she saw and felt. Emile Verhaeren commented on Days of Hunger and Distress that it needed "galvanising". In 1930 Belgium paid tribute to her contribution to French Literature by appointing her Officer of the Order of the Crown (Belgium), one of Belgium's most prestigious awards.

On 14 July 1942, Neel Doff, embittered by the horrors of the war and suffering from kidney failure, died in her house, 16 rue de Naples, Ixelles, Belgium. In order to secure her estate she only left the author rights of her work to her dear friend Mrs. Helen Temersen, who being Jewish saw her welfare and worldly belongings in peril. Helen Temersen sold the author rights in the early 1970s to the publisher Meulenhoff in Amsterdam. The house in Ixelles was bequeathed to the children of Franz Hellens, author and librarian, who took up residence at the house and wrote there as well. The remainder of her estate went to various individuals. Several art effects, including a James Ensor, mysteriously disappeared from the Ixelles residence and are yet to be found.

Publications in English translation

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  • Neel Doff: Keetje. Translated from the French by Frederic Whyte [1867-1941]. London, Hutchinson & Co, 1930.

Original publications (in French)

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  • Jours de famine et de détresse, Paris, Fasquelle, 1911 ; Bruxelles, Labor, 1994 ; Arles, Actes Sud "Babel", 1994
  • Contes farouches, Paris, Ollendorff, Paris, 1913 ; éd. Plein Chant, 1988
  • Keetje, Paris, Ollendorff, 1919 ; Bruxelles, Labor, 1987.
  • Keetje trottin, Paris, Crès, 1921, 1930 ; Bruxelles, Labor, 1999
  • Michel, Crès, 1922
  • Angelinette, Paris, Crès, 1923
  • Campine, Paris, F. Rieder & Cie, Rieder 1926
  • Elva, suivi de Dans nos bruyères, Paris, 1929 ; éd. Plein Chant, 2015
  • Une fourmi ouvrière, 1931, Paris ; Au Sans Pareil, 1935 (Repris par les éditions Spartacus, Paris).
  • Quitter tout cela, suivi de Au jour le jour, éd. Entre Nous, Nemours 1937

Biography

[edit]
  • Evelyne Wilwerth: Neel Doff (1858-1942). A biography. Peter Lang, New York, 1997. ISBN 9780820434834

Film

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Neel Doff

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Neel Doff is a novelist of Dutch origin known for her autobiographical works in French that powerfully depict the struggles of poverty, marginalization, and urban hardship in the late 19th and early 20th centuries. Born Cornelia Hubertina Doff in the Netherlands in 1858, she moved to Belgium as a child, lived much of her life in Brussels under difficult circumstances, and began publishing relatively late in life, gaining recognition for her raw, naturalist style that drew directly from her own experiences of destitution and survival. Her debut novel, Jours de famine et de détresse (1911), established her reputation by vividly portraying the realities of famine and distress among the poor, while subsequent works such as Keetje (1919) and Keetje trottin (1921) continued her semi-autobiographical exploration of working-class life and female resilience. Doff's writing emerged in the context of Belgian French-language literature, where she is regarded as a significant voice for social realism and the portrayal of women's experiences in poverty. Despite achieving literary success later in life, she remained reclusive and died in Ixelles, Belgium, in 1942. Her works have been praised for their unflinching honesty and contribution to the naturalist tradition, influencing later discussions of class and gender in Belgian literature.

Early life

Birth and family background

Cornelia Hubertina Doff, who later adopted the pseudonym Neel Doff, was born on 27 January 1858 in Buggenum, a village in the province of Limburg in the Netherlands. Her full name at birth was Cornelia Hubertina Doff, and she came from a modest working-class family. Her father, Johannes Doff (also known as Jan), worked as a barge worker or day laborer on the canals, while her mother, Johanna Wilhelmina Janssen, came from a similarly humble background. The family lived in poverty with nine children, of whom Neel was the third, establishing the socio-economic context of her early years in a rural Dutch setting. This background of modest origins and manual labor defined her family's immediate circumstances before later migrations.

Childhood poverty and early hardships

Neel Doff endured severe poverty and instability throughout her childhood in the Netherlands. Her father, Jan Doff, a laborer frequently unemployed due to alcoholism, and her mother, Johanna Wilhelmina Janssen, could not adequately provide for the household, resulting in a pervasive lack of food and essentials. The family relocated endlessly between houses in and around Buggenum before moving to Amsterdam in July 1864 when Neel was six, arriving exhausted from cold and hunger after traveling by boat. In Amsterdam, the Doffs lived in damp, vermin-infested cellar dwellings and squalid back alleys in neighborhoods such as the Jordaan, Haarlemmerbuurt, and areas around Nieuwendijk and Haarlemmerstraat. These homes suffered from flooding, foul odors from sewers and waste, and infestations of fleas, lice, and rats, with family members often sleeping on straw sacks or crowded together in a single bedstead. Chronic housing instability forced frequent moves—at least every six months, and often more—with evictions common, belongings seized, or departures in the night to avoid unpaid rent. Hunger, repeated illnesses such as fevers, and the father's alcoholism exacerbated the family's struggles, leaving Neel exposed to profound material and emotional hardship from an early age. To help sustain the family, Neel began contributing from childhood by caring for younger siblings and taking on paid work. Around age twelve, she worked as an errand girl at a pharmacy on Zeedijk, delivering medicines across the city, minding children, mending, and ironing for 60 cents per week. She briefly attended the Stads Armenschool and later a Catholic school funded by charity but left after facing mistreatment over lice and poverty. Subsequent jobs included street-selling pots and pans in the Jodenbreestraat, serving as a domestic servant in households of Jewish diamond workers for half a guilder per week, and assisting a hat maker with small tasks. These early experiences of relentless deprivation, child labor, and family instability formed the basis of her formative years before the family's relocation to Belgium.

Move to Brussels and early working life

Neel Doff arrived in Brussels in 1875. To support herself and her family amid persistent hardship, she took on various low-paying jobs, working as a domestic servant (servante), factory worker (ouvrière), and other small tasks. Her attractive appearance led her to pose as an artist's model for painters and sculptors in the city, providing another source of income while drawing her into artistic environments. She notably served as the model for the female figure "Nele" in Charles Samuel's Uylenspiegel group sculpture, erected at the Étangs d’Ixelles in memory of Charles De Coster. The economic pressures of urban poverty also pushed her into prostitution, a practice her mother had encouraged since she was fifteen years old, which continued as part of her survival in Brussels. Through her modeling work and frequenting the bohemian student cabarets of the Université libre de Bruxelles, she gained exposure to the city's artistic and intellectual circles amid a chaotic existence that later informed her writing.

Path to writing

Discovery of literature and self-education

Neel Doff, having received no formal education beyond rudimentary childhood instruction due to her family's extreme poverty, emerged as a largely self-taught intellectual through persistent personal reading and engagement with literature in French and Dutch. Described as an autodidacte, she cultivated her literary sensibility amid her demanding working life in Brussels, where exposure to artistic and intellectual circles gradually awakened her interest in books as a means of understanding and transcending her circumstances. Her self-education gained significant momentum after her marriage to Fernand Brouez in 1896, who became her key mentor and introduced her to philosophical and socialist writings that profoundly shaped her worldview. Brouez discussed thinkers such as Charles Fourier, Félicité de Lamennais, the Saint-Simonians, and Jean-Guillaume Colins with her, while also arranging courses to support her learning. Through her involvement in Brouez's review La Société nouvelle, she translated works by the Dutch critical writer Multatuli (Eduard Douwes Dekker), which further deepened her engagement with socially conscious Dutch literature. Doff also encountered French naturalist literature during this period, though she later critiqued its portrayals as artificial compared to lived realities of poverty and hardship. This process of self-directed reading and intellectual exchange marked her gradual transition from manual labor to aspiring writer, laying the foundation for her later autobiographical expression.

First attempts at writing and early publications

Neel Doff's first attempts at writing began at the age of 51 in her home in Antwerp. The sight of children playing inspired her to record her own childhood memories. She wrote directly in French, a language she had acquired late in life through self-study with a French book and German-French dictionary provided by a painter. Her early efforts produced a series of episodic recollections presented without stylistic embellishment or artifice, offering a clear and authentic testimony of poverty. These initial writings led to her first publication, Jours de famine et de détresse, released in 1911 by Fasquelle in Paris. This debut work represented her entry into literature.

Literary career

Breakthrough with autobiographical works

Neel Doff's literary breakthrough arrived with the publication of her autobiographical novel Jours de famine et de détresse in 1911 in Paris by Fasquelle (Bibliothèque-Charpentier collection). The work is largely autobiographical, recounting through a series of vivid tableaux the extreme poverty, hunger, and humiliations endured by its protagonist Keetje—a stand-in for Doff herself—during her childhood and youth amid family displacements across Amsterdam, Antwerp, and Brussels, culminating in her reluctant turn to prostitution to feed her younger siblings. The novel's raw sincerity and unflinching depiction of working-class misery attracted immediate notice. It was shortlisted for the Prix Goncourt in 1911 and reportedly received votes from several academy members, including Octave Mirbeau, Gustave Geffroy, and Lucien Descaves. This recognition established Doff as a distinctive voice in French literature and paved the way for her subsequent Keetje novels.

Major novels and the Keetje cycle

Neel Doff's most celebrated contributions to literature are the novels in the Keetje cycle, an autobiographical series that chronicles the life of the protagonist Keetje, a character closely modeled on Doff's own experiences of poverty and hardship. The cycle encompasses Keetje (1919) and Keetje Trottin (1921), each building on the previous to trace Keetje's progression from youth in poverty to adulthood amid ongoing struggles. Keetje, published in 1919, introduces the young Keetje navigating extreme deprivation, family obligations, and urban hardship in settings reflecting Doff's early life in the Netherlands and Belgium. The novel portrays her resilience and the harsh realities of class and gender constraints with unflinching realism. Keetje Trottin, published in 1921 by G. Crès in Paris, advances the story as Keetje takes on work as an errand girl ("trottin"), encountering exploitation, personal trials, and societal indifference while striving for dignity and survival. This volume is particularly noted for its direct and survivor-centered depiction of traumatic experiences. These works, written in French despite Doff's Dutch origins, have been recognized for their raw authenticity and social insight, cementing the Keetje cycle as her defining achievement.

Writing style, themes, and critical reception

Neel Doff's writing is deeply autobiographical, drawing directly from her own experiences of poverty and hardship, which she began publishing at the age of 51 in 1909. Her style aligns with the naturalist tradition, featuring stark depictions of miserable conditions and the inherent flaws in human nature without idealization or sentimentality. She employs simple, direct language combined with sharp observational detail, often creating powerful contrasts between the naive innocence of childhood and the brutal realities of exploitation and social injustice. This technique portrays characters as victims of circumstance and the hypocrisy of higher social classes, ruthlessly exposing the rigid codes and double standards of the era. Doff herself described her writing as a cathartic act of expulsion, likening it to lancing an abscess or vomiting unconsciously to achieve liberation. Her works recurrently explore themes of extreme poverty, child labor and prostitution, class exploitation, and deep-seated class hatred, while rejecting any glorification of the oppressed proletariat. Instead, she emphasizes universal egoism that corrupts all social strata, asserting that love and solidarity reside in individual souls rather than classes, though only in limited doses overshadowed by selfishness. She was critical of writers who depicted working-class suffering without personal experience, dismissing Émile Zola's portrayals as intuitive rather than authentic and pretentious in their claim to understand the poor. Doff's books met with enthusiastic reception in francophone literary circles upon their early twentieth-century publication, though they remained largely unknown in the Netherlands for decades. Dutch critic Jan Greshoff championed her in the 1930s, praising in De Groene Amsterdammer (1935) her evocative power, humanity, and unshakeable compassion for those humiliated and deprived. After a long period of neglect following her death, her work was rediscovered in the Netherlands in the early 1970s through new translations and the popular film adaptation, which brought widespread attention but often reduced her complex social and personal vision to a more sensational image. Recent integral translations and scholarship have helped restore a fuller appreciation of her unique blend of social critique and intimate testimony, affirming its enduring relevance a century later.

Personal life

Marriages and family relationships

Neel Doff married Fernand Brouez, a Belgian intellectual, publisher, and socialist, on December 1, 1896. Brouez provided her with financial and social stability, supporting her education in French and literature following her earlier years of poverty and hardship. The marriage ended with Brouez's death in 1900. The couple had no children. In 1901, Doff remarried Georges Serigiers, a lawyer, socialist, and friend of Brouez, with whom she also had no children. The couple settled in Antwerp, though Doff felt estranged from bourgeois circles. She maintained limited family relationships in her adult life, largely distanced from her large birth family of origin due to her early departure from the Netherlands and her independent path in Belgium. Her personal life remained relatively private.

Friendships with artists and intellectuals

Neel Doff formed lasting connections with several prominent Belgian and French artists, sculptors, and writers during her years in Brussels, often entering their circles through modeling work and shared intellectual interests in social themes. She posed as a model for sculptor Charles Samuel in his creation of the figure Nele, companion to Tijl Uilenspiegel, as well as for sculptor Paul De Vigne and painter Georges Lemmen. There is also suggestion that a chapter title in her work Jours de famine et de détresse echoes a gravure by Félicien Rops, hinting at possible influence or contact. Among her acquaintances were notable figures such as poet Emile Verhaeren, novelist Camille Lemonnier, sculptor Georges Minne, and painter Henri de Toulouse-Lautrec, reflecting her integration into the artistic milieu of the late nineteenth and early twentieth centuries. In later years, writers Franz Hellens and Jan Greshoff became regular visitors to her home on Napelsstraat in Brussels, with both dedicating appreciative writings to her life and work. Greshoff, in particular, developed a close friendship with Doff and his wife Aty, promoting her literature in the Netherlands through articles in publications such as De Groene Amsterdammer and maintaining correspondence with her during the 1930s. Doff also sustained epistolary relationships with French intellectuals, including critic Henri Poulaille, whom she described as her "hartsvriend," as well as Victor Méric and Jeanne Hoffman, with whom she exchanged candid reflections on society and literature. She benefited from the support of Octave Mirbeau, who presented Jours de famine et de détresse for consideration for the Prix Goncourt, and Laurent Tailhade, who expressed admiration for the book. Throughout these connections, Doff frequently critiqued the theoretical social engagement of her intellectual friends, arguing that their concern for poverty lacked the depth of lived experience.

Later years and death

Life during World War periods

Neel Doff spent both world war periods in Belgium, where she had lived since the 1870s. During World War I, she resided in the country amid the German occupation and continued her literary work, publishing the novel Keetje in 1919 shortly after the armistice. In her advanced age during World War II, she lived in Brussels and was profoundly distressed by the conflict. A committed pacifist, she endured with great difficulty the rise of Hitlerism and the outbreak of war. She remained in the city during the German occupation of Belgium, where she fell ill and died on 14 July 1942 in her home on rue de Naples in Ixelles. In an effort to protect her estate amid the dangers of the time, she bequeathed the rights to her works to her close friend Helen Temersen, who was Jewish.

Final years and death

In her final years, Neel Doff resided primarily in Ixelles (Elsene), a municipality of Brussels, Belgium, where she owned a bourgeois house and spent most of her time. She also owned Villa des Houx (later known as Villa Keetje Tippel) in Genk, where she had traditionally spent summers, but her last visit there occurred in 1939; she departed on 14 October 1939, shortly after the outbreak of World War II, and never returned. After this departure, she lived exclusively in Ixelles, where she became seriously ill with a kidney condition that left her bedridden. A close associate last visited her in 1941, finding her confined to her sickbed due to the ailment.

Legacy

Posthumous recognition and republications

After Neel Doff's death on 14 July 1942 in Ixelles, Belgium, her works fell into relative obscurity for several decades. Interest in her autobiographical novels revived notably with the 1975 release of Paul Verhoeven's Dutch film Keetje Tippel (also known as Katie Tippel), which depicted her early life and brought renewed attention to her writings. Subsequent efforts to republish her texts have focused on French-language editions in Belgium, particularly through the Espace Nord collection, founded in 1983 to reissue key works of francophone Belgian literary heritage in accessible pocket formats with critical apparatus and pedagogical tools. This collection has included or plans to include several of Doff's major titles, such as Keetje and Jours de famine et de détresse, alongside the forthcoming Keetje Trottin scheduled for May 2025 with a postface by Élisabeth Castadot. These republications aim to valorize Belgian authors for both general readers and educational audiences. More recently, on 13 September 2023, the Elsene History Society unveiled a bronze plaque at Doff's former residence in Brussels' Napelsstraat 36, commemorating her life and literary contributions at the site she shared with writer Franz Hellens. Such initiatives indicate a modest but ongoing posthumous recognition of Doff's place in Belgian francophone literature, though her works remain available primarily through specialized re-editions and digital archives.

Influence on Dutch and Belgian literature

Neel Doff's oeuvre, written in French despite her Dutch origins, belongs primarily to Francophone literature and has had a more pronounced impact in Belgian and French literary contexts than in Dutch-language traditions. Her naturalist and autobiographical works, such as the Keetje trilogy, offered a rare female perspective on extreme poverty, child labor, and prostitution, marking her as a distinctive voice within the naturalist tradition that was otherwise largely male-dominated. Critics have highlighted her as one of the most important representatives of proletarian literature in the Francophone world, due to her unfiltered depiction of the realities faced by the impoverished and marginalized. In Dutch-language literature, Doff's influence has remained marginal, largely because she chose French as her literary language and her raw realism found little resonance in the Netherlands during her lifetime. Her name is largely absent from Dutch literary histories and biographical reference works, reflecting the linguistic and thematic distance from the dominant trends in Netherlandic literature. This limited presence underscores the barriers to cross-border reception for authors operating outside the primary language of a national canon. Within Belgian literature, particularly its Francophone branch, Doff contributed significantly to the development of autobiographical naturalism and social-realist themes centered on women's experiences and class struggle. Her pioneering role in giving literary expression to female proletarian life has been recognized by critics as a unique contribution that broadened the scope of naturalist writing to include intimate, lived testimonies of hardship and resilience. While specific lines of direct influence on subsequent Belgian or Dutch authors are not widely documented, her work stands as an early model for later explorations of autobiographical and socially engaged writing by women in Francophone contexts.

Modern scholarship and adaptations

Neel Doff's autobiographical works have seen one major adaptation into film with the 1975 Dutch production Keetje Tippel (released internationally as Katie Tippel), directed by Paul Verhoeven and based on her memoirs depicting her experiences of poverty, prostitution, and social ascent in turn-of-the-century Amsterdam. The film, starring Monique van de Ven as the resilient protagonist and Rutger Hauer in a supporting role, portrays both the squalor and opulence of the era while critiquing capitalist exploitation, and it marked a significant commercial success in the Netherlands upon release. Modern scholarship has increasingly re-evaluated Doff's contributions through feminist and class-oriented perspectives, with analyses framing her trilogy—including Jours de famine et de détresse, Keetje, and Keetje trottin—as a courageous feminine voice that broke literary decorum by articulating proletarian misery and women's suffering from a marginal position. Her work is positioned at the intersections of naturalism, populism, feminism, and autofiction, underscoring her extraordinary role in Belgian literary history as a writer whose autobiographical testimony reflects gradual self-awareness and social advancement amid extreme hardship. Recent commemorative efforts reflect this ongoing interest, such as the 2023 installation of a bronze plaque at her former Brussels residence in Napelsstraat, honoring her final years and death there in 1942.

References

  1. https://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Neel%20Doff
  2. https://onsamsterdam.nl/artikelen/het-amsterdam-van-neel-doff
  3. https://maitron.fr/doff-cornelia-hubertine-dite-neel-belgique/
  4. https://www.jstor.org/stable/25701847
  5. https://andrebourgeois.fr/neel_doff.htm
  6. https://dokumen.pub/the-feel-of-the-city-experiences-of-urban-transformation-9781442669055.html
  7. https://www.aup-online.com/content/journals/10.5117/TVGN2023.2.002.GEUR
  8. https://gallica.bnf.fr/ark:/12148/bpt6k289422g
  9. https://historianatlarge.wordpress.com/2021/08/16/1921-the-first-explicit-depiction-of-rape-from-a-survivor-perspective-in-dutch/
  10. https://www.ru.nl/en/services/recharge/overview/keetje-in-the-street-dutch-classic-translated-from-the-french
  11. https://www.gutenberg.org/ebooks/65096
  12. https://catalog.hathitrust.org/Record/007573133
  13. https://literatuurmuseum.nl/nl/ontdek-online/literatuurlab/artikelen/de-boeiende-tragiek-van-neel-doff-geestelijk-moeder-van-keetje-tippel
  14. https://dlit.univie.ac.at/dlit/france/dlitfr-neel-doff/
  15. https://www.the-low-countries.com/article/neel-doff-house/
  16. https://historiek.net/neel-doff-biografie-keetje-tippel/136781/
  17. https://www.dbnl.org/tekst/doff001dage02_01/doff001dage02_01_0043.php
  18. https://www.britannica.com/art/Belgian-literature/The-20th-century
  19. https://www.partage-noir.fr/neel-doff-1263
  20. https://www.emilevandorenmuseum.be/40---villa-keetje-tippel
  21. https://www.espacenord.com/
  22. https://www.espacenord.com/livre/keetje-trottin-2/
  23. https://www.filmlinc.org/films/katie-tippel/
  24. https://www.academia.edu/145208817/Neel_Doff_s_Trilogy_A_feminine_voice_which_has_fallen_into_oblivion
  25. https://rep.up.krakow.pl/xmlui/handle/11716/8329
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