Leo Timmers and ENLIT in Lillehammer

In early June, author and illustrator Leo Timmers travelled to Norway with Paul Hermans, director of Flanders Literature. Paul visited publishing houses and libraries in Oslo, after which he and Leo made their way to the literature festival in Lillehammer, where an extensive programme focusing on writing, illustration and translation awaited them.

The trip provided opportunities to strengthen existing relationships and build new contacts. For Flanders Literature, it forms part of a broader strategy aimed at raising the profile of Flemish authors and illustrators in Scandinavia, with a view to establishing long-term collaboration and in anticipation of Flanders and the Netherlands being Guest of Honour at the Gothenburg Book Fair in 2027.

For many years, the festival in Lillehammer has been regarded as an important meeting place for authors, publishers, translators and literary organisations from home and abroad. This year, it was also the setting for the spring meeting of ENLIT, the European Network for Literary Translation which comprises over thirty European organisations collaborating on literary translation and international promotion.

In Lillehammer, ENLIT wasn’t only involved in behind-the-scenes discussions but also participated in a panel discussion on literary translation, international visibility and support measures. The panel was moderated by ENLIT chair Martin Krafl (Czech Literary Centre), with contributions from Paul Hermans, Nici Beech (Literature Wales) and Eleonora di Blasio (Frankfurt Book Fair). ENLIT not only showcased its work at the festival, but also its broader ambition to make European literature more accessible across borders. 

Each ENLIT member was given the opportunity to nominate an author for the festival programme. For Flanders, the choice fell on Leo Timmers, who had an in-conversation event with the Norwegian illustrator and researcher Hilde Kramer. Speaking to an adult audience, he discussed the picture book as a visual medium and how text and images reinforce one another. Timmers: “Hilde is very astute in her observations. There are things you do intuitively without necessarily having the words for them. She managed to make those things explicit, conveying to the audience just how complex it is to create a picture book. The books often look simple, but each detail has been carefully thought out.”

During his stay, Leo also gave readings for children and young people. He finds this variety of audiences particularly valuable. Another added benefit was that the readings took place in two languages: alongside a Norwegian reader, Leo read the English text of his book and discussed it with the Norwegian speaker. This made the experience much more dynamic. “I always start a reading abroad by saying something in a different language. In this case, in English, but if it’s an English-speaking audience, I say something in Dutch. It gives me the opportunity to explain who I am and where I come from, and that English – or in this case Norwegian – isn’t my mother tongue. Presenting your work abroad makes you more aware of where you’re from anyway – in a sense, you’re a representative of literature from Flanders.”

“For me, a story always begins with the image. A picture book must be visually compelling first and foremost, after which text and illustration enter into a dialogue until they form a whole. This requires craftsmanship. But it also brings a sense of fulfilment that I felt far less when I was only illustrating and didn’t write the stories myself.”

Leo Timmers spoke with Hilde Kramer about the universal nature of the visual: “I try to make my visual language as clear as possible. If I do succeed, it often becomes universal on its own. But at the same time, you notice that images are sometimes interpreted differently; depending on the culture, people attach different meanings to them. For instance, I heard from reviewers at some American libraries that they didn’t want to review Monkey On The Run because of a possible racist connotation, or a publisher from another country hesitated to translate Where is the Dragon? because the knights’ language was thought to be too harsh for children. Reactions like that are inevitable, but I don’t let them dictate my work. Through all my travels, it has also become clear to me just how much we are all alike, even if you don’t always see that on the surface.”

Leo Timmers’ picture books have been translated into more than 40 languages, and over a million copies have been sold worldwide. Internationally, he is anything but an unknown name. Yet, until recently, his work had not really made an impact in Scandinavia. Last year, the first Norwegian translation was published by Omnipax: ‘Snille krokodille’ (Kind Crocodile), translated by Hedda Vormeland. The same publisher will soon also be releasing a translation of ‘Where’s the Dragon?’  “I first met publisher Brit Vareberg during a publishers’ tour organised by Flanders Literarture,” says Timmers. “I read a book aloud at the time and drew a picture afterwards. That made a lasting impression.”

According to Paul Hermans, this is precisely what lies at the heart of Flanders Literature’s international work: “Supporting translations is essential, but the presence of the authors themselves often makes all the difference. When authors are able to explain their work in person, it not only generates more interest in the book, but also fosters a stronger sense of engagement among publishers, organisers and the public. Authors act then not only as creators, but also as ambassadors for their work. The same applies to translators.”

Recently, the Swedish publishing house Berghs Förlag decided to publish three books by Leo Timmers: The Monster in the Lake, ‘Where’s the Dragon?’ and Bear’s Lost Glasses. They have since added ‘Kind Crocodile’ to that list, a promising development in the run-up to Flanders and the Netherlands being Guest of Honour at the Gothenburg Book Fair in 2027.

Prior to the guest of honour programme, the 2026 edition of the Swedish book fair is also coming up – which Leo Timmers will also be attending. He is used to travelling the world to promote his books – from Bologna to Shanghai – and regards this as an important part of his work. “You get to know people, you talk about new work; something can grow out of these encounters, and it really makes a difference. It’s something I’ve built up over the years, which I can sometimes still be surprised by myself, as someone who used to consider myself rather shy.” (laughs)

Naturally Flanders Literature’s presence in Norway wasn’t limited to a single author or genre. Director Paul Hermans visited various publishing houses in Oslo and pitched a range of titles from Flanders. These discussions not only provided an opportunity to highlight recent books, but also to gain a better understanding of the interests and needs of Norwegian publishers. Away from the hustle and bustle of the festival, it was possible to engage in more in-depth conversations. “Sometimes that leads to concrete interest, sometimes it remains more limited – it’s all part of the process,” Paul explains. “But it is precisely those contacts you need to build long-term relationships.”

The week in Norway showed how international collaborations, networking and creator showcases can reinforce one another. Leo Timmers’ presence underlines the strength of Flemish illustration in an international context and the importance of author visits. As Paul Hermans sums it up: “Leo was there not only as a creator, but also as an ambassador. His presence gives his work a face and allows it to really resonate with an international audience.”