De Huisjongen, The dutch translation of ferdinand oyono's une vie de boy, was published in 1980 by kosmos and released in two cities: Amsterdam, where the publisher had its headquarters, and Antwerp, the site of its Belgian branch. For Flemish (Dutch-speaking Belgian) readers, the Catholic and French colonial environment described in the novel represented a world that in many ways felt familiar. In the once deeply Catholic Flanders, where French used to be the language spoken by the elite and where the memories of the former colony Belgian Congo are still vivid, people could easily identify with Oyono's main character, Toundi.

In the Netherlands, however, the memories of the nation's colonial history are characterized by a predominantly Protestant world-view that primarily evokes images from Southeast Asia. There, in the former Dutch East Indies, it was not the masculine “boy” but the feminine babu who took care of the household. This explains the decision by the then twenty-seven-year-old Dutch translator of Oyono's novel, today's best-selling author Herman Koch, not to use boy in the title but to opt for huisjongen (lit., “house youth”). The idea of having a “boy” as housekeeper clearly sounded strange to this Dutch translator.

In view of the different associations the novel must have evoked among Dutch and Flemish readers, this article presents two separate analyses of the same translation. One reflects a Dutch perspective on De huisjongen and interprets Toundi, a child diarist doomed to die at the hands of oppressors, as an African Anne Frank. The other reads the novel from a Flemish perspective and interprets Toundi as an African variant of Manneken Pis, the roguish street boy from Brussels who derides the authorities.