In 1954, the Dutch critic, editor and poet Adriaan Morriën received the 'Preis der Gruppe 47' [Award of the Group 47] for a humorous travel description. A year later, the anthology Ein unordentlicher Mensch [A Disorderly Human] (1955) with translations of Morriën's stories by Heinrich Böll and others was published in Munich. A few years later, Morrien's stories were also published in Switzerland (Ein besonders schönes Bein und andere Mitteilungen aus der Anatomie des Alltags [A Particularly Beautiful Leg and Other Messages From the Anatomy of Everyday Life], 1957). The stories were translated by Johannes Piron, who had good contacts in Switzerland. Together with Wolgang Cordan he published the first volume of translations of works by the Flemish poet Herwig Hensen (Lob der Bereitschaft) with Speer in Zürich in 1949. Piron was an enthusiastic translator of satirical and humorous texts from the Dutch-speaking world. Most translations of Simon Carmiggelt's work are by his hand. In 1963 Piron received the Nijhoff Prize for translation. He introduced the German-speaking world to the works of Bertus Aafjes, Piet van Aken and Aya Zikken.

In 1957, Johannes Piron's anthology Muscheln der Tieflande [Mussles of the Lowlands] and Ludwig Kunz' Junge niederländische Lyrik [Young Dutch Poetry] appeared, presenting the younger generation of Dutch-speaking poets.(#Translators)

However, this did not lead to a breakthrough for the innovators. When the anthology Zwischen Augen und Atem - Niederländische Lyrik seit 1945 [Between Eyes and Breath - Dutch Poetry since 1945] appeared in St. Gallen in 1964, including poems by the Vijftigers Hans Andreus, Remco Campert, Jan Elburg, Gerrit Kouwenaar, Lucebert and others, young Dutch poetry was virtually still unknown in the German-speaking world. Sybren Polet, one of the most important authors of experimental literature in the Dutch language area, explicitly bemoans this in his epilogue to the publication:

An interesting publication from the mid-1950s is the anthology Hier auf Erden [Here on Earth] by the Dutch poet, art historian, translator, publisher and anthologist Willem Enzinck.

Willem Enzinck was the pseudonym of Aleid Johan Wensink. The publication of this anthology confirms that after the Second World War the ties with the past were not radically severed. Authors who had been banned from publishing in the Dutch language area were still being translated. This applies, for example, to Jo van Ammers-Küller, who, despite being banned from writing, was succesful with German translations of his works after 1945. Willem Enzinck also profited from this uncritical attitude of German translators. During the war, Wensink had worked for the Dutch Departement van Volksvoorlichting en Kunsten [Department of Public Information and Arts] (DVK) and had been commissioned by the Referat Schrifttum [Literature Department], the body responsible for censorship in the occupied Netherlands, to assess manuscripts and the admissibility books for publication. At the same time, he published canticles in praise of the work of Dutch 'Blut und Boden' poets under the pseudonym Johan Ponteyne. Because of all this, he was banned from publishing until the end of 1953. But, this apparently did not stand in the way of the translation of his works.

At the end of the 1960s, Jürgen Hillner (#Translators) placed Eine Rose von Fleisch [A Rose of Flesh] (1969) by the Dutch author Jan Wolkers with the publishing house Kurt Desch based in Basel. Desch had already published Fanny Hill. Memoirs of a Woman of Pleasure by John Cleland in 1968. But Wolker's story of Daniel, who cannot cope with the death of his young daughter, did not receive the expected response.

It was not until the mid-1970s that Wolkers reached the general public with Türkische Früchte [Türkish Delight], which was also translated by Jürgen Hillner. Unfortunately, the book was an "extra-literary [...] sensation" (Schmidt, 1976). It was apparently more a matter of breaking taboos than literary quality.

The reception of Remco Campert, translated for Swiss readers by Marianne Holberg (translator of among others Maarten 't Hart, Hella Haasse and Vonne van der Meer), went quite differently. In 2005, she published the translation of Een liefde in Parijs (Eine Liebe in Paris) with Arche. Campert, poet and writer of stories and columns, is considered one of the most prominent representatives of the Vijftigers, the movement that radically changed the image of Dutch literature after 1945. In Eine Liebe in Paris [A Love in Paris], Campert tells the story of Richard Sanders, who on the occasion of the publication of his new book 'De kunst van het vergeten' (The Art of Forgetting) returns to Paris, the city where many Dutch poets, writers and painters had sought their fortune in the 1950s. Through an encounter with Sacha, who had had a son by Richard, the trip to Paris becomes a journey through his memories. The book was very well received:

Wie in einem Traum [Like in a Dream] (2006) was also positively received, in particular because of the "indeterminacy, a withdrawnness that is not devoid of clarity" (Perlentaucher, 2006). Campert's Herz aus Seide [Heart of Silk] (2007) was received similarly positive: "refreshing and sensitive" (Lüthi, 2007). Tagebuch einer Katze fianlly became a small bestseller. The Berner Zeitung wrote "A true bijoux, full of wit and irony" (Insel, publisher's presentation). Tagebuch einer Katze, which appeared both in a hardcover and a paperback edition, was also published as an audio CD and can even be listened to on Spotify. (https://open.spotify.com/album/2BcYh5T0yaNqNiRwbMLodK)

In 2011 Arche crowned Campert's oeuvre with the publication of Jagen, Leben, Erinnern [Hunting, Living, Remembering], an anthology of Campert's best poems from five decades, and later with further translations of his poetry in Offene Augen [Open Eyes] (2022).

In Switzerland, interesting accents are constantly being set. Apparently there is an interest in new literature from the Netherlands and Flanders and which is presented with some regularity. But, it cannot be said that Switzerland has become the centre for new literature in the German-speaking world. Morrien, Campert and Bernlef have remained exceptions. Good choices are being made but without any follow through.