Delphine Lecompte

Delphine Lecompte (born 22 January 1978) is a Flemish / Belgian poet and columnist. Her debut poetry collection, De dieren in mij [The animals in me], won the annual literary award for the best debut poetry collection in Dutch (C. Buddingh' Prize, 2010), and a second award in 2011.

In relation to MAPs, Lecompte wrote a letter to Humo magazine in August 2021, titled "Pedophilia Dwells in Each of Us." The letter made headlines for its sensitive comments on pedophilia and artistic freedom, and her employer at the time responded by stating they did not endorse her views but recognized her right to free speech. Lecompte argued that pedophiles were a "vulnerable, marginalized group that has been treated for years like sickly scum by the crowd of decent moralists." She also referred to the fact that "most pedophiles never commit pedophilic acts and that every human being is sometimes attracted to innocence and youth", fearing that a witch hunt against pedophiles could lead to more "pedophile excesses and child pornography, which we all want to avoid." She added "It seems wiser to me to learn to know and accept the pedophile. And to accept that pedophilia resides in each of us." She argued that:

[E]veryone has the right to fantasize about violent or non-violent sex with animals, children, dwarves, aphasic truffle pickers, demented organ grinders, albino Aboriginals, and imbecile birdwatchers. Thank God we do not live in glass houses, and whatever filthy sadistic scenarios that keep us entertained during sleepless nights or lethargic summer afternoons are nobody's business, and nobody is harmed by them. [...]

The idea that every person is occasionally attracted to innocence and youthfulness is something that cannot ever be spoken aloud.

And yet, it is true. Look into your soul and try to deny it. Youthfulness is beautiful; young skin is dazzlingly lovely. The innocent, untarnished, frank gaze of an 8-year-old altar boy, a 6-year-old saddle-maker's son, or a 5-year-old Romanian flower girl is delightful—the pinnacle of beauty and heavenly splendor. And it is neither disgusting nor scandalous to fantasize, in your living room and private mind, about explicit encounters and acrobatic situations involving the aforementioned figures.

But nothing is allowed anymore. Even imagination, fiction, and art are being monitored and, if possible, restricted. In literature and visual arts, pedophilia is becoming a taboo again: calls to cancel Gerard Reve, Jan Hanlo, and Balthus for their beautiful erotic masterpieces that flirt with pedophilia are growing louder and shriller. And "Lolita" has been under fire for years. [...]

It seems very dangerous to demonize and silence pedophiles. By doing this, the pedophile is almost forced into a position of illegality and perverse criminality. [...] Most pedophiles struggle all their lives against their sexual feelings toward children. It’s hell on earth, because children are everywhere, and pedophiles are not allowed to touch them. Most pedophiles do not touch children. The vast majority do not rape or kill children. Yet pedophiles are universally despised, abhorred, hated, entrapped, and harassed. Pedophiles are portrayed as monsters, and the media does nothing about it. When a sensitive, compassionate initiative [...] is set up for pedophiles, it obviously receives no platform on ‘VTM news’ or the website of “The Latest News”. Because it is too gentle, too mild, too nuanced, and too merciful. The 21st century, unfortunately, belongs to the blind, seething, ruthless, heartless, spiteful crowd.

Propria Cures: 'The gardener and the five-year-old child'

On May 6th, 2021, the Dutch Newspaper "Propria Cures," latin for "Mind Your Own Business," published an issue in their newspaper on free speech, specifically in relation to pedophilia. The chief guest editor for this edition was none other than activist Marthijn Uittenbogaard, including contributions from

Lecompte's contribution was no. 8, titled "The gardener and the five-year-old child," which appears to be an autobiographical narrative account of Lecompte's own positively experienced sexual feelings in childhood. In the piece, she writes: