Belgian writer who produced more than 120 works, including novels, plays, criticism, and volumes of poetry and short stories. He also played an important role in Belgian-French literary life between 1920 and 1955 as editor of several progressive magazines and is notable as a cofounder—with Odilon-Jean Périer and Henri Michaux (Michaux, Henri)—of Le Disque vert (“The Green Disk”), a literary journal that introduced new poets to the public.

As a middle-class, French-speaking Fleming, Hellens rejected the idea of a national literature and became an indefatigable proponent of a French literature of Belgium. Indeed, his view of the French-language literature of Belgium as part of the literature of France predominated among francophone Belgians well into the 1970s. Yet Hellens remained deeply attached to his Flemish roots and set much of his work in Ghent. An example is his first novel, En ville morte (1906; “In the Dead City”), which was influenced by the regionalism of such writers as Georges Eekhoud (Eekhoud, Georges).

Later the influence of the American writer Edgar Allan Poe (Poe, Edgar Allan) became paramount, and Hellens produced works in which fantasy, mystery, and external realism were mingled, as in his Mélusine (1920), a proto-Surrealist work that reinterpreted an ancient legend with great originality and daring. This combination of elements is also present in his short-story collections, Nocturnal (1919) and Réalités fantastiques (1923; “Fantastic Realities”). Satire and picaresque were also within his range, as in Bass-Bassina-Boulou (1922) and Œil-de-Dieu (1925; “Eye-of-God”). His dry, clipped style and his obsessions with childhood and woman/mother find expression in an unsentimental trilogy—Le Naïf (1926), Les Filles du désir (1930), Frédéric (1935)—and culminate in his masterpiece, Mémoires d'Elseneur (1954).