- Studied history at the University of Amsterdam.
- Works as a journalist.
- From 1968 on, he worked for De Volkskrant as a columnist.
- His father was office clerk.
- In 1952, Blokker became student reporter for the Dutch newspaper Het Parool. After a while, Simon Carmiggelt asked him to write film reviews.
- On January 30, 2002 Blokker wrote in the Volkskrant: Pim Fortuyn has definitely become the Mussolini, the Duce, of the twenty-first century and people will have to look for a reliable hiding place. The previous Duce took twenty-three years to hang upside down from a petrol pump on the Swiss border. The murder of Fortuyn a few months later gave that sentence a sour aftertaste, in which Blokker was accused of having helped in the demonization of Fortuyn.
- In 1954 he became film critic at Algemeen Handelsblad. At the art section of the news paper, he met important Dutch writers like Henk Hofland and Harry Mulisch.
- In the 1960s and 1970s, he was seen as the voice of the intellectual left, specialized in satirical pieces about politics, current affairs and whatever was fashionable with the left-wing readers of the newspaper.
- Between 1978 and 1983, he was adjunct editor in chief at the newspaper De Volkskrant. He wrote the column until 2006, when a conflict forced him to leave the newspaper. He continued his column for nrc.next.
- He grew up in a social liberal family.
- In 1944, after getting his gymnasium-alpha diploma, he went on to study Neerlandistiek and history. He never completed them.
- At the age of seven, he and his father weekly visited the Cineac theatre for the Polygoon newsreel.
- Blokker was also a screenwriter, who wrote the scripts for films like Fanfare by Bert Haanstra (1958) and Makkers Staakt uw Wild Geraas by Fons Rademakers (1960) and Monsieur Hawarden (1969).
- In 1950, Blokker made his debut as a novelist with the novelle Séjour, for which he won the Reina Prinsen Geerligs Award. Two more novels followed, Bij dag en ontij (1952) and Parijs, dode stad (1954).
- At the broadcasting organisation, VPRO, he became editor in chief. He was partly responsible for the revolutionary course that organisation took. He also provided VPRO's documentaries with commentary.
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