The Greatest Literary Works

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Ratna Indraswari Ibrahim Dead

Written by son of rambow on Monday, March 28, 2011

Indonesian fiction writer, Ratna Indraswari Ibrahim, died on Monday morning at around 9:55 pm. She died at the age of 61 years.

"Before he died, he had three times the Anfal. Sunday 10 am and 4 pm. Continue to the third Anfal 4 o'clock this morning. After that blood tension continued to fall, the upper bound 93 and under 54," Siro, the author's adoptive boy.


Ratna was treated in RSSA since Saturday (26 / 3). According Siro, she diagnosis suffered a stroke, heart, lung, and diabetes. On the first day Rachel also briefly hospitalized unconscious. Previously, Rachel was hospitalized four days since 15 March and then treated six days since 18 March.

Two years ago, the writer born in Malang, 24 April 1949, was also once a week in the RSSA hospitalized since Wednesday, December 4, 2009. The assessment showed that there was a blockage in the head and partially blocked blood vessels that had broken.

At that time she was taken to hospital after experiencing dizziness and tremors or prolonged seizures in his right hand. Additionally, parts of the body difficult to move the right side. Rachel convicted suffered a mild stroke. Experienced similar symptoms this year.

Maintenance costs of Rp 24 million when it is borne brother, friend, friends, acquaintances, and donors. They are from religious backgrounds of professions such as journalists, pro-democracy activists, writers and other artists.

However, this year Ratna run out of money so that some friends held a fund-raising solidarity action by opening a personal account of Rachel.

In a conversation, Ratna said, never seriously ill. He was maintaining a diet that was always healthy and fit. He was often feel tired because involved in many activities.

According to Ratna, she is keeping your diet and lifestyle. Rachel eating enough and even then usually only five spoons of rice. He would prefer a breakfast with bread and eggs. He also diligently eating vegetables and fruits.

Ratna disabled since childhood. But he is known productive. There are about 400 short stories and serialized stories, plus dozens of novels, which he created. Because of disability, the sixth child of 11 siblings of the couple Saleh Ibrahim and Siti Bidahsari Arifin's dead-both-it "writing" with his memory. He dictated the story line, his assistant who wrote the hand or typed with a typewriter or computer.

Some of his works (a collection of short stories and novels), among others, Special Gift, By morning, her name is Massa, The play in Twilight Town, Sumi and drawings, Weak Cape, Chinatown in the city of Malang, and Lipstick in a Bag Doni.

Weak Cape novel is dedicated to the residents who oppose the construction of luxury housing on town forest land. Housing is now named Ijen Nirwana Residence belongs to the Bakrie Group. In fact, Rachel was involved in discussions and demonstrations against the transfer of functions of the urban forest into luxury housing.

Ratna is also known as socio-cultural activist who co-founded and take care of Bhakti Conscience Foundation, NGO Entropic Malang, Malang Pajoeng Cultural Foundation, and the Forum Pelangi Malang.

Recipient of several awards in the fields of literature and feminism had never participated in seminars and training abroad.

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Rainbow Troops Series Translated Into 18 Languages

Written by eastern writer on Friday, February 18, 2011

Andrea Hirata happy because of Laskar Pelangi tetralogy of his novels have been translated into 18 languages. Not only that, the demand from publishers outside Indonesia to issue any Laskar Pelangi tetralogy kept coming.

"Publisher of Brazil Editora Sextante Ltd. will publish Laskar Pelangi tetralogy in Portuguese and Spanish for the territory of Brazil, Chile, and Argentina," he said.

Laskar Pelangi is also a reference study of World Literature in several universities in the Philippines and the selected works to be displayed at book festival Brazil Bienal do Livro 2011 because the quality of the writing and stories that represent the culture of Indonesia.

"I was scheduled for presentation at the festival, 1 September," he said.

Andrea recently moved from Arizona Literary Management, United States, to Kathleen Anderson Literary Management in New York, who published his representative for the international edition. One early project was to discuss Rainbow Warriors movie remake that will be made in Hollywood.

Yates also will publish a new novel, Daddy. The novel was originally written in English, titled Two Trees. He wrote it while attending the International Writing Program at the University of Iowa, in 2010. [translated from Indonesian Daily Newspaper, Kompas. visit www.kompas.com]

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more information about Andrea Hirata and his works visit andrea-hirata.com/english/

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The Fourth Grave

Written by eastern writer on Friday, January 30, 2009

A Short Story by Linda Christanty

PAULA came when the lights in the room had already gone out. Her body shone a white light. Soft. Glowing. I put down my cigar box on the table and slowly rose from my lazy chair to greet her. Yet, she turned her back, glided across the floor, then vanished in the middle of the corridor that led to the kitchen. And suddenly the slippery floor under my feet became covered with glue. I was trapped on its surface, like a mouse caught in a baited trap. I witnessed Paula beam rays of light. My hands that had been so ready to embrace her were arrested in the air, dangling awkwardly. She had left the deserted room with out a trace of her scent. She had left me. Her appearance and disappearance was as mysterious as magic from a witch’s wand, rising from nothing and vanishing into nothingness. We had been left to wait for ten seasons.

Before I had gotten used to the way Paula came and left, I would always cry out her name in the hope that she would turn around and meet my eyes. Not once did she heed my call. It was as if her ears had been plugged up with forged steel. Her body skimmed the surface straight ahead, before dissipating into the air. Still, I hoped.

Paula always appeared only when the last remaining illumination to the room came from the rays of my reading lamp, when the gradations of light blended into the darkness and disappeared into the corners of the dark corridor.

I said her name aloud, a tumult of feelings present in my voice; touched, happy, worried, desperate. However, this cracked voice was only answered by its own echo, followed by the deep sounds of my breathing, heavy, weary. After this, the night pushed me into a resolution: I had to sleep and leave my lazy chair that lay in sight of the corridor before my wife came to fetch me to bed. Unfortunately, I am not a disciplined man, even though I know keeping watch all night would trigger my asthma. I preferred to have my wife come for me, even though I had to wait deliberately. She would cajole me in whispers, and then guide me to our room. I never paid attention to her words, but her arrival would signal me to leave my spot. You would see a pair of wrecked human beings walking with tottering steps, resembling zombies. In front of me, out bedroom door was swung wide open. The light from the lamps shone. The fragrance of jasmine drifted into my nostrils (my wife always anointed the four corners of our room with the buds of jasmine that she had plucked from the garden. This had been her habit since the early days of our marriage.) I used to get angry at the sight of this wide open doorway. The mosquitoes would always swarm in, and Elia my wife, would shut the door in haste. I would then spend the night in discomfort, scratching away at the length of my itching body. On top of that, I couldn’t bear slathering my skin with insect-repellent creams. The smell always made me nauseous. I also disliked the smell of insecticides, which made my throat dry and caused me to be short of breath. Elia would curse herself all night, and I would alternate it with “it’s alright. let it be” over and over again, all the while scratching at myself with the clawing motions of a flea-infested ape. Now, I’ve given in. Yes, yes, even mosquitoes need nutrition. Elia is calmer now.

After my body had settled on the mattress, Elia shut off the lights. She slept with her back facing me. I slept with my back towards her. There was a crack between our bodies, a silent path without light or the sounds of the bullfrogs calling. In a little while, I would hear the rhythmic sounds of Elia’s sleeping, while I would be wide awake, my eyes open and stabbing the darkness like daggers. I allowed the mosquitoes to land on my cheek, or bite my fingers and toes. The buzz of those blood-sucking creatures kept me company. I wanted a cigar, but Elia hated the smell of tobacco in the room.

THE sun’s rays filtered in through the pockets of air on top of the doors and windows, brightening the dark room. I got up hastily and washed my face with cold water from an aluminium basin. Elia was no longer in the bedroom. Her blankets were neatly folded. She always left for the market early, when the fish and shellfish were at their freshest. Elia didn’t like fish that had already been packed in ice. The flesh would become tasteless. Elia was good at cooking seafood. For a long while now, we haven’t consumed any four-legged animal meat, nor have we drunk alcohol of late. Old people like us have to know restraint. If you want to live a long life, my mother used to warn me, don’t eat like a pig.

I put down my washcloth next to the basin, and walked to the door. I would soon be inspecting our tobacco shop. This was my daily routine: to open and close up shop. Actually, I should have opened the store at 7 am. Now it was already 7:30. I had slept as contentedly as a buffalo after much difficulty shutting my eyes.

I stepped into that corridor. Cold. Right in the middle of this same corridor Paula had disappeared last night. The door opening into the store was in the left wall. I turned the brass doorknob. The air currents in the room felt warm.

The glass jars filled with various assortments of tobacco were lined up on wooden racks. Some are blends. Some are pure tobacco. Their flavours are diverse. In this village, people my age take pleasure in inhaling from cigarettes hand rolled from loose-leaf tobacco in (marning) paper. For me, a factory cigarette just doesn’t have the full flavour. I also sell quality cigars that range from midpriced ones to highly expensive ones. There aren’t as many buyers for those cigars as for the loose tobacco, but still, there remain some. This store has supported my family throughout, including paying for Paula’s college education in Java. I wanted her to be an important businesswoman, not a small shopowner like me. I let her gain all the knowledge there was, as high as the sky. Let the heron soar, said my mother. And yet, the land and water that you drink has a way of determining your path.

Paula chose her own way. But why, why that one? Elia blamed me once. She said, the kungfu stories of Kho Ping Hoo that I used to read to our daughter, with its tales of superhuman warriors, had left their indelible mark on an impressionable child, doomed to mark her until adulthood. Was it so?

I heard the screech of the side door. Footsteps. A little cough. Elia had returned. I didn’t want her to see me stuck here. I was also too feeling lazy to open up the store. I decided to look into Paula’s room. Perhaps, my daughter was already sitting there, reading or writing.

One night, she surprised us. We heard sounds coming from upstairs. Together we climbed the stairs and silently pressed our ears to the door. The sounds of drawers being opened, and papers shuffled, and then shredded. Was it my mother cleaning up the place? As far as I knew, mother always came without making a sound. No, no, it’s not mother, I whispered. Elia agreed. Mother always comes silently, she said.

We steeled ourselves to knock on the door. Three times. Three knocks to start with. Not much later, the tiny frame of my daughter appeared. My wife began to cry. I was floored. Paula said, she had come home without warning on purpose, entering through the unlocked side door (my wife is sometimes careless. No one has ever lost anything in this small village, she insists.) Why did you come home so quietly, without asking to be picked up? Where did you get the fare home from? You already came home once last month. I felt uneasy. Paula looked at me and her mother, back and forth. “I’m being pursued by people”, she said slowly. I replied with a joke, “being chased by your boyfriend?” Paula’s face tensed up. “If there is anyone who shows up asking about me, tell them you don’t know me,” she said tersely. What do you mean, I don’t know you? You’re my daughter, our only child. “I won’t say anything about you either if anything happens,” she said, not caring. My wife was instantly hit by a bad feeling. “What have you done, child?” Elia’s lips were trembling. That night, Paula refused to say a word. She only shook her head or nodded. Early in the morning she left the house, boarding the first ship. My wife cried all day long. I had hoped that my daughter would speak. But, Elia forbade me to push Paula. Do not force her. She is our only daughter. Alright. I didn’t want to be called a dictator either. Emperors usually are. I’m no emperor, I said. Elia protested again. Don’t you bring up those kungfu stories again. Alright, fine. I chose to be silent.

PAULA’s room is upstairs, where it faces the setting sun. From the edge of this window, my adolescent daughter would stare out into the backyard, where there were three graves. The oldest grave is my father’s. Unlike other graves, this one had no body lying there. My father was lost at sea when his ship overturned in the Arafura Sea. My mother then asked someone to dig a grave, where she buried all of father’s favourite things, following Chinese tradition. It is unclear what my father was searching for on that last doomed voyage. My mother said, your father wished to trade. However, one of my cousins broke the secret. Your father had another wife and child on another island, he said. Traders are the same as sailors, marking their arrival on the bodies of women, whispered this cousin.

Father and Mother’s graves are flanked by Yan Yan’s, my dog who died of old age. Little Paula used to leave flowers on top of all three graves. One day, she ran into the house and hugged her mother tightly. What’s the matter child? Paula refused to speak, even though Elia tried to persuade her over and over again. During the night, she developed a high fever. My wife and I panicked. The doctor only prescribed a fever-reducer. This daughter of yours cannot tolerate the change in weather, said the doctor. At that time, we were between monsoons. The next day, Paula’s body temperature returned to normal. After a few days, Paula told us that she had seen a woman wearing a maroon cheongsam appear out of her grandmother’s grave and fly up into the sky. I believed it to he my mother, making herself known to her granddaughter. Several times after, Paula saw a beautiful woman wearing a cheongsam appear. She would place herself in the corridor leading into the kitchen, int eh dining room, or in the backyard. She would glide across the floor, sit in a chair, or perch in the branches of the ylang-ylang tree. Paula became used to my mother’s presence, and began to miss her grandmother all the time. My wife and I often heard Paula conversing with someone. When we would then see her alone, we understood.

Our daughter is talking to her grandmother. The sounds of Paula’s laughter would sometimes reach my ears, even though she wasn’t there. I believed my mother was guarding her grandmother all the way across the sea. The thought calmed my heart.
Paula’s room lay vacant for years. Our houseguests hardly ever spend the night. And if they did, they preferred to unroll a mattress or a straw mat on the floor of the living room. Once a year, when Paula came home for her school holidays, the room would have an inhabitant once again. Paula’s room was painstakingly cleaned every single day by my wife, as if she still lived with us. Clean sheets remain on the bed. Books on the shelves neatly-ordered. Not one of Paula’s dolls have left the toy rack. The scent of liquid floor cleaner always lingered.

I saw that the window was already open. The fresh air flowed indoors. I walked to the window, looked out at the backyard. Three graves. I was planning to add another, but didn’t have the heart to reveal my intention to Elia.

That grave has to be dug so that we will stop waiting for her return. Elia and I are forever waiting for Paula. She meets me in the quiet of the night, but never speaks. She isn’t really there.

In our last phone conversation, Paula said that she would be home three days before Christmas. My wife stitched a simple dress for her. Ever since she was a child, Paula disliked lacy dresses. They only make my body itch Papa, she grumbled. I smiled at the memory of our daughter’s behaviour. Now she was already grown up. Did she have a boyfriend? Once she shocked me with a frightening statement. Don’t expect me to get married Papa. Marriage is only for the rich. Huh? Papa and Mama got married with only the clothes on our back, Paula. She was silent for a moment, and then tapped my sleeve. Listen Papa, she whispered, my friends and I are trying so that everyone can live in prosperity and safety. When then happens, I’ll get married. I laughed. You’re not a magician, child. She burst into laughter.

But my daughter never came home on the third, nor the second, or the day before Christmas, and not even in the years following that. She didn’t keep her promise to her parents.

I called her the first night she was late. She wasn’t at her dormitory. She moved out a long time ago, said the woman who lived across. How long ago? Almost a year. Ooh… I followed her tracks to Java, looking for her on campus. She dropped out a long time ago sir, said a lecturer in a reluctant tone. Where are you my child?

Elia issued an edict. I was not allowed home before our daughter had been found. I pored over the newspaper columns on crime. I listened to the news on television. I visited the morgues of each and every hospital. Our daughter was nowhere. I came back after three months of tracings the steps of our daughter. In the end, Elia believed that Paula had really disappeared. Fortunately, she was devout, accepting the loss of our daughter as god’s will.

Two years later, someone who claimed to be Paula’s close friend called me and reported her missing. We already know! I barked. From that same person, I received some new information. Our daughter had organised people to resist the despotic emperor. I repeated this to my wife. She screamed and clawed at me. You’re the one who incited her to be a fighter! My wife came to in the midst of this confusion. We have to find her, Elia said, with overflowing eyes. Where can we look? Anywhere, as long as it’s still on this earth. Alright.

A journal bearing the name of my daughter indicated that she might be locked up in a fortress.

A fortress. I remember the story of a princess with long hair, locked up in a tower. Little Paula didn’t like that story very much, and always told me to read her another fairytale. I don’t know how it began, but I read her bits and pieces of Kho Ping Hoo’s works. Paula was shaken. Those clear child’s eyes of hers never blinked. She fell in love with the characters, those champion warriors. She imagined herself as a champion with supernatural powers, carrying a blade, elegant, beautiful, hard of heart, rescuing others.
Now she was trapped in a tower. The divine and powerful champion trapped in a fortress. She should have been able to escape. Should have.

I went to the place that was mentioned in the journal, accompanied by Elia. We gazed at hills, bamboo reeds, the tangled undergrowth. Where had they locked up my daughter? There was no fortress. Another piece of information I received: the fortress was underground. If I were an earthworm, maybe I would know where it lay. People helped us look for a fortress. They began to dig from noon til night. Yet there was no fortress. Paula had really disappeared.

THAT afternoon I approached dinnertime with an odd feeling. Elia was roasting sharkmeat. I didn’t want to eat sharkmeat. What if our daughter had been eaten by a shark? Some people said, Paula had been dumped into the sea and eaten by sharks. Elia served the roasted sharkmeat at the dining table, but I only touched the plain vegetables. Tears welled up in my eyes. What is it, Elia asked. I sobbed even harder. What’s the matter, she asked in a gentler voice. Our daughter’s in this shark, I whispered, choked with sobs. Immediately she choked, leapt from her chair, and began weeping at the edge of the washtub. Not long after, she returned, lifted the plate of fish from the table, and threw its contents into the dust bin.

Later in the evening, I decided to talk to my wife about Paula. I didn’t want to wait for our daughter every night. I wanted Paula to be at peace. I wanted us to live peacefully, without her. Let her go, let her be with my mother, I said. My wife nodded slowly.

A fresh grave was just dug next to my mother’s. Rest, my child. Even champions need rest. Suddenly the boughs of the ylang-ylang rustled. Flowers fell. I felt my wife’s cold hand in my grasp. Mother has received our child, she whispered, relieved.
This morning we are well-groomed. I have on my best suit of clothes, and shined leather shoes. I look at the aging and shrinking Elia in her black dress. So black, like the crows that cry and swoop in my mind. My tears fall. Elia looks at me. She wishes to say something, but fails. In a little while, we will go to church, and pray. This is the fifth Christmas without Paula.*** (translated by Doreen Lee)

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This story is collected in Kuda Terbang Mario Pinto (Maria Pinto’s Flying Horse). This book won the Khatulistiwa Literary Award 2004, one of the most prestigious literary award in Indonesia. Linda currently lives in Banda Aceh and is the chief editor of Pantau Foundation news agency. Visit her blog.

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Saini KM: West Java's literary maestro

Written by eastern writer on Tuesday, October 14, 2008

From childhood to his present age of 70, Saini KM has remained a modest figure despite his accomplishments.

Born in small Gending hamlet, Kota Kulon village, in the West Java town of Sumedang, Saini has contributed significantly to the country's literary world, especially in West Java.

His modest personality and appreciation for his juniors has won him the admiration and respect of many.

"We should have mutual respect, including respect for each other's professions. And we should be serious in life with occasional humor," Saini said with a smile.

The prolific writer of poems, essays, plays and non-fiction works for 50 years has acted as mentor for more than a dozen younger poets like Acep Zamzam Noor, Beni Setia, Juniarso Ridwan, Deden Abdul Azis, Nirwan Dewanto and many more.

Saini can be likened to Umbu Landu Parangi, a literary guru of noted writers like Emha Ainun Nadjib, Linus Suryadi Ag., Imam Budhi Santoso, Warih Wiratsana, Oka Rusmini and Wayan Sunarta.

Those that know him well would say that he gives the impression of a serious man that never tells jokes.

"As far as I know, pak Saini has never cracked a joke, but he gets teased a lot," said Yusef Mudiyana, a theater director and actor from Bandung, West Java.

A local poet and cultural journalist, Ahda Imran, recounted his own, personal experience with the prolific writer.

Ahda said his poem had once been published in a Bandung paper under Saini's care, something that made him proud.

One day, Ahda came across an old man browsing in a Bandung bookstore and confidently advised the stranger which works were worth reading, and pointing out Saini's work. The elderly man just smiled, nodding now and then.

Only several months later did Ahda come to realize that the man was Saini himself.

"I was really embarrassed when I found out it was pak Saini. He could have revealed his identity, but perhaps its his style, making people laugh while at the same time feeling ill at ease," Ahda said.

He later bumped into Saini at Bandung's Indonesian Arts College when looking for information on theater reference books. He mentioned he needed certain Sundanese and Javanese books.

Saini said with his typical smile; "You can't get those books in Indonesia, let alone the Sundanese and Javanese ones, as they are kept in The Hague, Holland."

When he was a student himself, Saini had a keen interest in literature, prompting him to study in the English language and literature department of the Bandung teacher's training institute.

His studies nurtured his greater passion for literature and theater, and prompted him to set up a theater department at the Indonesian Academy of Choreography in Bandung.

In 1963, Saini published his first play, Pangeran Geusan Ulun (Prince Geusan Ulun), followed by a poetry collection, Nyanyian Tanah Air (Songs of the Motherland) in 1969.

For the theater, Saini wrote dramas like Siapa Bilang Saya Godot (Who Says I'm Godot, 1977), Panji Koming (1984), Madegel (1984) and Dunia Orang-Orang Mati (The Dead's World, 1986).

Madegel was staged in Japan in 1987, while his Ken Arok and Sepuluh Orang Utusan (Ken Aron and the Ten Envoys) was translated into German.

His works have also won many competitions. In 1973, his work Pangeran Sunten Jaya (Prince Sunten Jaya) won a Jakarta Art Council (DKJ) contest, followed by further DKJ competition victories for his piece Ben Go Tun in 1977, Egon in 1978, Serikat Kacamata Hitam (Dark Glasses Union) in 1981 and Sang Prabu (The King).

For 20 years, during the period 1976-1996, Saini was entrusted with a poetry column, called "Pertemuan Kecil" (Small Gathering), which was printed in a Bandung publication.

Through the column, Saini scrutinized and analyzed the works of West Java's emerging generation of poets.

Through its existence, the poetry column helped produce noted poets in the country, with Saini acting as their mentor.

"Actually I made no significant contribution to literature and culture," Saidi said modestly.

"The preservation of culture is the responsibility of all citizens, including experts, government officials and religious leaders, not only artists."

After Saini was appointment the Education and Culture Ministry's director of culture in 1996, he gave up the column to focus on his busy work schedule.

Saini said he believed writing poetry was a matter of emotion and opportunity rather than bad or good literary expression.

"One who starts writing poems may not produce good works, but he or she should have the opportunity for literary revelation to ensure better compositions in the future," he said. [JP]

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Clara Ng: Writing for women and children

Written by eastern writer on Thursday, October 09, 2008

Clara Ng portrays women as a non-single entity to avoid stereotypes in her literary work. Clara, who has penned eight novels, promotes lesbians, metropolitan career women, victims of domestic violence, animal nursery employees and car workshop owners as the protagonists in her literary works.

In Gerhana Kembar (Twin Eclipses), a collection of short stories, Clara, a graduate of communication studies from Ohio State University in the U.S., relates that "truths" and loves are found both in straight and homosexual relationships.

While man and woman are traditionally symbolized by the sun and moon, respectively, the 35-year-old writer picked gerhana (eclipse) as a representation of homosexuality -- the unifying characteristics of man and woman.

Gerhana Kembar was published as a daily series in Kompas before it was published as a book. The novel has been reprinted three times -- a considerable success for a book exploring such a "sensitive" theme.

The novel was published by Gramedia, the country's largest publishing company considered "conservative" in terms of political and cultural issues.

Malaikat Jatuh (fallen angel), her latest offering, explores death, with women again starring as the main characters.

Clara's earlier novels were considered pop works. Three of her books belong to the trilogy of Indiana Chronicle -- Blues (2004), Lipstick (2005) and Bridesmaid (2005) -- which saw her name recognized as a modern female novelist.

The characters in her earlier books were often metropolitan working women with their urban issues, which many might view as superficial and unsubstantial problems.

But many women on Clara's blog assert the topics are "gue banget" ("so me"). But Clara says she does not care much for literary critics, as long as her works can reach her readers.

After writing her first novel, Tujuh Musim Setahun (Seven Seasons A Year) in 2002, Clara decided she wanted to make writing her full-time profession. Her novel Dimsum Terakhir (The Last Dim Sum) is being made into a feature film and is scheduled for release next year.

Clara is often asked where she gets her inspiration, for which she replies on her blog by citing a statement from one of her favorite writers, Neil Gaiman: "You get ideas all the time. The only difference between writers and other people is we notice we're doing it."

Clara's occupation is supported by her hobby: Reading. She has collected more than 1,000 novels in her home in Tanjung Duren area, West Jakarta.

The mother of two not only writes novels; she also writes children's books and has written 21 to date, including Seri Berbagi Cerita Berbagi Cinta (Story Sharing Love Sharing Series), a series of seven books; Sejuta Warna Pelangi (The Million Colors of the Rainbow), a series of nine; Bagai Bumi Berhenti Berputar (As if the Earth Stops Rotating), a series of five.

A book from her seven-book series titled Rambut Pascal (Pascal's Hair) was awarded the best children's story in 2006 by the Indonesian Publishers Association (IKAPI). The same association also awarded Clara's Sejuta Warna Pelangi the best book award in 2007.

Presenting simple stories with colorful drawings, her books teach children how to deal with feelings of sadness, shame and shock.

Clara's childrens' books focus on the relationships between mothers and their children which she hopes will encourage mothers to read with their children thereby fostering a love of reading among the younger generation. JP

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100th anniversary of Sutan Takdir Alisjahbana

Written by eastern writer on Tuesday, September 23, 2008

The Ubud Writers and Readers Festival in October will commemorate the 100th anniversary of the birth of the late writer and philosopher "Sutan Takdir Alisjahbana" with a night of performances by celebrated dancer Nyoman Sura, readings of his works, and tributes from friends and colleagues. Read the complete story about the man who called the father of Bahasa Indonesia at The Jakarta Post.

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Book Review: "State Terrorism and Political Identity in Indonesia"

Written by eastern writer on Friday, April 11, 2008

Author: Ariel Heryanto

Approximately one million innocent Indonesians were killed by their fellow nationals, neighbours and kin at the height of an anti-communist campaign in the mid-1960s. This book investigates the profound political consequences of these mass killings in Indonesia upon public life in the subsequent decades, highlighting the historical specificities of the violence and comparable incidents of identity politics in more recent times.

Contrary to the general notion, state terrorism was a common, persistent and basic mode of rule in the 20th century with a diversity in scope, intensity, duration and style. In many societies today it is close to having the status of a standard rather than aberrant mode of state rule. It has, at least on the surface, some modern and rational elements, and it often proves to be a highly effective force for enhancing – not undermining – social ‘order’ and ‘stability’.

Also contrary to the general view, state terrorism is not an exclusive characteristic of the Communist, Fascist and Islamic regimes. In no less significant ways it also characterises the so-called “liberal democratic” nation-states of the West. Many authors in the West have made separate but similar arguments to the effect that Western states, especially the USA, have been the most important terrorist states in the world since 1980, if not before. Anti‑state and non‑state terrorism is no more common or dangerous than state terrorism itself.

State terrorism is defined not merely by its perpetrating subject agents. It also distinguishes itself from other forms of terrorism that can be attributed to any uncontrolled accident or sporadic and ad hoc non‑statist ones. Its violence is differentiated from violence the primary motives, targets or effects of which are the physical harm or material destruction of the victims.

Where political violence is deliberately designed to invoke state terrorism, agents of the state select the victims either randomly or individually. Selection of victims may be based on more than one criterion, but the victims always represent the ultimate target population of the terror (for example, communism or Islam). Their representativeness may or may not conform either to objective reality or to the victims’ subjective worldview. What counts is that they appear to fit into the dominant discourse. The selected victims are not necessarily prominent members of the target group. As a result, any ordinary member of the target group can identify her/himself with the victims and conceive of the possibility of her/himself being the next victim. State terrorism often victimises vulnerable or even compliant individuals.

It is as important to distinguish between terrorism and political violence as to acknowledge their connections. Terror, as conceptualised in this book, refers to the severe and often long-lasting fear that may emanate from major and spectacular violence. Major political violence hit New York and Bali and killed many innocent civilians. Each of these incidents terrorised a far greater number of people, including those who had never set foot in either place.

Terror has a lot more to do not only with the related mental suffering of those immediately or directly affected and in site, but with a greater number of people through mediated messages or images at very different places and times. It would be ridiculous to deny the links between mental and physical suffering, but the distinction between the two is fundamental in a study of terrorism.

Not every incidence of large-scale or sustained violence with a high death toll resulted in terror. Conversely, terror may prevail without constant and widespread violence on a major scale. Under Indonesia’s New Order regime (1966-1998) terror was kept alive by some knowledge of major violence in the past, and regular displays in the present of selected memories of that past hinting to the general population of its potential recurrence in the present. As evident in several other countries during the Cold War , and again after September 11, 2001, terror in New Order Indonesia was maintained and facilitated by vigorous martial law enforcement in largely non-war situations.

It has not been easy for many foreign observers to appreciate the level of mental suffering among Indonesians under the New Order, because most of the time these Indonesians appeared – in direct encounter, in postcards, or in the mass media – to be quiet and contented with their ordinary lives, not to speak of the comfortable material life and economic growth during that period. The smiling faces of powerless and terrorised subjects across the nation easily misled sympathetic but poorly informed foreign tourists and observers.

Approximately one million innocent Indonesians were killed by their fellow nationals, neighbours and kin at the height of an anti-communist campaign in the mid-1960s. Profound political consequences followed these mass killings, affecting Indonesian public life in subsequent decades. State Terrorism and Political Identity in Indonesia: Fatally Belonging highlights the historical specificities of the violence and comparable incidents of identity politics in more recent times. It seeks to examine where, if at all, there is any space for the largely repressed public to negotiate, avoid, or resist the suffocating political environment – decades after the actual killings in 1965-66.

I take issue with the general tendency to see the periodic anti-communist witch-hunts as nothing but a political tool in the hand of a powerful military elite and the authoritarian government of the New Order to repress political dissent, discredit potential enemies, or attempt to legitimise its responsibility for past killings. And I argue that elements of what began as an anti-communist campaign took on a life of their own, increasingly (though never totally) operating independently of the 1965-66 violence and of the individual subjects who appeared to be manipulating the campaign in the 1980s and 1990s.

New Order state terrorism is not unique, although its particularities are of great interest. Neither is its operation isolated or independent from unequal inter‑state power relations. Its global dimension is seriously considered in the concluding chapter of this book.

State Terrorism and Political Identity in Indonesia: Fatally Belonging, by Ariel Heryanto (University of Melbourne), Routledge (September 2005), will be launched by Dr Robert Cribb (ANU) in the University of Melbourne Bookshop, Tuesday 18 October 2005 (5-7pm).


Credits:
Review see: http://uninews.unimelb.edu.au/articleid_2846.html
About the book: http://users.tpg.com.au/arielh/041537152X/about.htm

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Remembering Sobron Aidit

Written by eastern writer on Wednesday, April 09, 2008

Sobron Aidit has passed away on February, 10 2007 in Paris, France, and his corpse was burried at Père Lachaise. His work was documented at Panorama Indonesia. I do not know who had kindly made this page. This page collected Sobron work, prose, poem, all archive written in Bahasa Indonesia. See on the Sobron Aidit page now.

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Child of All Nations, Buru Quartet by Pramoedya Ananta Toer (English Version)

Written by eastern writer on Sunday, April 06, 2008

This Earth of Mankind, Child of All Nations,Footsteps, House of Glass
This edition was translated from the Indonesian by Max Lane
Penguin 1982, 1984, 1990, 1992

In the Buru Quartet, the four novels which begin with This Earth of Mankind, Pramoedya Ananta Toer has written what should be recognised as the Indonesian War and Peace. Set in Java in the then Dutch East Indies, at the beginning of this century, its subject is nothing less than the broad sweep of Indonesian colonial history and politics. Based on a historical figure, the protagonist, Minke, is a Native Javanese, a Raden Mas or noble who has received a Western education.

The first two volumes (also published together as Awakenings) describe Minke's coming of age, caught in a conflict between cultures. In This Earth of Mankind he marries Annelies, the daughter of a Javanese concubine and a Dutch factory owner. When her father dies, she becomes the legal property of her Dutch relatives and is taken to the Netherlands, her Islamic marriage having no standing. In Child of All Nations Minke's real political awakening begins. He starts to write in Malay rather than Dutch, he follows events in Japan and China and in the Philippines, and he experiences firsthand the effects of sugar farming and the exploitation of his own people.

In Footsteps Minke moves to Betawi (Jakarta) to study at medical school, though he soon abandons that as a career. He marries a second time, to a Chinese activist, and enters into public political life, founding the first Native organisation and launching a newspaper. This is set against the background of the Dutch conquest of Bali. Minke's "memoirs" end with his exile to Ambon and the narrator in the final novel is Pangemanann, a Western educated Native who has risen in the service of the government, first to police commissioner and then to member of the Algemeene Secretariat, the advisory body to the governor. He chronicles his manipulation, surveillance, and terrorisation of the various opposition movements and leaders, Minke among them. As well as narrating the historical events down to the end of the First World War, House of Glass is a moral condemnation of colonialism from the inside.

The novels become progressively heavier with historical and political exposition as the series progresses; they will appeal most obviously to those curious about Indonesian history or the politics of colonialism. But they also retain an easy flow and a vividness which remind one that the first two were originally spoken, in a prison camp where Pramoedya was denied access to writing materials. Pramoedya's works were for many years banned in Indonesia.

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Habiburrahman El Shirazy: No intentions to counter 'Satanic Verses'

Written by eastern writer on Sunday, April 06, 2008

Islam is an easy target for misrepresentation. It has been misunderstood and misused for centuries by its ignorant followers as well as its "enemies".

It is no surprise then that questions about the nature of the religion have been reiterated over the past three decades.

Does the faith recognize human rights? Is it compatible with democracy? Does it respect women? Is it tolerant? Can it cope with modernity and adopt its modern institutions? A bulk of scientific, philosophical articles have been written to answer these indicting questions, but the prejudices against the faith persist.

It is in such a frustrating situation that Muslim author Habiburrahman El Shirazy writes his novels and now plans to translate his most popular piece, Ayat-Ayat Cinta (Verses of Love), into English.

The movie based on the novel, which bears the same title, has proved to be wildly popular -- making schoolgirls and even the President shed tears.

"I just want to show the beauty of Islam that I feel and comprehend. Islam encourages its adherents to do good unto others and orders them to develop and respect the truth," the 32-year-old told The Jakarta Post in a email interview.

Graduating from Cairo's Al-Azhar University, the oldest and the most prestigious university in the Islamic world, Habiburrahman is among the few Indonesian Muslim writers who is well-versed in traditional Islamic studies such as the hadith, fiqh (Islamic jurisprudence) and Koranic exegesis. He was also brought up in a pesantren (Islamic boarding school) culture in Demak, Central Java.

His past distinguishes him from other Muslim writers, especially those from local state universities -- like the University of Indonesia, Gadjah Mada University, Padjajaran University and the Bandung Technology Institute -- who were mostly brought up in secular schools and who learned about Islam from translated books and by participating in the tarbiyah movement, the genesis of the Justice Prosperous Party (PKS).

Kang Abik, as his friends call him, said his novels do have a purpose -- the propagation of Islam.

To some readers, his works might sound irritatingly preachy as they were written with the conviction that "one of the ways to serve God is to use art as a medium to promote virtue".

"Art in Islam is considered to be in accordance with human nature, or fitrah. Islam recognizes that human beings need beauty, or arts. As serving God is the ultimate purpose of human life, everything (including making art) is a form of ibadah (worship) if it is aimed to serve God," he said.

But is not art identical with the freedom of expression?

"Every human being has desire. There is always this desire that tells a person to do evil. This desire has often turned art into a medium of gratification and freedom of expression is often used as an excuse. It contradicts the true nature of art, which is the beauty that enlightens people," he said.

Art and religion have long been part of Abik's life.

"It all started when I participated in a poetry reading competition in elementary school and won it. I read a poem by Chairil Anwar entitled 'Pangeran Diponegoro' (Prince Diponegoro). I was so happy because they gave me books as the prize. Since then, I have continued to enjoy literature. It all started with that poem," he said.

He said he started reading novels when he was in elementary school.

"There were several novels about the national struggle for independence in the school's library. There was a movie titled Serangan Fajar. I think that's the reason why I loved reading novels with a national theme," he said.

Before leaving for Egypt to study at Al-Azhar, he had won many art competitions. He had also written and directed a theatrical poem entitled Dzikir Dajjal (The Remembrance of the Anti-Christ) during high school.

In Ayat-Ayat Cinta, which is based on his contemplations of one the verses in the Koran, Kang Abik tries to present the "correct" Islam. One of the things that he tries to highlight is the relationship between Muslims and non-Muslims, especially the ahlul kitab, or "people of the Book".

"The most important thing in becoming a Muslim is contemplating the Koran consistently and responsibly. I believe if people understand the Koran correctly, they can be as mature as Fachri (the protagonist in the novel) when he interacts with Maria, who is a Coptic Christian," he said.

His novel goes further than telling Muslims to respect their Christian neighbors and guests. There are two sensitive issues, he said, that mainstream Muslims in Indonesia have missed or intentionally overlooked in the novel and the movie.

Kang Abik believes that interfaith marriage -- as conducted by Fachri and Maria -- is allowed in Islam, though with "several important conditions".

"The ground is clear as stated by sura Al-Maidah verse 5," adding that he was "following the opinion of the majority of the ulema".

The other issue concerns the controversy of polygamy. While a number of Muslim preachers promote polygamy, Kang Abik believes that "Islam demands justice, including in marriage".

"I believe that monogamy is more just than polygamy."

The character Fachri is loved by four women and marries two of them, but the novel highlights Fachri's natural inclination to be monogamous and -- as clearly shown in the movie -- depicts the psychological effects of a polygamous marriage.

"Polygamy is commanded by God as a solution, not a purpose. In the words of the majority of the ulema, polygamy is arukhsah (relief or dispensation), which should be carried out in a condition of emergency. We have to see this matter correctly. Sharia never intended to abuse people," he said.

Amid his activities as a lecturer and manager of his pesantren, Basmala Indonesia, and traveling from one city to another to talk about Islam, Kang Abik still proves himself to be a prolific writer.

Besides Ayat-Ayat Cinta, his other novels include Diatas Sajadah Cinta (On the Carpet of Love), Ketika Cinta Berbuah Surga (When Love Bears Heaven), Pudarnya Pesona Cleopatra (The Fading Charm of Cleopatra), Ketika Cinta Bertasbih (When Love Praises God, two volumes) and Dalam Mihrab Cinta (In the Pulpit of Love). He is now finishing Langit Makkah Berwarna Merah (the Red Sky in Mecca), Bidadari Bermata Bening (The Angel with Bright Eyes) and Bulan Madu di Yerussalem (Honeymoon in Jerusalem).

He reiterated that he writes his novels to promote kindness, not to counter other novels, including the famous work by Salman Rushdie, The Satanic Verses, which is considered blasphemous by the majority of Muslims.

"Ayat-Ayat Cinta will be translated into English, it is not aimed at countering any novel."

Source: The Jakarta Post

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Meeting with NH Dini

Written by eastern writer on Friday, April 04, 2008

Nurhayati Sri Hardini Siti Nukatin also known as NH Dini was born in Semarang, Central Java, on February 29, 1936. Dini is one of Indonesian Feminist Writer who have started writing her literary works (novel and short story) since the 1950-60s decade when she was sixteen years old. And she amazingly keep writing her new novel up to now, after releasing "La Grande Borne" (2007) she recently released a new novel "Argenteuil" (March 2008). At least more than 20s books has been wrote by Dini. (Read more about NH Dini at Indonesian Wikipedia)

Image: NH Dini celebrate 68 birthday in Bentara Budaya Yogyakarta. [image taken from suaramerdeka.com]


I find any information related to NH Dini on the net. A blogger told on her blog that she has a simple ambition in his life. What's that, meeting with NH Dini. Wouw... sound great!


Aku punya satu cita-cita sederhana. Bertemu NH Dini, salah satu penulis buku yang aku kagumi.

Sudah beberapa tahun ini, terlebih sejak aku membaca Namaku Hiroko, Pada Sebuah Kapal dan Dari Parangakik ke Kampuchea, aku terobsesi ingin bertemu beliau. Mungkin sama sepertinya keinginan Happy Salma bertemu Pramoedya Ananta Toer. Bedanya, cita-cita Happy sudah tercapai, cita-citaku belum.

Source: http://shirleythe_24may.blogs.friendster.com


"Speaking of love, I had the opportunity to be introduced recently to one of your famous literary writers, by the name of NH Dini. I am not a literary person, and I haven't read any of her work (I used to read books by Hamka when I was a kid). But, she is one of those who exude a certain aura of love and compassion, no doubt gained from her life experience of 70 years, and all the people and events that contribute to it. And when she smiled at me, I felt so accepted and so understood. I love her, that lady, and I wish her blessings and joy the rest of her wonderful life."

Source: http://www.opensubscriber.com/message/zamanku@yahoogroups.com/8034191.html


More links related to NH Dini on the net:
- Buku NH Dini Cermin Batin Perempuan
- Biography of NH Dini at Wikipedia
- Brisbane with NH Dini
- Feminisme Eksistensialis, Sebuah Tinjauan dan Refleksi
- Biography of NH Dini at Tokoh Indonesia

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Muhammad Yamin (1903-1962)

Written by eastern writer on Friday, December 21, 2007

Caption: This is a cover of "Muhammad Yamin dan Cita-Cita Persatuan (Muhammad Yamin and His Ambition to Unite The Old Indonesian Society/Hindia Belanda) historian, poet, playwright, and politician, member of the leftist Murba Party. Yamin became President Sukarno's principal 'myth-maker'. He started his career as a writer in the 1920s, when Indonesian poetry was marked by an intense and largely reflective romanticism.
_______________________________

Di atas batasan Bukit Barisan
Memandang beta ke bawah memandang
Tampaklah hutan rimba dan ngarai
lagi pun sawah, telaga nan permai :
Serta gerangan lihatlah pula
Langit yang hijau bertukar warna
Oleh pucuk daun kelapa :
Itulah tanah airku
Sumatera namanya tumpah darahku.
(from 'Tanah Air')



Minangkabau Muhammad Yamin was one of the pioneers of modern poetry in Indonesia. He was born in Sawah Lunto in West-Sumatra. Yamin started to write in Malaya in the Dutch-language journal Jong Sumatra in 1920, but his early works were still tied to the clichés used in Classical Malay. Yamin debuted as a poet with Tanah Air ('fatherland') in 1922. It was the first collection of modern Malay verse to be published. However, the first important modern novel in Malay, Sitti Nurbaya by Minangkabau Marah Rusli, had appeared in 1922. Rusli's work enjoyed ten years of great popularity. The 'fatherland' to which the title of Yamin's book referred, was not Indonesia but Sumatra. In the title poem In it, Yamin stands on the hills of his native Minangkabau country, praising its natural beauty. Yamin's second collection, Tumpah Darahku, appeared on 28 October, 1928. The date was historically important - then Muhammad Yamin and his fellow nationalists resolved to revere a single - Indonesian - homeland, race and language. His play, Ken Arok dan Ken Dedes, which took its subject from Java's history, appeared also 1928. From the late 1920s until 1933 Roestam Effendi, Sanusi Pané with his poems (Madah Kelana, 1931) and plays (Kertadjaja, 1932; Sandhyakala ning Majapahit, 1933), and Sutan Takdir Alisjahbana were the principal shapers of the Malay language and its literature.

Yamin studied law in Jakarta, graduating in 1932. He worked in Jakarta until 1942 specializing in international law. Yamin's political career started early and he was a active in nationalist movements. In 1928 the Second Congress of Indonesian Youth proclaimed Malay, since known as Indonesian (Bahasa Indonesia), the language of the Indonesian nationalist movement. Yamin made an initiative through the organization Indonesia Muda, that Bahasa Indonesia is made as the foundation of a national language. Today it is the republic's official language and the principal vehicle for innovative literary expression. Also attempts at writing modern literature have been made in most of Indonesian major regional languages.

During the Japanese occupation (1942-1945) Yamin worked for the Japanese-sponsored confederation of nationalist organizations, the Center of People's Power (Putera). In 1945 Yamin suggested to BPUPKI, a committee preparing Indonesian's independence process, that the new nation should include Sarawak, Sabah, Malaya, and Portuguese Timor, as well as all the territories of the Netherlands Indies. Achmad Sukarno (1901-1970), who was a member of BPUPKI, supported Yamin. Sukarno became in 1945 the first President of Indonesian republic. Under Sukarno's long period of power - he was he was stripped of office in 1967 - Indonesia became a leader of the Third World, and developed close ties with China and the U.S.S.R. During and after the struggle for independence Yamin held important posts in the governmental administration. Yamin died in Jakarta on October 17, 1962.

Yamin's first works appeared in the 1920s. He made much use of the sonnet form, borrowed from Dutch literature. At that time among the major writers were national activist Abdoel Moeis (1898-1959), whose central theme was the interaction of Indonesian and European value system. In 1936 appeared Pandji Tisna's (1908-1978) Sukreni, gadis Bali, possibly the most original work of pre-independence fiction, which dealt with the destructive effect of contemporary commercial ethics on Balinese society. Distinctly innovative poetry began to appear in the 1910s. The European sonnet form was especially popular, but the influence of traditional verse forms remained strong. Although Yamin experimented with the language in his poetry, he uphold the classical norms of Malay more than the younger generation of writers, who gradually improved on the new poertry. Yamin also published plays, essays, historical novels and poems, and translated works from such authors as Shakespeare (Julius Caesar) and Tagore.

Source: www.kirjasto.sci.fi/yamin.htm

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Multatuli, Dutch Writer Who Defend for Dutch East Indies (Indonesia)

Written by eastern writer on Sunday, December 09, 2007

Eduard Douwes Dekker (Amsterdam, 2 March 1820 - 19 February 1887), better known by his pen name Multatuli, was a Dutch writer famous for his satirical novel, Max Havelaar (1860) in which he denounced the abuses of colonialism in the colony of the Dutch East Indies (today's Indonesia).

Dekker was born in Amsterdam. His father, a ship's captain, intended his son for trade, but this humdrum prospect disgusted him, and in 1838 he went out to Java and obtained a post as a civil servant. He moved from one posting to another, until, in 1851, he became assistant-resident at Ambon, in the Moluccas. In 1857 he was transferred to Lebak, in the Bantam residency of Java. By this time, however, all the secrets of Dutch administration were known to him, and he had begun to openly protest about the abuses of the colonial system. Consequently he was threatened with dismissal from his office for his openness of speech. Dekker resigned his appointment and returned to the Netherlands in a state of fierce indignation.

He was determined to expose in detail the scandals he had witnessed, and he began to do so in newspaper articles and pamphlets. Little notice, however, was taken of his protestations until, in 1860, he published his novel Max Havelaar under the pseudonym of Multatuli. Dekker's new pseudonym, which is derived from Latin, means, "I have suffered much", or, more literally "I have borne much" referring to himself, as well as, it is thought, to the victims of the injustices he saw. An attempt was made to ignore this irregular (for the 1860s) book, but in vain; it was read all over Europe. The exposure of the abuse of free labour in the Dutch Indies was thorough, although colonialist apologists accused Dekker's terrible picture of being overdrawn. Multatuli now began his literary career, and published Love Letters (1861), which, in spite of their mild title, were mordant, unsparing satires.

Although the literary merit of Multatuli's work was widely criticised, he received an unexpected and most valuable ally in Carel Vosmaer.[citation needed] He continued to write much, and to publish his miscellanies in uniform volumes called Ideas, of which seven appeared between 1862 and 1877 and also contain his novel Woutertje Pieterse.

Dekker left Holland, and went to live in Wiesbaden, where he made several attempts to write for the stage. One of his pieces, The School for Princes (published in 1875 in the fourth volume of Ideas), expresses his non-conformist views on politics, society and religion. He moved his residence to Nieder Ingelheim, on the Rhine, where he died in 1887.

In June 2002, the Dutch Maatschappij der Nederlandse Letterkunde (Society for Dutch Literature) proclaimed Multatuli the greatest Dutch writer of all time.

Multatuli's brother, Jan Douwes Dekker, is a grandfather of Ernest Douwes Dekker (also known as Danudirja Setiabudi, an Indonesian National hero).

Some useful links:

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"Saman" by Ayu Utami

Written by eastern writer on Sunday, December 09, 2007

In 2005, Equinox, Indonesia’s most prestigious English-language publisher, launched this long awaited book by Ayu Utami, a breakthrough novel for its author which virtually pioneered Indonesia’s “chick-lit” genre. Falling loosely under a group of writers called sastra wangi (“fragrant letters”), the book became a literary sensation after it was first released in 1998. Formerly published by Gramedia in 1998, the Equinox publication is the first English-language edition.

Because the novelist unabashedly and provocatively expressed herself from an Indonesian woman’s perspective – some would think to the point of vulgarity – the book was truly a first in modern Indonesian literature. Saman enjoyed spectacular sales of over 100,000 copies in its Indonesian language edition in a country where a book which sells more than 5000 copies is considered a bestseller. The title went on to win the Jakarta Arts Council award for fiction in 1998 and the prestigious Prince Claus Award in the year 2000.

Saman is a story seen through the lives of its feisty female protagonists – Cok, a businesswoman; Laila, a 30-year-old writer/photographer; Shakuntala, a dancer; and Yasmin, a lawyer – as well as the enigmatic hero Saman, a catholic priest turned human rights activist.

The author was born in Bogor, grew up in Jakarta and obtained a B.A. in literature from the University of Indonesia. She worked as a journalist for Matra, Forum Keadilan, and D&R. Not long after the New Order regime closed Tempo, Editor, and Detik, she participated in the founding of Indonesia’s Alliance of Independent Journalists to protest the closure of those three weeklies.

Saman was one of the first Indonesian novels in which the author conducted rigorous in-depth on site research to lend authenticity and flavor to her story. For example, she displayed an almost obsessive eye for detail when vividly describing the environs of an oil rig in the South China Sea where she had two of her characters meet. She displayed an equal passion for cultural detail when writing about the comedienne Rosie O’Donnell, Kermit the Frog, and French ticklers.

Rendering literary works from Indonesian into English poses many difficulties, and Dr. Pamea Allen’s translation is accurate and crisp, though perhaps a tad dry. The story is at times confusing and even clumsy as it jumps between characters, locations, times and points of view. Nevertheless, the tale still manages to captivate the reader, reading occasionally like a riveting newspaper story.

It is at once an exposé of the oppression of palm oil workers in South Sumatra during the autocratic Suharto regime, a lyrical quest to understand the place of religion and spirituality in contemporary Indonesia, a playful exploration of female sexuality and love in all its permutations, while at the same time touching on all of the country’s long-forbidden taboos: extramarital sex, the loss of virginity, brutal government repression, political corruption and the explosive religious relationships between Christians and Muslims.

If Saman serves to whet your appetite for more of this keen-eyed and wildly popular author’s work, be aware that Ayu has joined the International Writing Program at Iowa University in the U.S.A. and is now writing her third novel, an English-language version of Saman’s sequel, Larung!

Saman by Ayu Utami, Equinox Publishing 2005, ISBN 979-3780-118. Softcover 184 pages.



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A Young Novelist Challenges Indonesia's Taboos

Written by eastern writer on Sunday, December 09, 2007

By Jonathan Napack
Source: www.iht.com

For Indonesia, 1998 was a time of two revolutions, political and cultural. Suharto's downfall and the subsequent election of President Abdurrahman Wahid received worldwide attention, but no one outside noticed the appearance of "Saman," a novella by an unknown 27-year-old named Ayu Utami.

The book quickly became a phenomenon, reigniting the kind of public debate that had atrophied under Suharto's regime. It touched on virtually all of Indonesia's taboos: extra-marital sex, political repression, the relationship between Christians and Muslims, hatred of the Chinese.

"That book was like a whirlwind," says Philip Yampolsky of the Ford Foundation here. "No one had talked about politics like that before, or, for that matter, about sex like that before."

Two years later, Indonesians await the long-delayed second book, tentatively entitled "Laila Never Called in New York," which Ayu considers the completed version of "Saman." In the meantime she has become a quasi-celebrity, unusual in a country where writers live on the fringes.

"The audience for literature in Indonesia is so small, and easily challenged," says John McGlynn, editor in chief of Jakarta's Lontar Foundation. "Short stories have much more of a tradition than novels."

"Saman" shows signs of being a draft — scenes undeveloped, sketchy characters — but is still an impressive work, written in fresh, lively prose shifting among different times and locations. At its core is the story of the Catholic priest Wis and his transformation from political passivity to dissidence. Surrounding him are four women, originally his students — Yasmin, Laila, Shakuntala and Cok — whose voices, woven together in Faulknerian fashion, form the novel.

The book is set in the 1990s but its key events take place in the early '80s, when Indonesia's economic "miracle" demanded a brutal price for "development." Wis, who teaches at a Catholic school, takes the side of villagers dispossessed by the government. He organizes protests, escapes a crackdown and moves overseas, reborn as the activist Saman.

But "Saman" is less about politics than love and personal awakening, as if Costa-Gavras were directing "Magnolia." Wis's political awakening is paralleled by a sexual one, as he breaks his vows to have a passionate affair with Yasmin.

Part of what makes "Saman" so extraordinary is its undermining of expectations. Its sexuality is never the comfortable kind: While Laila has an adulterous affair, Yasmin's love for Wis culminates in explicitly erotic letters evoking Genesis and the Song of Songs. Its treatment of ethnicity and religion is subversive: Wis, the Catholic priest, is Javanese (most Javanese are Muslim) and works in Muslim South Sumatra rather than the Christian North; Muslim Laila's married lover is a Christian; anti-Chinese hostility — a meeting of rubber tappers ends in condemnation of "Chinese colonialism" — is balanced by sympathetic Chinese characters.

The clampdown scenes broke the silence of self-censorship. "You get a very vivid picture of what happened when the government started putting the screws on these small rural communities," Yampolsky says.

So did the graphic sex. "Don't underestimate how daring she was," Yampolsky adds. "There's a disconnect in this country between what's represented as the norm and how people actually behave."

Ayu has her own explanation. "I read Tintin when I was a kid," she says, laughing, in the café of the arts center Tuk, where she works, organizing film series, lectures and performances. "That was my original inspiration."

Ayu's beauty — her luminous eyes and sensuously noble features — have worked more against than for her, inspiring bizarre accusations that she not only had an affair with her mentor Goenewan Mohammed, but that Goenewan was the true author of "Saman."

This misogynist conspiracy theory used as "proof" the unlikelihood that a young woman, never before published, could create such a self-assured work, without answering why Goenewan, a famous editor and essayist, would give it away. And as Yampolsky puts it, "why would a Muslim, even an open-minded one, write a novel so saturated in Christianity?"

Ayu's Catholicism is central to her vision. "I grew up with the Bible," she says, "and if you read it carefully there are all these contradictions, just like real life. It was written over a long period of time by different authors, and that inspired me to think of a novel as polyphonic."

Ayu, 30, grew up in Bogor, near Jakarta, feeling isolated as a Javanese among West Java's Sundanese and as a Catholic — nearly all Sundanese and Javanese are Muslim. "I wrote my first novel in high school," she says. "About adventurous teenagers. Everyone rejected it." She started university but dropped out at age 20 to join the magazine Matra and start a career as a journalist.

In 1994, she and some colleagues founded the Association of Independent Journalists, an act of courage that cost her her job and landed others in jail. "It was a very special time in my life," she says. "Most of us were young and still idealistic. It gives you hope, when you see very different kinds of people come together because they believe in something."

The odd contradictions of Suharto's New Order lightened the gloominess a little. "Maybe your friends were in prison," she says. "But at least you could bribe your way in and throw a party in jail."

The work at Tuk and residencies in the Netherlands and Japan have kept her busy: "I'm not one of those disciplined people who can write a paragraph a day. I need to feel inspired." She says the new book expands the role of several previously minor characters, and in particular delves into the 1965 anti-Communist, anti-Chinese massacres in Bali.

"The culture here was stunted by an apathy created by self-censorship," McGlynn says. "When 'Saman' came out, it signified the end of that."

For her part, however, Ayu shows no sense of triumph. "We still haven't won," she says. "It's not politics now, it's the society. The intolerance."

-

Jonathan Napack is a journalist who travels frequently in Asia.

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History of Indonesian literature

Written by eastern writer on Tuesday, July 31, 2007

Indonesian literature refers to written or literary works produced in Indonesia. The works, which are transmitted orally, can be seen in the article Oral tradition of Indonesia.

During its early history, Indonesia was the centre of trade among sailors and traders from China, India, Europe and the middle east. Indonesia was then the colony of the Netherland and Japan. Therefore its literary tradition was influented by these cultures. However, unique Indonesian charcteristics cause it to be considered as a separate path and tradition.

Chronologically Indonesian literature could be divided into several periods:


Pujangga Lama

The early Indonesian literature was dominated by malay literature, which reflects its origin. The literature produced by the Pujangga lama (literally means the old poets) was mainly written before the 20th century. These works were dominated with syair, pantun, gurindam and hikayat. Some of these works are:

  • Sejarah Melayu
  • Hikayat Abdullah, Hikayat Andaken Penurat, Hikayat Bayan Budiman, Hikayat Djahidin, Hikayat Hang Tuah, Hikayat Kadirun, Hikayat Kalila dan Damina, Hikayat Masydulhak, Hikayat Pandja Tanderan, Hikayat Putri Djohar Manikam, Hikayat Tjendera Hasan, Tsahibul Hikayat.
  • Syair Bidasari, Syair Ken Tambuhan, Syair Raja Mambang Jauhari, Syair Raja Siak.

Sastra "Melayu Lama"
The literature of this period was produced from the year 1870 until 1942. The works from this period were predominantly popular among the people in Sumatra (i.e. the regions of Langkat, Tapanuli, Padang, etc.), the Chinese and the Indo-European. The first works were dominated by syair, hikayat and translations of western novels. These are:

* Robinson Crusoe (translation)
* Lawan-lawan Merah
* Mengelilingi Bumi dalam 80 hari (translation)
* Graaf de Monte Cristo (translation)
* Kapten Flamberger (translation)
* Rocambole (translation)
* Nyai Dasima by G. Francis (Indonesian)
* Bunga Rampai by A.F van Dewall
* Kisah Perjalanan Nakhoda Bontekoe
* Kisah Pelayaran ke Pulau Kalimantan
* Kisah Pelayaran ke Makassar dan lain-lainnya
* Cerita Siti Aisyah by H.F.R Kommer (Indonesian)
* Cerita Nyi Paina
* Cerita Nyai Sarikem
* Cerita Nyonya Kong Hong Nio
* Nona Leonie
* Warna Sari Melayu by Kat S.J
* Cerita Si Conat by F.D.J. Pangemanan
* Cerita Rossina
* Nyai Isah by F. Wiggers
* Drama Raden Bei Surioretno
* Syair Java Bank Dirampok
* Lo Fen Kui by Gouw Peng Liang
* Cerita Oey See by Thio Tjin Boen
* Tambahsia
* Busono by R.M.Tirto Adhi Soerjo
* Nyai Permana
* Hikayat Siti Mariah by Hadji Moekti (Indonesian)

Angkatan Balai Pustaka
During this period, Indonesian literature was dominated with novels, short stories, dramas and poetries, which gradually replace syair, gurindam, pantun and hikayat. These works are mostly published by Balai Pustaka, giving this period its name. Balai Pustaka was established to stop the negative influence of many literature, which are written during that time. Many of those literature were pornographic and have somehow political background. From 1920 to 1950 Balai Pustaka published many works in high malay language, Javanese language and Sundanese language, some are also published in Balinese, Batak or Maduranese language.

Authors and works of Balai Pustaka

* Merari Siregar
o Azab dan Sengsara: kissah kehidoepan seorang gadis (1921)
o Binasa kerna gadis Priangan! (1931)
o Tjinta dan Hawa Nafsu

* Marah Roesli
o Siti Nurbaya
o La Hami
o Anak dan Kemenakan

* Nur Sutan Iskandar
o Apa Dayaku Karena Aku Seorang Perempuan
o Hulubalang Raja (1961)
o Karena Mentua (1978)
o Katak Hendak Menjadi Lembu (1935)

* Abdul Muis
o Pertemuan Djodoh (1964)
o Salah Asuhan
o Surapati (1950)

* Tulis Sutan Sati
o Sengsara Membawa Nikmat (1928)
o Tak Disangka
o Tak Membalas Guna
o Memutuskan Pertalian (1978)

* Aman Datuk Madjoindo
o Menebus Dosa (1964)
o Si Tjebol Rindoekan Boelan (1934)
o Sampaikan Salamku Kepadanya

* Suman Hs.
o Kasih Ta' Terlarai (1961)
o Mentjari Pentjuri Anak Perawan (1957)
o Pertjobaan Setia (1940)

* Adinegoro
o Darah Muda
o Asmara Jaya

* Sutan Takdir Alisjahbana
o Tak Putus Dirundung Malang
o Dian jang Tak Kundjung Padam (1948)
o Anak Perawan Di Sarang Penjamun (1963)

* Hamka
o Di Bawah Lindungan Ka'bah (1938)
o Tenggelamnya Kapal van der Wijck (1957)
o Tuan Direktur (1950)
o Didalam Lembah Kehidoepan (1940)

* Anak Agung Pandji Tisna
o Ni Rawit Ceti Penjual Orang (1975)
o Sukreni Gadis Bali (1965)
o I Swasta Setahun di Bedahulu (1966)

* Said Daeng Muntu
o Pembalasan
o Karena Kerendahan Boedi (1941)

* Marius Ramis Dayoh
o Pahlawan Minahasa (1957)
o Putra Budiman: Tjeritera Minahasa (1951)

* Pujangga Baru
* Generation 45 (Angkatan '45)
* Generation 50 (Angkatan 50-an)
* Generation 66 until Generation 70 (Angkatan 66-70-an)
* Generation 80 (Dasawarsa 80-an)
* Reformation period (Angkatan Reformasi)

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Mochtar Lubis, The Crusading Journalist

Written by eastern writer on Tuesday, July 24, 2007

Known for his exposés of government corruption and inefficiency, the legendary Indonesian editor Mochtar Lubis was jailed by two presidents while his newspaper, the daily Indonesia Raya, was banned six times. “Unable to report except accurately or to comment except honestly, he was bound to get into trouble with the despot Sukarno and the autocrat Suharto,” said author and journalist Robert Elegant.

Lubis was first imprisoned in December 1956. As a result of strong protests by the International Press Institute (IPI) among others, he was transferred to house arrest in January 1957. However, he was neither charged nor set free until April 1961. That year, he was given a hero’s welcome at the IPI General Assembly in Tel Aviv, where he attacked Sukarno’s treatment of the press in a courageous speech.

On returning to Jakarta from Tel Aviv, Lubis was promptly arrested and jailed. From a military prison in Madiun, hundreds of kilometers from his Jakarta home, Lubis smuggled out occasional letters, some of which were printed in IPI Report. After nine years in prison, he wrote: “I am a stubborn old fool and am fully convinced that our era is the era of human freedom and human cooperation and not the era of human enslavement and inevitable confrontation. ... But only a truly free press can help build up traditions of freedom, the respect of law, for public rights, for private rights, to fight against the abuse of power, against corruption — moral and material.”

Lubis was freed after nearly 10 years in jail following the overthrow of Sukarno. After his release, he revived Indonesia Raya in 1968 and resumed his role in pointing out government corruption. Lubis was soon to be in trouble again — this time for exposing corruption in the new government and among President Suharto’s family members. Along with many other publications, Indonesia Raya was closed down for good after the riots that accompanied the 1974 visit to Indonesia by the Prime Minister of Japan, Kakuei Tanaka. A year later, in February 1975, Lubis was again arrested. After weeks of interrogation by the military, he was imprisoned on charges of sedition for allegedly having mobilized students to demonstrate against the Japanese prime minister’s visit. The international press came forcefully to his defense, and he was released after two and a half months in prison on Apr. 15.

Mochtar Lubis was born on Mar. 7, 1922. Before taking over the editorship of Indonesia Raya in 1952, he worked as foreign affairs editor of the Indonesian National News Agency, Antara, from 1945 to 1952, and published the first English-language newspaper in Indonesia, the Times of Indonesia, in 1952. In 1966, he founded a cultural and literary monthly, Horison. A former member of the IPI Executive Board and chairman of IPI’s National Committee in Indonesia, he is also a renowned novelist, poet and essayist.

Lubis’s courage during the Sukarno and Suharto years became a byword in Asia and wherever the press was under attack. He was long ignored by the self-censoring media in his own country because of his firm belief that universal human rights should not be superseded by the notions of unity and nation-building. However, he is today regarded by his countrymen as the doyen of the Indonesian press and a symbol of courageous and independent journalism.

:: source: http://www.globaljournalist.org/archive/Magazine/Lubis-20002q.htm

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Mochtar Loebis, Indonesian Journalist and Novelist

Written by eastern writer on Tuesday, July 24, 2007

By any measure, Mochtar Lubis was impressive. A mostly self-educated Mandailinger, he was tall, handsome, urbane, and articulate in several languages. Always controversial, Mochtar was one of Indonesia's most respected journalists and best-known authors for over four decades.
His uncompromising journalistic style, his several substantial periods of political detention, his considerable literary skills and his extensive international connections, all earned him a colourful reputation, at home and abroad. He was an extremely deft 'cultural broker', explaining Indonesia to the West, and interpreting Western ideas for his own community.

Born in Padang in 1922, Mochtar was best known as the crusading editor of Indonesia Raya (Glorious Indonesia) daily newspaper, a publication with combative - even 'muck-racking' - journalism, dedicated to the exposure of corruption and government malfeasance.

From its establishment in December 1949, Indonesia Raya became embroiled in the divisive politics of the 1950s. In confrontations between the army and the civilian government, Mochtar and Indonesia Raya were often critical of President Sukarno. Critics accused them of serving those military and pro-US interests that were uncomfortable with Sukarno's non-aligned policies. Mochtar and his staff vehemently denied such claims.

Detentions

Frequent criticisms of Sukarno and his ministers led to Mochtar being detained without trial in 1956. Indonesia Raya closed under pressure two years later. Mochtar spent most of the remainder of Sukarno's presidency in detention, becoming Indonesia's best-known political prisoner internationally for most of this period.

Released in 1966, Mochtar revived Indonesia Raya only to have it banned by Suharto after anti-government riots in January 1974. He was imprisoned for yet another year. In his clashes with authorities, Mochtar dismissed pleas from colleagues to tone down his criticisms in order to be allowed to re-open Indonesia Raya. He argued that the press must be fearless in its criticism of those in power; it must accept banning rather than compromise.
He was accused of being politically naïve, unable to negotiate that fine line trod by savvy Indonesian editors as they struggled to maintain their publications and the livelihoods of their employees despite often-overwhelming constraints on political expression.

But Mochtar's forthright, combative spirit made him heroic to many. Younger journalists in particular admired the simple clarity of his analysis and his preparedness to speak out.

An international voice

Despite the demise of Indonesia Raya, he remained an editor at heart, active internationally in the International Press Institute and the Press Foundation of Asia. For 36 years he edited Indonesia's leading monthly literary magazine, Horison, founded in 1966 on the initiative of young anti-Sukarnoist activists.

As a measure of his international standing, he was appointed to the UNESCO Commission for the Study of Communication Problems (1977-9). This made Mochtar, at that stage, one of only four Indonesians to have been appointed to such UN commissions.

At home, he maintained his feisty opposition to the prevailing political authorities through support for various non-government organisations, such as the Jakarta Legal Aid Institute, and the environment movement. Yet he also became a life member of the establishment's most prestigious and exclusive intellectual and cultural body, the Jakarta Academy.

During his periods of detention Mochtar still wrote energetically, producing a string of novels, short stories and children's tales as well as some poems, diary accounts and biographical sketches, garnering a string of awards.

Literary achievements

In 1958, while under house arrest, he was the first Indonesian (and remains one of only three) to be given the prestigious Magsaysay Award for Journalism and Literature. His strong anti-leftist views led him to return the Magsaysay Award in protest in 1996 when leftist author Pramoedya Ananta Toer received the honour.

Most highly regarded of his literary works was his novel Jalan Tak Ada Ujung (Road with No End), which explored fear and courage during the Indonesian revolution, and for which he won a national Literary Award in 1952.

But what sealed his reputation internationally was his pillorying of the self-interested politics of Sukarno's Indonesia in Senja di Jakarta (Twilight in Jakarta). This was the first Indonesian novel ever translated into English.

Most touching perhaps remains his 1959 short story, Kuli Kontrak (Contract Coolies). This is an account of a childhood experience secretly witnessing his father, a Dutch-appointed administrator, overseeing the whipping of indentured labourers in the local prison.

Tragically Alzheimer's disease stole Mochtar's memory during his final years. Yet when he passed away in Jakarta on 2 July 2004, aged 82, his moral courage, revered journalistic principles and literary achievements left an enduring legacy.


*David Hill (dthill@murdoch.edu.au) is Professor of Southeast Asian Studies at ,Murdoch University, and a biographer of Mochtar Lubis

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A Chat with Pramoedya Ananta Toer

Written by eastern writer on Tuesday, July 24, 2007

What if the British had maintained a steadily oppressive rule over a liberty-minded North American population from the 1600s to after WW II? How would the colonists, living on plantations or forced to work at subsistence wages in factories, go about building an independence movement over those centuries, with the levers of power–economic, political, military, legal, cultural–in the hands of the British government?

photo of PramoedyaIn his exciting series of novels known as the Buru Quartet (This Earth of Mankind, Child of All Nations, Footsteps and House of Glass), the Indonesian author Pramoedya Ananta Toer dramatizes the development of intellect, will and courage required to organize a freedom movement under such conditions. For his power as a story teller, Pramoedya, as he's known (pronounced Prah-MOU-dia), has suffered tremendously. He has seen his writings banned and notes and drafts of novels destroyed, He's spent 14 years in prison, most of them in a forced labor camp on the island of Buru [see map], forced to eat grubs, lizards and mice or starve, and all the while watching fellow uncharged prisoners die by the hundreds. He lost much of his hearing in a beating by soldiers. And he was separated from and denied contact even by mail with his wife and young children during most of his years on Butu.

photo of Pramoedya and Prof. Florida, who led efforts to honor Pramoedya at CommencementPramoedya was on campus in May to receive an honorary doctorate in humane letters at Spring Commencement. Despite his ill treatment, the wiry 74-year-old has the cheerful and self-composed aura of the similarly fated and minded Nelson Mandela. Pramoedya delivered lectures and readings, signed books (including his recently published prison memoir A Mute's Silent Song, titled The Mute's Soliloquy in the English edition) and granted an interview to Michigan Today with a trio of questioners, Southeast Asian specialists Profs. Nancy K. Florida (Indonesian Languages and Literature, who translated) and Ann L. Stoler (anthropology and history), and MT's John Woodford. Also present were Pramoedya's wife, Maimoenah Thamrin, and his friend and editor Joesoef Isak of Hasta Mitra publishing company in Jakarta.

MT: Did you get the background for Minke, your hero who helps lead the Indonesian awakening beginning In 1898, from your father, who was a nationalist leader and educator?
Pramoedya A. Toer: When I was creating Minke's adventures, I had students pore over newspaper stories from the period and wove episodes into the plot. But to learn about the internal politics of the Indonesian nationalist groups from our many islands and regions, I didn't rely on my father but on the Dutch scholar Willem Wertheim. He brought out the characters who had been erased from our history.

Q: Is Minke's nemesis, the sinister Robert Surhoff, based on a real person?
A: I got him from a newspaper article about a Eurasian gang the Dutch had organized to terrorize the people of Jakarta. The Dutch devised a racial classification system similar to the American and South African apartheid scheme. "Indo" was the name for offspring of Dutch and Javanese. The Indos were born into a complex psychological problem, and Surhoff symbolizes the psychological and social confusion felt by many of this ancestry. He felt he was a true Dutchman, but the Dutch did not see him as such, and he thinks of the natives as dirty and low. This causes him to take extreme measures in expressing his racism.

Q: Who are your favorite American authors?
A: John Steinbeck and William Saroyan. Steinbeck's Of Mice and Men was the primer I used to teach myself to read Enghsh. I was so touched and impressed by those two writers that I'm afraid I have not been as open as I'd like to be to others.

Q: Who are other favorites?
photo of PramoedyaA: I read a lot of Zola as a youth, and before my prison exile I translated Tolstoy into Indonesian. I was impressed by his liberation of his serfs but he didn't serve as a model for my writing. Gorky influenced me much more. He was a writer who portrayed the social fabric of his country and gives readers an insight into the distinctive character of the Russian people. The Philippine novelist Jose Rizal [executed by the Spanish in 1896 after three years of imprisonment and torture for championing freedom from colonial rule–Ed.] was also an inspiration for me.

Q: Are you working on a book now?
A: Yes, on one called The Originator, a nonfiction work on the crusading journalist on whom Minke was modeled, Tirto Adhisurjo. The Dutch exiled him to the island of Molucca. His widow's family sent me many important documents that shed light on his life, but government security forces stole them from me and I've never seen them again.

Q: General Suharto's predecessor Sukarno, lndonesia's first leader, also imprisoned you, though briefly. Why was that?
A: That government didn't like the way I championed the rights of our Chinese minority. I admired and studied the awakening of the Chinese nationalist movement in the early 1900s. Indonesians were inspired by the Chinese movement's principles of social justice and internationalism as expressed in the writings of Sun Yat-sen. The Chinese characters who arise in my stories are symbolic of that influence. I try to show history being played out by what my characters say and do. I first learned of what the young Chinese who came to Indonesia were like from my mother.

Q: Now that Suharto Is out of office–what are your hopes for Indonesian-US relations?
photo of PramoedyaA: I have expressed my opinion everywhere that the United States should stop sending arms to Indonesia, that the armed forces are not a stabilizing factor. Your country–the West as a whole–is very influential throughout the world today. It was thanks to some pressure from the Carter administration that I was released in 1979. I ask everyone to help the youth of Indonesia complete the reformation of the nation. If we don't reform our society there will be social revolution, with people attacking, looting, killing. Only effective national leadership can prevent this hopeless outcome. A social revolution without national leadership would result in Indonesia's vanishing from the face of the Earth. Each faction would establish its own autonomous unit, and since, as Sukarno taught us, this century is the century of intervention, our resources would be up for grabs.

Q: How do you explain the deadly violence going on between ethnic groups and military and police elements in Indonesia now?
A: The so-called ethnic and communal problems you read about-it's clear someone is behind it. Someone is doing it for the purpose of postponing the return of our natural resources to the people, the riches stolen by the New Order [Suharto's name for his system of military rule–Ed.]

Q: [To Maimoena Thamrin, Pramoedya's wife.] How did you and your five children make do while Pramoedya was imprisoned?
A: I sold pastries, popsicles and knickknacks from my house and fabrics at street booths. It was very difficult for the children of all of the political prisoners. They were taunted and officials deprived them of educational and job opportunities.

Q: [Back to Pramoedya.] The Buru Quartet has all of the elements for a great film. Any plans for one?
A: An American filmmaker told my editor that in this country the movie would have to be based on Minke's fair-skinned first wife Annelise rather than Minke. Otherwise, he said, there would be too many little brown people running around for an American audience!

Q: Why did the Indonesian government ban your Quartet when its target is Dutch colonialism?
A: Well, apparently Suharto identified with the target! But it was the youth and students who were able to bring down Suharto. His fall was only formal, though; his power is still running. The root of our problems is colonialism. What is going on now is a repetition of what we experienced fighting colonialism. Indonesia is the world's largest maritime nation [more than 200 million people living on 3,000 islands and speaking more than 200 languages–Ed.], yet an army runs it. That is an inheritance from the colonial system and a fatal mistake. It causes many problems.

Q: The hero's guardian angel In the Quartet is Nyal Ontosoroh. the former concubine who wins her freedom and amasses a fortune. How did you happen to invent such a strong female character?

"My mother was a person of inestimable value, the flame that burns so bright it leaves no ash. Do not be surprised, therefore, that when I look back at the past I see the Indonesian revolution embodied in the form of a woman–my mother." From The Mute's Soliloquy, Hyperion Press, 1999.
A: When I would tell my fellow prisoners the stories that became the novels, I would say to them, "Look at her. Look at what she is doing–and she is only a woman! Certainly we men should be able to do more." I wanted her to inspire them. photo of PramoedyaIn real life, my mother was an incredibly strong character, although physically she was weakened by tuberculosis and died at 34 when I was 17. When people ask me to say how my mother influenced me, I say that what is in my books–everything–is what I got from my mother. She used to urge me to continue my schooling after I dropped out in junior high. "You must master Dutch," she'd say, "so you can widen your knowledge. Then you must go to Europe and other countries to learn even more. Do not stop until you have a doctoral degree." And now, thanks to my honor from the University of Michigan, I have finally fulfilled everything she wanted.

Pramoedya's series of four historical novels known as the Buru Quartet began as tales he made up to entertain his fellow prisoners. They liked them so much that they took over his grueling prison labor chores for six years so he could concentrate on inventing the stories he told them on work details and at night.

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Quote on Art and Literature

    "There is only one school of literature - that of talent."
~ Vladimir Nabokov (1899 - 1977)



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