Putu Wijaya’s debut novel, Telegram, was a literary trendsetter for its synthesis of reality and fantasy. Unapologetically disorienting, the text offers a compelling portrait of Jakarta and Bali in the early 1970s. The novel’s first-person narrator is a Balinese journalist living in Jakarta who receives a telegram informing on his mother’s illness. But nothing is as it seems in Telegram. As readers are brought into the stream of consciousness meanderings of this sympathetic yet troubled and unreliable narrator, what is real and what is not becomes increasingly difficult to tell.
Rendra (1935-2009) is one of Indonesia’s most important poets and dramatists. During his lifetime he embodied the Indonesian sense of what a true artist should be. He was a flamboyant personality, often dubbed “the peacock”. His dedication to his art was absolute, and he gave honest and creative expression to his emotions and thoughts. His writing used a simple, flexible long-limbed free verse that is attractive and immediately accessible.
Raised within a mystical Javanese milieu, Rendra saw nature, the individual and society as potentially forming one harmonious whole. In his poetry and his plays this commitment to personal authenticity and social justice was expressed through stories. He wrote about all sorts of people: himself, his family children and grandchildren, those he met in daily life, the poor, the marginalized, victims of social injustice, women and children forced to live without love. Rendra’s criticism of New Order government development policies led to his detention and the banning of his public reading and performance of his works for almost a decade. His message to those who held power but lacked compassion was simple: “we say NO! and NO! to you”. To life itself, he said: “be and continue to grow” – be present, be centered, and at the same time be constantly in motion, constantly flowing. This book is his testimony to the sacredness of life in all its beauty.
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Atheis (The Atheist), first published in 1949, portrays the spiritual and intellectual crisis of Hasan, a young Muslim who is raised to be devout but comes to doubt his faith after becoming involved with a group of modern young people. Upon publication, religious thinkers, Marxist-Leninists, as well as anarchists decried the novel for not explaining their ideologies in more detail; but literary figures and many in the general public praised it. The novel, considered to be a masterpiece of modern Indonesian literature, is included in the UNESCO Collection of Representative Literary Works.
The Dancer, a trilogy, recounts the tumultuous days of mid-1960s Indonesia. It highlights the lives of Srintil, a dancer, and Rasus, a bewildered young man torn between tradition and political progress. Through experience, both learn the concept of shame and sin: Rasus after he leaves their village and journeys into the world and Srintil when the world finally comes crashing into her remote village. The Dancer gives a ground-level view of the political turmoil leading up to and following the coup in 1965. In 2011, a movie produced by Shanty Harman and directed by Ifa Irfansyah was made based on this trilogy.
The Fall and the Heart by S. Rukiah, first published in 1951, is a classic from Indonesia’s revolutionary era. Our lead character is a young, middle-class woman who’s in conflict with her family because of her lover. The Fall and the Heart is a thoughtful rendition of young people’s emotions, with one foot set on revolution and the other set on personal crisis.
A terrifying and evil king, Jarasandha, is terrorizing the world—taking over countries, imprisoning just and popular kings, and ravaging havoc on communities around the world. The heroic Pandhawa family of five brothers craft a plan together with Kresna to put on a very special ceremony of offerings that will help forge peace in the world. Jarasandha, meanwhile, has made his own pact with the evil forces in the underworld, to sacrifice one hundred kings in order to secure his power. He needs three more leaders, as he has already taken control over ninety-seven. As the three leaders Arjuna, Kresna, and Bima face off with Jarasandha in his kingdom of Giribajra, a grand debate begins on the nature of belief, religion, and rituals—Jarasandha insisting he is in the right, and Kresna debating his every point. The story comes to a climax when the Pandhawa actually do go through with their ceremony of offerings, and various challenges to their own peace of mind force them to examine their own beliefs.
Another books in this package:
The protagonists of the stories in this translated collection all crave a private domain, a place that nobody else can touch. These characters are feisty, non-conformist, and fiercely independent—traits that do not necessarily serve them well in the constraints of the conservative environments in which they find themselves, be that the environment of their family, their work or their country. To read the stories in this collection is to enter the private domain of the characters. It is also to share with those characters their quest for the most elemental thing in life: meaningful connections with other human beings.
As the New Order government became increasingly authoritarian, there was a clear shift in playwriting style from allegorical fairytales of wordplay, humor and oblique reference to a more direct engagement, interrogation, and call to arms. All in all, Indonesian drama during the New Order provides a fascinating window into a society caught between the legacy of tradition, the challenge of repression, and a strong desire for democratization.
Plays for the Popular Stage, the first volume of The Lontar Anthology of Indonesian Drama, offers windows on interethnic cultural obsessions in Indonesia and signs of participation in global trends. Originating with growth of Indonesia’s urban centers in the late 19th century, popular theater addressed a new social constellation: the mass audience. This volume brings together representative plays from the 1890s until the 1960s, including examples of diverse genres that make up Indonesian popular theater: komedi stambul, opera derma, tonil, sandiwara and lenong.
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The Lontar Anthology of Indonesian Poetry presents a wide-ranging selection of twentieth-century poetry, more than 325 poems by more than 180 authors, available for the first time in English translation. In Indonesia poetry enjoys a status far and above all other genres. Popular with the public in a way that’s unimaginable in the West, poetry is accessible through newspapers, magazines, radio, television, films and poetry readings. Major historical issues are articulated and negotiated through poetry, such as decolonization and the emergence of national consciousness, ethnic and gendered identities, and the environmental and social effects of modernization. This anthology offers a vivid portrait of twentieth-century Indonesia as seen through the lens of its poetry. As a complement to the Lontar anthologies of Indonesian drama and short stories, The Lontar Anthology of Indonesian Poetry offers the unique opportunity to explore the trajectories of a nation and its people through its poetry, which continues to act as the barometer of Indonesian literary life.
The Lontar Anthology of Indonesian Short Stories is the first definitive anthology in English of Indonesian short stories from the twentieth century. These two volumes, featuring a selection of 109 of the most popular and influential works of short fiction, span the entire century, from pre-Independence Indonesia to the year 2000, and include many new translations. The editors drew from a wide cross section of Indonesian short story writers with respect to ethnicity, gender, class, and ideology. Volume 2 presents 61 stories dating from the founding of the New Order government that followed a national bloodbath in 1965 to just after its end in 1998 and the dawn of the second millennia. Along with the rise of “newspaper-length short stories” and a dwindling focus on realism, this period was marked by numerous changes in style and form, especially in the last decade of the century when authors, concerned with the militaristic nature of the central government, began to adopt a much more direct approach.
The Lontar Anthology of Indonesian Short Stories is the first definitive anthology in English of Indonesian short stories from the twentieth century. These two volumes, featuring a selection of 109 of the most popular and influential works of short fiction, span the entire century, from pre-Independence Indonesia to the year 2000, and include many new translations. The editors drew from a wide cross section of Indonesian short story writers with respect to ethnicity, gender, class, and ideology. Volume 1 presents 48 stories dating back to the days of rising nationalism in the first part of the century to just before the downfall of Indonesia’s first president, Sukarno, and the rise of a militaristic government following the tragic events of 1965. Stories from the 1920s that drew on oral storytelling traditions and were suffused with nationalistic ideology were gradually replaced by fiction written with realism as a guiding principle. At all times, writers were the unofficial spokespeople for the issues affecting their generation.
Violence, money and melodrama are the volatile ingredients of The Rape of Sukreni. Written in the 1930s by AA Pandji Tisna, the novel was not published until 1947. It is considered an Indonesian classic, portraying Balinese-Hindu notions of karma with the impact of modern commerce on Balinese society as its main theme. Even more compelling today than when it was first published, The Rape of Sukreni offers a unique and dark view of the island’s future that violently challenges the Bali’s conventional image as a paradise full of artists and tourists. Anak Agung Pandji Tisna fulfilled his long-cherished ambition to become a writer by publishing Ni Rawit: Marriage Broker and Human Trafficking in 1935. This was soon followed by The Rape of Sukreni, I Swasta: A Year in Bedahulu, and Dewi Karuna: A Path of the Wanderer.
First published in 1927, Kwee Tek Hoay’s The Rose of Cikembang is an excellent example of the peranakan literature of the Netherlands East Indies that flourished between the 1900s and 1942 when the Japanese occupation in Indonesia began. Highly sentimental, the novel is rich in many of the controversial themes that Kwee was famous for: inter-racial love and the lives of its offspring, fate and karma, mysticism and reincarnation. In pre-war Indonesia, Kwee Tek Hoay’s novels were loved by urban readers. The Rose of Tjikembang, his most popular novel, was filmed twice, first in the early 1930s and again in the 1970s.
The novel details the crushing 19th century Dutch colonial system of “Forced Cultivation”, and the particular cruelty that pretty Javanese peasant women had to endure; they were little more than chattel, sometimes cherished, other times useful tools, to be passed from Dutch barons to Chinese middlemen to local elites. Written in Malay, Mukti’s book is one of the first novels written by an Indonesian in opposition to colonial authority. In 2013, the book’s translator, the late Catherine Manning Muir, received a “Best Translation Award” in Australia.(William Gibson in http://www.popmatters.com/tools/print/189981/)