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Seno Gumira Ajidarma
Eyewitness
by: Seno Gumira AjidarmaOn November 1991, Indonesian soldiers opened fire on protestors in Dili, capital of East Timor, killing an estimated 250 people. For publishing a report on this massacre, Seno Gumira Ajidarma, an editor of Jakarta-Jakarta magazine at the time, was dismissed from his position. He sought another way to tell the truth about what was happening in East Timor –this time through “fiction.” The stories in Eyewitness both unsettle the mind and pull the heartstrings. With their strange, unnerving style, the stories also represent one brave author’s refusal to forget. “When journalism is gagged,” the author once said, ”literature must speak.”
Rp150.000
Publish Date: 2015
Page Count: 123 pages
Additional information
| Dimensions | 14.5 x 21.5 cm |
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“Eyewitness”
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The Story of Kadirun Rp175.000
In the early 1910s, Semaoen was sentenced to prison for sedition by the Dutch colonial government. The Story of Kadirun, a semi-autobiographical novel, reveals with honesty and comprehensive insight the unjust treatment towards the indigenous people from a historical perspective. Kadirun’s tale, with its picture of the life of the Javanese during the colonial era, tells the readers what must be done to make the world a place fit to live in.
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Anxiety Myths Rp150.000
In a writing career spanning more than thirty years, Afrizal Malna has published several major collections of poetry and has seen his poems translated into several languages. Afrizal is concerned with questioning language and with bodily engagement with public and private spaces. It is through the appearance of everyday objects that his poems emerge as a repository of the cultural meanings of space and objects in Indonesia’s everyday modernity. His poems maintain a fine balance between consistency of style and variations in theme. These are poems that trace the quickly changing urban trajectory of present day Indonesia.
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Antologi Drama Indonesia, Jilid 3 (1946-1968) Rp200.000
Until the tenth year after Independence, revolution was still a dominant theme in all Indonesian literature genres, including plays. A drastic change and somewhat forced into an independent nation caused a lot of issues due to unpreparedness and sudden anticipation, which was not well planned. The obscurity of post-independence and disorganized “independence” concept was the things that were revealed: cursed, regretted, and mocked in most of the play in this third chapter. The players produced characters tasked to talk about independence impact to the society at large.
Another books:
Antologi Drama Indonesia, Jilid 1 (1895-1930)
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To Love To Wonder Rp150.000
In 1953, when Sitor Situmorang published his first collection of poetry, Green Paper Letters (Surat Kertas Hijau), he established himself as a prominent poet. In an essay he wrote some thirty years later, he would state that the poems of this collection expressed a single theme only: “love and wanderlust being two aspects of one and the same experience.”
To Love, To Wander, with poems dating from throughout Sitor’s productive writing career, is a travelogue, describing forty years of ontinuous love and wandering. It would be difficult to characterize his poetic work as a whole, even though the travelogue we could draw on the basis of a careful reading seems to deny every idea of development and change.
The main characteristic of Sitor’s poetry is the simplicity of its wording, the clarity of its syntax. The tales and descriptions bear a deceptive transparency: they suggest a coherence and control that is only confirmed in the regular rhymes and rhythms – but once readers set themselves to a serious interpretation, that transparency fades. The very lucidity leaves many open places that are not filled by making connections with other poems. Sitor’s poetry is a poetry of words, evoking concepts, calling up series of pictures and images that never come full circle.
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Antologi Drama Indonesia, Jilid 2 (1931-1945)
Antologi Drama Indonesia Jilid 1 (1895-1930)
In the end of the 19th century, the Dutch Indies grew a new style of performing arts with Malay language known as “Komedi Bangsawan” or the vaudeville. The appearance triggered by urbanization and the need of entertainment. Nevertheless, as shown by the nine plays in this first chapter, the author– mixed or locals – then exploits the opportunity to understand Malay language not just for entertainment but also to disseminate ideas, social concepts, and new philosophies. Slowly, this art performance can be said as the new people’s theatre.
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