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    Arifin C. Noer, Rendra, Putu Wijaya, Noorca Marendra Massardi, Akhudiat, Wisran Hadi, Saini K.M., Yudhistira ANM Massardi, N. Riantiarno, Aspar Paturusi, Afrizal Malna, Ratna Sarumpaet,

ISBN: 9786026978806

The Lontar Anthology of Indonesian Short Stories Volume 2: Short Fiction from the Twentieth Century, Vol. 2 The New Order and Beyond, 1965–2000

by: Arifin C. Noer, Rendra, Putu Wijaya, Noorca Marendra Massardi, Akhudiat, Wisran Hadi, Saini K.M., Yudhistira ANM Massardi, N. Riantiarno, Aspar Paturusi, Afrizal Malna, Ratna Sarumpaet,

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

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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.

ISBN: 9786026978806
EditorEditor : John H McGlynn, Zen Hae, Andy Fuller (editors)
Publish Date: 2017
Page Count: 604 pages

Dilahirkan di Cirebon, Jawa Barat, 10 Maret 1941, meninggal di Jakarta, 28 Mei 1995. Pendidikan terakhir Fakultas Sosial Politik Universitas Cokroaminoto, Yogyakarta. Mula-mula aktif dalam Teater Muslim (di bawah pimpinan Mohammad Diponegoro) dan Bengkel Teater (di bawah pimpinan Rendra) di Yogyakarta. la kemudian mendirikan Teater Kecil ketika sudah pindah ke Jakarta (1968). Tahun 1972-1973 ia mengikuti International Writing Program di Universitas lowa, lowa City, Amerika Serikat. la juga adalah seorang sutradara film yang menghasilkan banyak karya yang dikagumi.

Karya-karyanya antara lain: Nurul Aini (kumpulan puisi, 1963), Lampu Neon (drama, 1963), Siti Aisah (kumpulan puisi, 1964), Puisi-puisi yang Kehilangan Puisi (kumpulan puisi, 1967), Mega-Mega (drama, 1967), Air pasang Pengantin (drama, 1968), Kapai-Kapai (drama, 1970), Seorang Pengemis, Seorang Laki- laki Tua, Prita Istri Kita, Nenek Tercinta, Matahari di Sebuah Jalan Kecil, Sumur Tanpa Dasar (drama, 1971) Kasir Kita (drama, 1972), Tengul (drama, 1973), Orkes Madun (drama, 1974), Umang-Umang (drama, 1976), Sondek, Pemuda Pekerja (drama, 1979), Selamat Pagi Jajang (kumpulan puisi, 1979), A-A, I-I, U-U (drama, 1994), Nyanyian Sepi (kumpulan puisi, 1995). 

People still call him “Willy” although his name changed to Wahyu Sulaiman Rendra when he converted to Islam in 1970. From birth until the age of 35, he was known as Willibrordus Surendra Broto, or W.S. Rendra. Rendra is known not only as a poet, but also as a dramatist. Born in Solo, Central Java, on Thursday, November 7, 1935, from a Javanese Catholic family. He was educated from kindergarten through high school in the city of his birth. He continued his studies at the Literature Department at Gajah Mada University in Yogyakarta. His enjoyment of dramatic performance began when he was in high school. In 1957, Rendra won the literary award from the Consultative Body for National Cultural (Badan Musawarat Kebudayaan Nasional) for his poetry compilation Balada Orang-orang Tercinta. His name was immediately championed as the master ballad verse, and subsequently many young Indonesian poets imitated his style. He received numerous awards, among them the Wertheim Encourage Award 1991, and the SEA-Write Award 1996. In the 1980’s, he became known as “a leaflet poet” as he wrote socially conscious poetry.  He is respected by the public at large for his courage and skill at articulating the aspirations of society. His poems have been translated to many languages, including English, Dutch, German, Japanese, Russian and Hindi. In1957, he had the opportunity to visit the Soviet Union; he also lived in the United States for three years (1964 – 1967) while studying at the American Academy of Dramatic Art, New York. After returning from New York, Rendra founded the Bengkel Theater. With his apprentices at Bengkel, he caused a great public stir with their “Kaum Urakan” encampment at Parangtritis beach in 1972. Sunarti Suwandi (Almarhum) is his first wife. She was the woman who inspired much of Rendra’s early poetry. In 1970, Rendra converted to Islam and married Sitoresmi Prabuningrat, one of his colleagues from Bengkel Theater.  Currently, Rendra lives with his third wife, Ken Zuraida, and his Bengkel Theater protégés in the village of Cipayung on 2.5 hectares of farmland and livestock to provide for their daily needs
Putu Wijaya (full name I Ngurah Gusti Putu Wijaya), born in 1944 in Tabanan, Bali, is one of Indonesia’s most prominent literary figures. He pursued his tertiary education in Yogyakarta, studying at the Indonesian Fine Arts Academy, the Drama and Film Arts Academy and receiving a degree in law from Gajah Mada University. He then moved to Jakarta, where he launched his literary career while simultaneously working for several years as a journalist with Tempo and Zaman. Putu has been extraordinarily prolific, having authored some thirty novels, forty dramas, numerous film and television scripts and literally scores of short stories and essays. He is also known for his work leading Teater Mandiri, widely regarded as Indonesia’s foremost theatre collective. Putu’s philosophy of theatre is to create a tontonan (spectacle) that establishes a dialogue between author and audience and imparts a powerful, even shocking, experience rather than didactic message. His fiction is likewise marked by surreal, extravagant flights of imagination and his unique brand of magic realism presents a frequently mordant view of life in contemporary Indonesia. While drawing on indigenous genres, he recasts them in disorienting ways that push readers to question received norms. Over the course of his illustrious career, Putu’s work has won numerous awards and he has received recognition outside of Indonesia as well, which has included fellowships to study kabuki in Japan, a residency at the University of Iowa’s prestigious International Writing Program, and a Fulbright Scholarship to teach Indonesian theatre at universities in the United States. His writing has been translated into Japanese, Arabic and Thai as well as various Western languages.

Afrizal is concerned with a questioning of language and a bodily engagement with public and private space, things and their connotations and associations. It is through the appearance of everyday objects that Afrizal’s poems emerge as a repository of the cultural meanings of space and things in Indonesia’s everyday modernity.

Afrizal’s poems, through drawing on practices of montage, precise diction and curious grammar, maintain a fine balance between consistency of style and variation in theme and subject which asserts his distinctive poetic voice. These are poems that trace the quickly changing urban trajectory of present day Indonesia.

Additional information

Weight 6 kg
Dimensions 15.5 x 23 cm

“The Lontar Anthology of Indonesian Short Stories Volume 2: Short Fiction from the Twentieth Century, Vol. 2 The New Order and Beyond, 1965–2000”

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