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.
The Mystical Path of Badrul Mustafa is a collection of poetry that follows various narratives of Badrul Mustafa. Heru’s poems alternate from Badrul absurdly seeking truth from horse turds and unresponsive coconut trees to expressing contrarily sincere, symbolic confessions. The explanatory footnotes attached to the poems provide a satisfying depth to the cultural nuances of Heru’s home province, Minangkabau.
Nirwan Dewanto’s poems invite readers to explore a world which, at a glance, might seem familiar yet always conceals something beneath the surface –or vice versa. Objects and items normally encountered in everyday life appear very different in Nirwan’s poems, exhibiting a character and mien not common to them in real life.
A fast-paced, intensely emotional drama of Indonesian life high and low, set against the tumultuous backdrop of the reformasi era after the fall of Suharto in 1999, The Painter of Lost Souls is the story of Sito, a brilliantly gifted artist who leaves his home in a poor village in Central Java to make his name and his fortune in the royal city of Jogjakarta.
This suspenseful tale weaves together a fascinating inside view of the art boom in Indonesia and the nation’s political ferment in the twenty-first century, haunted by ghosts of the nation’s bloody past.
The Pilgrim, first published in 1969, has been hailed as Indonesia’s first real modern novel. The main characters are an artist and a cemetery overseer; the former represents emotion and the latter signifies reason and the conflicting aspects of human nature. Despite the characters’ antagonistic nature and cruelty, they are—in some ways—very similar. Both represents forms of creativity, philosophy, and art. Both exist outside conventional society. Both are searching for genuine human values and are aware of their shortcomings. In The Pilgrim, the chaos of thought and feelings represents life in its chaotic randomness.
Violence, money, and melodrama are the volatile ingredients of The Rape of Sukreni. Written in the 1930s, The Rape of Sukreni is a modern Indonesian classic that is concerned with the Balinese-Hindu notion of karma, and the impact of modern commerce on Balinese society. More telling today than when it was first written, The Rape of Sukreni offers a unique, insider’s dark view of the island’s future that violently challenges the conventional image of Bali as a honeyed paradise.
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 Saga of Siti Mariah, a translation of Hikayat Siti Mariah by Haji Mukti, is a window into the workings of Cultuurstelsel, the forced cultivation system imposed by the colonial government in the Dutch East Indies from 1830 until 1870. Embedded in this book’s pages are the lives of the Dutch sugar barons, indigenous elite, European officials, and Chinese middlemen who were enriched under the system, intersected by the lives of Javanese peasants who suffered under its yoke.
Arrested as a leftist-activist in 1966, Putu Oka Sukanta was imprisoned until 1976. In The Starling, he speaks of the terrible degradation of humanity and the inner strength and solidarity of comradeship which emerge in the extreme conditions of imprisonment. The poems go on to explore the painful steps in the reconstruction of life and social meaning after the prison gates have opened.
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.
A landmark novel, The Weaverbirds is a tale of physical and spiritual struggles. The story spans from the formative days of Indonesia’s independence to Indonesia’s oil crisis in the mid 1970s. Larasati, the precious daughter of Mr. and Mrs. Antana, and Setadewa, the army-brat son of Capt. And Mrs. Brajabasuki, are childhood friends. But when they are older, they find themselves on the opposite sides of the country’s political spectrum. Even with their many differences, their relationship offers guidance to survival in a chaotic world.
Dias’ collection of short stories indulge in creating every-day habitual, lonely and melancholy interactions and relationships of people. Her bleak and quite often ironic humor compliment these heart-break stories, inviting the reader into experiencing ordinary sad stories of unremarkable, ordinary beings.
Set in a small hotel in Yogyakarta, this play is a tale of thwarted aspirations and the mundane realities of adult life. It is also a commentary on the fluidity of sexual behavior as one female and two male characters try to ascertain the meaning of their relations with one another.
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.