Set in Jakarta during the Indonesian revolution, A Road With No End asks the question, “What must we do to free ourselves from fear?” The novel’s two principal characters, Isa and Hazil, are put to the test by the times. Isa is timid and submissive by temperament; Hazil, on the other hand, appears to harbor no doubts and does not know physical fear. But by the end of the novel, when the two are in the hands of Dutch Security, their personalities and how they react to incarceration produce markedly different responses.
History fascinates in the hands of M. Iksaka Banu. The stories in this collection feature well-crafted characters acting at key moments in Indonesia’s colonial past. Indonesia’s history has frequently been told through Western eyes. Now, M. Iksaka Banu reclaims the past and makes it come alive for today’s readers.
A Student Named Hijo has been recognized for depicting a new Indonesian youth culture that has adopted Western cultural and lingual facets. By contrasting traditional Javanese and Dutch cultural values, the author advocated a view that the two are incompatible. This includes love, described in the novel as something only those with a Dutch education would attempt to find. Rejected for publication by Balai Pustaka, the Dutch controlled publishing house, the work is now considered a classic.
What distinguished Mona Sylviana’s writing, is her willingness to look at the dark side of life and to confront societal issues head on. In Mona’s stories, the world is not a safe place for women. Yet her characters do not respond to situations as passive objects or victims; they challenge the accepted order.
The final days of World War II serve as the backdrop for this novel by Ismail Marahimin. Set in a small Sumatran village, And the War is Over is a tensely drawn story of the villagers, Japanese soldiers, Dutch prisoners, and Javanese workers who become, briefly but significantly, a part of each other’s lives. When a number of Dutch prisoners conceive an escape plan, tensions arise to a point where human relationships take center stage in this widely acclaimed novel.
The Lontar Anthology of Indonesian Short Stories: Short Fiction from the Twentieth Century, a two-volume collection, is the first definitive anthology in Indonesian of Indonesian short stories from the twentieth century. Volume 1 of this anthology presents 48 stories dating back to the days of rising nationalism in the rst part of the century to just before the downfall of Indonesia’s first president, Soekarno, and the rise of a militaristic government following the tragic events of 1965.
Volume 2 of Antologi Cerpen Indonesia 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.
Antologi Puisi Indonesia presents a wide- ranging selection of twentieth-century poetry, more than 450 poems by more than 240 authors. This anthology o ers 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.
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.
Sapardi Djoko Damono, one of Indonesia’s most productive and popular poets first began writing poetry as a high school student in the mid- 1950s. Before Dawn includes poems written by the author over a forty year time span, from 1961 to 2001. Arranged as they are in chronological order, the poems in Before Dawn together form a kind of poetic autobiography.
In “One Night,” written in 1964, the author is a young Muslim boy crying outside the church door as his classmates celebrate Christmas. In the 1967 poem, “For my Wife,” he is a young husband telling his wife that “the earth holds a spray of flowers, just for you.” In the 1981 poem, “In the Hands of Children,” he is now a doting father marveling that “in the hands of children, paper becomes Sinbad’s ship.” Jump to the 1989 poem, “At the Restaurant,” and he is now middle aged and wondering about the constancy of relationships – whether two people can ever truly share an eternal love. And finally, in the 2001 title poem, “Before Dawn,” the poet is a much older man, whose concerns are mental and physical frailty and, of course, death.
Available in e-book
Joko Pinurbo’s poetry is immediately recognizable for its simple language, accessibility, and the recurrent use of a number of speci c but unusual motifs. His poems deal with a wide range of interpersonal relationships, with gures who engage in prosaic narratives that are deeply ironic, full of dark humor, and interwoven with nostalgia.
Lawi’s poems are a calm and intimate read that indulge in the use of metaphoric descriptions of nature and free flowing verses. This collection evokes his religious upbringing and traditions within his family and community while intertwining a sort of confessional exploration on the role and process of being a poet.
In this coming-of-age novel four Indonesian high-school students seek to discover what their future will bring and find answers to their questions about sexuality. With characters ranging from cross-dressing hairdressers, drag queens, and rent boys to fanatic Muslims and low-life security personnel, the action of this tragicomedy moves between an Islamic boarding school and a gay bar in Jakarta, and in so doing illuminates the mindset and yearnings of a new generation of Indonesians.
English version: Not A Virgin
Caravanserai is a story set in Persian antiquity about a brother and sister who are adopted by a merchant called Uncle Babar. It is an exploration of the abuse of power within polygamy and the exploitation of sexuality through pedophilia. This story challenges the taboo of homosexuality by expressing very intimate desires and accounts between the male characters.
A coming-of-age story, a tapestry of erotic and tragic liaisons, a dreamscape of nightmares and wonders. But Ceremony is, above all, a tribute to the ceremony-rich life of the Benuaq Dayak, one of the many “upriver people” of Kalimantan. This post-modern (and first) novel by Korrie Layun Rampan took Indonesian literary scene by storm when it won the Jakarta Arts Council’s novel writing competition award in 1977. After winning the award, Korrie continued to establish himself as one of Indonesia’s major literary figures, but four decades later, Ceremony still has the power to thrill, awe, and mystify readers. This edition is graced by an informative introduction by noted French scholar, Bernard Sellato, on the rituals of the Benuaq Dayak people. It also contains a critique of the original edition by Indonesian poet and translator Dodong Djiwapradja.
Budi Darma’s stories are absurdist and surreal. Often in conversation form, they draw content from mythology, legends, and fables. There is an omnipresent mood of darkness that pervades much of his writing; a kind of bleak perspective that lies behind a thin cloak of normality and peace. In the modernist manner, Darma is interested in style, structure, themes, and plot. Yet at the same time, he disavows himself of the role of creator and regards his short stories as being the result of something external.