(From Publishing Perspectives. Link to the complete article given below) The bilingual author and translator Laksmi Pamuntjak easily […]
In 2015, a short story collection “Monsoon Tiger and Other Stories” by Indonesian author Rain Chudori was published […]
By Aminah Sheikh
Let’s get down to brass tacks. Why do you write?
I write because it’s the one thing I know how to do. It’s a need and a sickness, a weapon of struggle and an instrument of grace. It’s work and leisure, a way of life. I think it’s been like that since I was six, when I started keeping a journal and writing single page stories that had to end no matter what at the end of a page. Not a single day goes by without the act of writing. Letters, impressions, observations, lines that come to mind.
I write because I read—as Susan Sontag said, the impulse to write is almost always fired by reading. I write because writing allows me to flesh out complex or extended thoughts more readily. It embraces language and ideas, shades and nuances; it is a medium both generous and rigorous. I write because writing always reveals something new about myself and about the world around me. I write because writing gives me my voice and the confidence to use it.
Tell us about your most recent book or writing project. What were you trying to say or achieve with it?
I’m hard at work at my third novel, The Fall Baby. It is a sequel of sorts to my first novel, Amba: The Question of Red. The Fall Baby tells the story of Srikandi, the illegitimate daughter of Amba and Bhisma, the protagonists of the first novel. It is also the story of Dara, an ardent women rights’ activist who comes from a conservative Muslim family, to whom Srikandi becomes close.
Born in 1966, a year after the Indonesian anti-Communist massacres began, Srikandi—who prefers to be called by her nickname, Siri—is a globetrotting conceptual artist. She is smart, free-spirited, self-possessed. She is also worldly, willfully difficult, wildly successful—and the loneliest woman on the planet. Perpetually torn between East and West, between her home country Indonesia and various cities she has called home—Berlin, London, Madrid—her art mirrors her life in its quest for the ‘in-between,’ the ‘middle ground,’ the grey zones of human experience.
Broadly speaking, my aim with this novel is to present the complex, multiple realities of both “East” and “West,” what it means to have to constantly navigate between different cultures; to be both “Indonesian” (Indonesia itself being an artificial construct, a 20th century modern political invention), and to be a global citizen; and to look into the tension between art and activism. In the most intimate terms, it is a novel about mothers and daughters—a leitmotif in my body of work.
Describe your writing aesthetic.
Hard to describe one’s own aesthetic. If pressed, I would say lyrical realism.
I’m a poet and a musician. So, sound, rhythm, and musicality are very important to my writing. I have to hear the music. It has to sound right when it’s read out. This used to be the biggest thing with me.
I’m also an essayist. So ideas are very important to me; historical reflection, cultural theories, political thinking, philosophy. I like to ruminate. I also have many professional interests: as an art observer, food critic, (former) concert pianist. So I often draw on them. Sometimes these musings are good and useful for the novel; they enrich, add depth, color, taste, texture. Sometimes they’re not so good because they’re digressive, irrelevant. They slow down the pace and distract from the story. Nowadays I’m striving for wit, brevity and precision; poetry also teaches you that.
Who are your favorite authors?
Novelists: Henry James, Vladimir Nabokov; Thomas Hardy, George Eliot, Fyodor Dostoevsky; Jim Crace, Richard Yates, Walker Percy; Jorge Luis Borges; Thomas Bernhard, Toni Morrison, Nadine Gordimer, Christa Wolf, Hilary Mantel, Michael Cunningham, Ian McEwan, Stefan Zweig, Colm Toibin, A.M. Homes, Annie Dillard, Djuna Barnes, Elfriede Jelinek, Herta Mueller, Elena Ferrante, Margaret Atwood, Aleksandar Hemon; Helen Garner, Georges Simenon, Clarice Lispector. Evelyn Waugh for his wit and his glorious, rigorous prose.
Short story writers: Kafka, Lorrie Moore, Lydia Davis.
Poets: Paul Celan, Philip Larkin, Ingeborg Bachmann, Wallace Stevens, Tomas Transtromer, Adam Zagajewski, T.S. Eliot, Kay Ryan, Rita Dove, Chairil Anwar, Goenawan Mohamad, Sapardi Djoko Damono, Tomas Salamun, Pablo Neruda, Wislawa Symborzka.
Essayists, philosophers, art/cultural critics: Walter Benjamin, John Berger, E.M. Cioran, Helene Cixous, Hannah Arendt, Susan Sontag and Rachel Bespaloff.
What’s the most challenging piece of writing you’ve attempted? Tell us why.
My first novel, Amba: The Question of Red. It was my first attempt at writing a novel—and a big, ambitious one at that. I was inexperienced and I had no clue how to go about it. The novel’s canvas and expectations always seemed too big, and that was often paralyzing. My DNA as a poet often got in the way. Also, my bilingualism and biculturalism—normally a twin asset—sometimes backfired when I tried to contextualize complex Indonesian history into a different language, mindscape, and culture (English in the case). Lastly, the novel took too long—ten years—and I was working on different projects and published eight books during that time. It’s hard to sustain a novel when so much time has passed. Everything changed: you, your relationship with the world, your relationship with the novel.
The Third Man
When a woman wavers between two men—the one she didn’t get and the one who didn’t get her—she usually encounters a third. This is how the third man came into Amba Kinanti’s life and how his story should be told.
For Amba it started with dreams both foul and fair.
In the days following Bhisma’s disappearance, her heart sick with sorrow, Amba started having vivid dreams. Maudlin, abusive nightmares with baby-burning witches and gods with deformed cocks. Nostalgic images of Kadipura, of her parents and her sisters and her corner on the porch where they took their tea in the afternoons, the lakeside where her father and she often sat, her father opening The Mahabharata.
Once, Bhisma and Salwa appeared together in her dream, as the book dictated. But instead of taking up arms and hacking at each other, they were sitting down under a vast banyan tree, the way warriors always do, talking about great revolutions and ideas that would transform the world. Meanwhile, she was peering at them from behind another tree, eavesdropping. She could hear every word. The Amba of this dream looked sad, disheveled, and old, and her purpose was vindictive: to aim her arrow at Salwa’s heart. She would wait for the right time and kill Salwa first and then herself, and then the gods could have a field day blaming one another for the loss of a very important thread in their celestial narrative. She, Amba, would be the noble princess who exited the world so that Bhisma, the ultimate warrior-healer, the man who saved lives, would prevail. Because he must. She was going to take Salwa with her to end his suffering in the world, his and Bhisma’s, from everything that she had done.
Suddenly, in the dream, she saw Bhisma lean toward Salwa, the man who was supposed to be his rival, his fiercest foe, and say, ‘She doesn’t know it yet, but I must leave her. I must leave so she will have a future.’
The horror of that dream had woken her. The horror of how in the dream Amba, on hearing those words, had changed her aim in a sick split instant, and the desolate sound of Bhisma’s groan before his body hit the earth.
Some nightmares were grimmer. In one she saw her father dashing through the dust in a smoky battlefield, amid the ringing sound of gunfire and the swish of arrows, soldiers screaming and falling around him. He had in his trembling hands an open page from The Mahabharata, something he seemed to want to get rid of but couldn’t. Soon a naked woman who looked like Rinjani, a perfection of limbs and breasts, appeared. She began to devour soldiers, both dead and alive.
In another, Bhisma and Salwa appeared in her room, their faces dewy and transformed by lust. They offered to take turns fucking her. ‘Why not?’ they said when she protested. ‘Won’t it be fun?’
After the chaos at Untarto’s funeral and Amba’s sick moment of realization that Bhisma was not with her in the courtyard, she swallowed her fear and frantically began looking for him.
The streets had almost emptied. No one wanted to be part of more trouble. Yet she went around anyway, asking each person she saw if they knew, or had seen, Dr. Rashad, describing his appearance. Each time she was met with a shaken head, a blank stare.
Like the country itself with its 17,000 islands, the great diversity of peoples, languages and religions in the Indonesian archipelago has also left its mark on Indonesia’s literature. This means there is not just a single literature, but a dozen different writing traditions, including Malay (Indonesian), Balinese, Sundanese and Javanese. Poetry has always played a significant role in the cultures of Indonesia and the country is distinguished by a very long oral tradition. Poems, fairy tales and sagas have been passed down by word of mouth, since time immemorial – often accompanied by music and performed in groups.
The roots of Indonesia’s written traditions stretch back 2,000 years – further back in time than most Western literatures. Some of the earliest known examples are the stone inscriptions of Kutai, in western Kalimantan (Borneo), dating from around 400 AD, and the Talang Tuwo stone, dating from 648, which was found in Palembang (South Sumatra), the 7th century capital city of the old kingdom of Srivijaya. Already at that time, the site was an important centre for the study of Buddhism with an extensive library and more than 1,000 scholars from near and far.