Indonesian poetry: Revealing the truth that lies beneath

Indonesian poetry: Revealing the truth that lies beneath

Lie Hua, Contributor, Jakarta

Secrets Need Words: Indonesian Poetry 1966-1998;
Edited and translated by Harry Aveling;
Ohio University Center for International Studies
South-East Asia Series No. 105,
Athens, Ohio, 2001;
xiv + 375 pp;
Rp 364,000

Harry Aveling is not a new name in Indonesian literary
research and translation. He is notable for having translated
some important Indonesian literary works into English and
conducted a series of research projects on the development of
Indonesian literature.

This time he has come out with quite a comprehensive study of
Indonesian poetry written during the New Order regime in the
country. This is, perhaps, the first serious study of the period
ever undertaken. Even in Indonesian, such a study is rare,
especially because literary criticism is still not considered a
serious job.

A study of a particular period in literature is important when
we recognize that a literary work is the product of the society
in which it exists. There is always an interrelationship between
a writer and his society. It is through this dialog that a
literary work is produced. Therefore, a study of the sociological
and political background of certain periods in literary creation
will give an insight into the mind-set of the writers and,
indirectly, into the works themselves.

It is in this light that Aveling's book is of great importance
to Indonesian literary studies.

He begins his study with the advent of the New Order regime
under Soeharto, that ostensibly sought to cleanse Indonesia of
the corrupt elements of the Old Order under Sukarno. For the new
regime, what was important was stability, even at the expense of
individual freedom.

Aveling divides the period spanning 1966 and 1998 into two
sub-periods: The Generation of 1966 and the Post-Indonesian
Generation.

The period coming right after the inception of the New Order
regime is called, in Indonesian literature, the 1966 Generation,
a name introduced by the late HB Jassin, one of Indonesia's
foremost literary archivists. Poems in this period describe the
anguish of the students protesting against the Old Order and the
hope that the fledgling New Order brought with it.

Then, as stability began to settle in the country, a kind of
new romanticism in poetry was introduced, in which nature played
a dominant role in the works by Goenawan Mohammad, Sapardi Djoko
Damono and Abdul Hadi WW. These poets make heavy use of imagery
and many of their poems are considered to be imagist poems, like
those of the American Ezra Pound.

As the ruling Golkar political grouping and the military
consolidated their rule over the country, there was little room
for social comment. Any criticism of the government would surely
land the critic in jail. Hence, the poets turned to absurdism. In
this period, there was the emergence of poets such as Sutardji
Calzoum Bachri, many of whose works are reminiscent of those of
E.E. Cummings.

The world was turned upside down. Logic was lost in the play
of words. Sound became predominant. This, upon closer reading,
was nothing but a form of protest. Because language is basically
sound with a particular meaning, even when sound is loosely used
it could be interpreted in terms of human language. By breaking
conventions, the poets seemed to invite the public to see through
to the crux of the matter: the loss of freedom.

In the 1980s, the situation at home became more stifled than
ever. Fear was everywhere because the government became more
authoritarian. Disenchantment with the New Order developed and it
was expressed in poems when poets tackled domestic themes (i.e.
marital relationships), and sprinkled their works with their own
regional dialects as a form of protest against the totalitarian
regime which demanded total conformity

The second part of the book dwells on poems that reflect
sufism, or the poets' enchantment with Islamic teaching and on
poetic works created following the collapse of the New Order in
mid 1998 following massive student' protests.

While the study of the social and political background of the
poems is interesting to read, Aveling's choice of poets to be
included in each chapter is sometimes questionable, particularly
as there is no mention about the criteria of the poets to be
included in this book.

Another disturbing thing is that there are some seriously
mistranslated expressions. It would be better if an Indonesian
native-speaker well-versed in English and poetry writing were
hired as a consultant to avoid mistranslation. Nevertheless, the
publication of this book deserves a thumbs-up and must be
followed by similar studies in prose and drama.