Women reject categorization, defend literary voice

Women reject categorization, defend literary voice

A. Junaidi, The Jakarta Post, Jakarta

They are young and beautiful women writers; thus it was that
literary critics -- mostly men -- categorized them as the Sastra
Wangi (fragrant literature) generation of Indonesian writers.

The critics classified such writers as Ayu Utami (Saman,
Larung), Dewi "Dee" Lestari (Supernova, Akar) and Djenar Maesa
Ayu (Jangan Main-main Dengan Kelaminmu (Don't play with your
genitals) under this so-called fragrant literature.

The categorization started in the early 2000s, when several
women writers launched their first books -- whether works of
fiction, a short story collection or poetry anthology.

Their book launches -- which were often attended by
celebrities -- were usually held at bookstores or cafes and
received coverage in both print and electronic media. In this,
they had already differentiated themselves, as Indonesian writers
did not traditionally host book launches themselves.

The works of this new generation of writers were only
displayed in bookstores, and the public learned of them -- such
as N.H. Dini, Titis Basino, Mira W. and Ratna I. Ibrahim -- from
their critics.

"I'm not fragrant. My works are not fragrant either. I don't
know how and why they categorized me as 'fragrant' literature,"
Djenar said in a recent interview with The Jakarta Post.

Djenar, one of whose short stories was selected the best short
story by Kompas last year, said that the categorization could be
viewed as a kind of sexual harassment of her work.

Nevertheless, the mother of two daughters said she did not
care about the categorization and would continue to write as she
saw fit and so desired.

Managing editor of Jurnal Perempuan (Women's Journal) Mariana
Amiruddin believes the categorization showed that women were once
again being evaluated by their bodies.

Mariana herself is set to launch a book titled Perempuan
Menolak Tabu (Women reject taboos), which is based on her
Master's thesis at the Women's Studies Program of the University
of Indonesia.

She said the Sastra Wangi label underestimated women writers'
works, as though other literary works, especially those by male
writers, were more substantive.

Since the outset of modern feminism, feminist critics have
rejected any kind of categorization, particularly those based on
binary opposites, such as high culture against low culture, fine
arts against popular arts and body against soul, as they only
marginalized women's literature.

Djenar and other contemporary women writers have often been
criticized for their failure at being "feminine" for their use of
words such as "penis" and "vagina" in their works.

In addition, women writers are boldly tackling and exploring
themes that had been considered taboo in the not-so-distant past,
such as sexuality, male homosexuality and lesbianism.

"Why is it they (critics) question my use of such words when
they don't react to male writers? Why is it that hysteria arises
when we explore themes such as sexuality," Djenar said.

She said she was simply voicing her femininity in her own
style, while other women writers also did the same in their own
ways.

And the voices of women -- and their experiences -- bind women
writers across generations, including authors of the current
phenomenon of teen lit, or worse, "chick lit".

Teen literature mostly take a look at the life of teenage
girls, such as school, hanging out at cafes and boyfriends, and
are mostly written by teenage girls -- although a few of them are
young women in their 20s.

Some books, such as Eiffel, I'm In Love, have been turned into
films and gained success.

In the past, however, books for teenage readership were
written by male writers and featured male heroes. Lupus by Hilman
and Gita Cinta dari SMA (Love song for high school) by Eddy D
Iskandar are classic examples of teen books that made it to the
big screen.

Television presenter Tamara Geraldine praised contemporary
women writers -- including teen lit writers -- for their courage
to express themselves.

"They have tried their best. It's not easy to be a writer,"
said Tamara, who is preparing to launch an anthology of her poems
and short stories.

Rejecting such gender-biased categorizations in literature as
well as in other spheres, and appreciating and learning about the
real experiences of women as told by women writers are useful and
meaningful for all.