1 ASEAN 20TH CENTURY LITERATURES SELECTED POEMS AND SHORT STORIES FROM INDONESIA Country Coordinator MRS. DIAH HARIANTI Director of Internalization Values and Culture Diplomacy Ministry of Education and Culture

2 INDONESIA MODERN POEMS* Diponegoro by Chairil Anwar (1922-1949) Diponegoro 1943 Kembalikan Indonesia Padaku by Taufiq Ismail (1935) Give Indonesia Back To Me, 1971 Sajak Seonggok Jagung by Rendra (1935-2009) Corn Pile Poem, 1975 Dalam Doaku by Sapardi Djoko Damono (1940) In My Prayers, 1989 Asia Membaca by Afrizal Malna (1957) Asia Reading, 1985 Celana (3) by Joko Pinurbo (1962) Trousers (3), 1996 MODERN SHORT STORIES* Kota-Harmoni by Oleh Idrus (1921-1979) Kota-Harmoni, 1943 Robohnya Surau Kami by Alih Akbar Navis (1924-2003) The Collapse Of Our Surau, 1955 Pengemis dan Shalawat Badar by Ahmad Tohari (1948) The Beggar And Shalawat Badar, 1989.

All poems and short stories translated by Ibnu Wahyudi *with short biographies of authors

3 MODERN POEMS 1. Diponegoro by Chairil Anwar (1922-1949) Diponegoro 1943 2. Kembalikan Indonesia Padaku by Taufiq Ismail (1935) Give Indonesia Back To Me, 1971 3. Sajak Seonggok Jagung by Rendra (1935-2009) Corn Pile Poem, 1975 4. Dalam Doaku by Sapardi Djoko Damono (1940) In My Prayers, 1989 5. Asia Membaca by Afrizal Malna (1957) Asia Reading, 1985 6. Celana (3) by Joko Pinurbo (1962) Trousers (3), 1996 All poems translated by Ibnu Wahyudi

4 DIPONEGORO by Chairil Anwar Di masa pembangunan ini tuan hidup kembali Dan bara kagum menjadi api Di depan sekali tuan menanti Tak gentar.

Lawan banyaknya seratus kali. Pedang di kanan, keris di kiri Berselempang semangat yang tak bisa mati. MAJU Ini barisan tak bergenderang-berpalu Kepercayaan tanda menyerbu. Sekali berarti Sudah itu mati. MAJU Bagimu Negeri Menyediakan api. Punah di atas menghamba Binasa di atas ditinda Sungguh pun dalam ajal baru tercapai Jika hidup harus merasai. Maju.

5 Serbu. Serang. Terjang. Februari 1943 CHAIRIL ANWAR was an Indonesian poet, said to be the most widely known until now. HB Jassin, a very influential critic of modern Indonesian literature, regarded Anwar as the pioneer of “Angkatan ‘45” or “1945 Generation”. In addition to writing poetry, he also was known by his thoughts that were very modern and rebellious at that time. Drawing influence from foreign poets, Anwar used everyday language and new syntax to write his poetry, which has been noted as aiding the development of the Indonesian language. His poems were often constructed irregularly, but with individual patterns.

During his lifetime, Anwar wrote approximately 94 works, including 75 poems. He also translated 10 poems and 4 pieces of prose. Most of those were unpublished at the time of his death, but were later collected in several collections of his work published posthumously. The first published was Deru Campur Debu (Roar Mixed with Dust), which was followed by Kerikil Tajam dan Yang Terampas dan Terputus (Sharp Pebbles and the Seized and The Broken). Although several poems in those collections had the same title, they were slightly different. The most celebrated of his works is "Aku" ("Me"). In 1956 documentarian HB Jassin compiled most of Anwar's remaining works as Chairil Anwar: Pelopor Angkatan 45 (Chairil Anwar: The Pioneer of the 45 Generation), and in 1970 Burton Raffel published English translations of Anwar's original works as The Complete Poetry and Prose of Chairil Anwar.

6 DIPONEGORO1 (Diponegoro by Chairil Anwar) In the present development You come back to life And the embers of admiration become the fire On the front You are waiting Undaunted. Number of opponents hundred times. Sword in right, kris2 in the left armed with a spirit that can not die. GO This ranks do not use a drum-percussion Belief is a sign to invade. Means once Afterwards died. GO For you my country Providing fire. Extinct at the top become the servant Perish at the top be oppressed 1 Diponegoro is the name of the national hero of Indonesia against Dutch colonialism. He played an important role in the Java War (1825–1830).

2 Kris or “keris” is an asymmetrical dagger with distinctive blade-patterning achieved through alternating laminations of iron and nickelous iron. Today in Indonesia, the kris is almost never used anymore and more as objects of art.

7 Earnest even in death only reached If life must feel. Go forward. Strike. Attack. Lunge. February 1943 Translated by Ibnu Wahyudi

8 KEMBALIKAN INDONESIA PADAKU by Taufiq Ismail kepada Kang Ilen Hari depan Indonesia adalah dua ratus juta mulut yang menganga Hari depan Indonesia adalah bola-bola lampu 15 watt, sebagian berwarna putih dan sebagian hitam, yang bernyala bergantian, Hari depan Indonesia adalah pertandingan pingpong siang malam dengan bola yang bentuknya seperti telur angsa, Hari depan Indonesia adalah pulau Jawa yang tenggelam karena seratus juta penduduknya, Kembalikan Indonesia Padaku.

Hari depan Indonesia adalah satu juta orang main pingpong siang malam dengan bola telur angsa di bawah sinar lampu 15 watt, Hari depan Indonesia adalah pulau Jawa yang pelan-pelan tenggelam lantaran berat bebannya kemudian angsa-angsa berenang-renang di atasnya, Hari depan Indonesia adalah dua ratus juta mulut yang menganga, dan di dalam mulut itu ada bola-bola lampu 15 watt, sebagian putih dan sebagian hitam, yang menyala bergantian, Hari depan Indonesia adalah angsa-angsa putih yang berenang-renang sambil main pingpong di atas pulau Jawa yang tenggelam dan membawa seratus juta bola lampu 15 watt ke dasar lautan,

9 Kembalikan Indonesia padaku. Hari depan Indonesia adalah pertandingan pingpong siang malam dengan bola lampu yang bentuknya seperti telur angsa, Hari depan Indonesia adalah pulau Jawa yang tenggelam karena seratus juta penduduknya, Hari depan Indonesia adalah bola-bola lampu 15 watt, sebagian berwarna Putih dan sebagian hitam, yang menyala bergantian, Kembalikan Indonesia padaku. 1971 Taufiq Ismail, at first, was a student activist in his campus. Although his education is in the field of veterinary, he ultimately produced more work in the form of poetry. Political upheaval in Indonesia in 1966 can be said as a trigger to the birth of a number of his poetry.

He figured prominently in Indonesian literature of the post-Sukarno period and is considered one of the pioneers of the "Generation of '66". In the development of creativity, written poems voiced many social problems; many nuances of religious poetry was also produced and even become a sort of trademark. Meanwhile, the form of his poetry are generally simple; not too many literary experiments he did. The strength of his works are more on socio-religious theme that is close to daily life in Indonesia. Taufiq Ismail wrote many poems, best-known of which are: Malu (Aku) Jadi Orang Indonesia (Shame (I) Be People of Indonesia), Tirani dan Benteng ( The Tyranny and The Fort), Tirani (The Tyranny), Benteng (The Fort), Buku Tamu Musium Perjuangan (Guest Book of the Museum of Struggle), and Sajak Ladang Jagung (Field Corn Verses).

Bored with his serious writing style, in 1970 he began writing poems mixed with humor. He has won many awards, Including the "Cultural Visit Award" from the Australian Government (1977) and the SEA Write Award (1994).

10 GIVE INDONESIA BACK TO ME (Kembalikan Indonesia Padaku by Taufiq Ismail) To Kang3 Ilen Indonesia's future is two hundred million mouths gaping Indonesia's future is the light bulbs 15 watts, most white and some black, which turns fiery, Indonesia's future is a ping-pong match day and night with a ball that looks like a goose egg, Indonesia’s future is Java island sinking because hundred million inhabitants, Give Indonesia back to me Indonesia's future is one million people playing ping pong during evening with a ball of goose eggs in the light of 15 watts, Indonesia's future is Java's slowly sinking because of the heavy load then the geese swim on it, Indonesia's future is two hundred million mouths gaping, and in the mouth there are light bulbs 15 watts, mostly white 3 "Kang" is a greeting that has meaning "brother" to the male, usually used as a form of respect or to greet an older person.

11 and partly black, the light up alternately, Indonesia's future is white swans swim while playing ping-pong on the island of Java is sinking and bring a hundred million 15-watt light bulb to the bottom of the ocean, Give Indonesia back to me Indonesia's future is a ping-pong match day and night with bulb shaped like a goose egg, Indonesia’s future is Java island sinking under a hundred million inhabitants, Indonesia's future is the light bulbs 15 watts, partially colored White and some black, the light up alternately, Give Indonesia back to me 1971 Translated by Ibnu Wahyudi

12 SAJAK SEONGGOK JAGUNG by Rendra Seonggok jagung di kamar dan seorang pemuda yang kurang sekolahan.

Memandang jagung itu, sang pemuda melihat ladang; ia melihat petani; ia melihat panen; dan suatu hari subuh, para wanita dengan gendongan pergi ke pasar... Dan ia juga melihat suatu pagi hari di dekat sumur gadis-gadis bercanda sambil menumbuk jagung menjadi maisena. Sedang di dalam dapur tungku-tungku menyala. Di dalam udara murni tercium bau kuwe jagung. Seonggok jagung di kamar dan seorang pemuda. Ia siap menggarap jagung. Ia melihat kemungkinan Otak dan tangan siap bekerja.

13 Tetapi hari ini: Seonggok jagung di kamar dan seorang pemuda tamat SLA Tak ada uang, tak bisa menjadi mahasiswa. Hanya ada seonggok jagung di kamarnya. Ia memandang jagung itu dan ia melihat dirinya terlunta-lunta. Ia melihat dirinya ditendang dari diskotik. Ia melihat sepasang sepatu kenes di balik etalase. Ia melihat saingannya naik sepeda motor. Ia melihat nomor-nomor lotre. Ia melihat dirinya sendiri miskin dan gagal. Seonggok jagung di kamar tidak menyangkut pada akal, tidak akan menolong seorang pemuda yang pandangan hidupnya berasal dari buku, dan tidak dari kehidupan.

Yang tidak terlatih dalam metode, dan hanya penuh hafalan kesimpulan.

Yang hanya terlatih sebagai pemakai, Tetapi kurang latihan bebas berkarya. Pendidikan telah memisahkannya dari kehidupan. Aku bertanya: Apakah gunanya pendidikan bila hanya akan membuat seorang menjadi asing di tengah kenyataan persoalannya? Apakah gunanya pendidikan bila hanya mendorong seseorang menjadi layang-layang di ibukota kikuk pulang ke daerahnya? Apakah gunanya seseorang

14 belajar filsafat, sastra, teknologi, ilmu kedokteran, atau apa saja, bila pada akhirnya, ketika ia pulang ke daerahnya, lalu berkata: “Di sini aku merasa asing dan sepi!” TIM, 12 Juli 1975 Rendra was not only known as a poet; he is actually more well known as a talented playwright or actor in the theater. Even so, the works of his poetry is very popular because of the problems often raised was the issue of social criticism that is closely related to the Indonesian government. The themes of education, poverty, corruption, or government mismanagement are expressed through his works, both in the form of poetry and drama.

Rendra was increasingly important as a poet and his performances and poetry readings were mass events. In 1979, during a poetry reading in the Ismail Marzuki art center in Jakarta, Suharto’s military intelligence agents threw ammonia bombs on to the stage and arrested him.

Rendra was Indonesia's major contemporary poet. He was nicknamed Burung Merak, the Peacock, for his flamboyant and powerful performance style. In addition to a number of works in the form of drama, his poems have been published in several anthologies. A collection of his poems, among others, was Balada Orang-orang Tercinta (Ballad of Loving People), Blues untuk Bonnie (Blues for Bonnie), Empat Kumpulan Sajak (Four Set of Poems), Sajak-sajak Sepatu Tua (Poems of Old Shoes), Perjalanan Bu Aminah (Mrs. Amina Travel), Potret Pembangunan dalam Sajak (Development Portrait in Poetry), Orang-orang Rangkasbitung (People of Rangkasbitung), and Doa untuk Anak Cucu (Prayers for Children-Grandson).

15 CORN PILE POEM (Sajak Seonggok Jagung by Rendra) Pile of corn in the room and a young man less education. Looking at the corn, the young man saw the fields; he saw the farmer; he saw the harvest; and one day at dawn, women with a sling go to the market ... And he also saw one morning near wells girls joking while pounding corn become corn meal. While in the kitchen fireplaces lit up. In the pure air smell of corn cakes. Pile of corn in the room and a young man. He was ready to work on corn. He saw the possibility of Brain and hand ready to work.

16 But today: Pile of corn in the room and a young man graduated from high school There was no money, can not become student.

There was only a pile of corn in his room. He looked at the corn and he saw himself neglected. He saw himself kicked out of the discotheque. He saw a pair of stylish shoes behind the storefront. He saw his rival was riding a motorcycle. He saw the lottery numbers. He saw himself poor and failed. Pile of corn in the room does not involve the intellect, will not help a young man whose outlook on life comes from the book, and not from life.

Which not trained in the method, and just full of memorizing conclusions. Which only trained as a user, But lacking in free practice work. Education has separated them from life. I asked: What is the use of education if only to make one feel alienated in the middle of a reality problem? What is the use of education if only encourage someone become a kite in the capital city

17 clumsily returned to his village? What is the point for a person studied philosophy, literature, technology, medicine, or whatever, if in the end, when he returned to his village, and said: "Here I feel strange and lonely!" TIM, 12 July 1975 Translated by Ibnu Wahyudi

18 DALAM DOAKU by Sapardi Djoko Damono dalam doaku subuh ini kau menjelma langit yang semalaman tak memejamkan mata, yang meluas bening siap menerima cahaya pertama, yang melengkung hening karena akan menerima suara-suara ketika matahari mengambang tenang di atas kepala, dalam doaku kau menjelma pucuk-pucuk cemara yang hijau senantiasa, yang tak henti-hentinya mengajukan pertanyaan muskil kepada angin yang mendesau entah dari mana dalam doaku sore ini kau menjelma seekor burung gereja yang mengibas-ngibaskan bulunya dalam gerimis, yang hinggap di ranting dan menggugurkan bulu-bulu bunga jambu, yang tiba-tiba gelisah dan terbang lalu hinggap di dahan mangga itu magrib ini dalam doaku kau menjelma angin yang turun sangat pelahan dari nun di sana, yang bersjingkat di jalan kecil itu menyusup di celah-celah jendela dan pintu dan menyentuh-nyentuhkan pipi dan bibirnya di rambut, dahi dan bulu-bulu mataku dalam doa malamku kau menjelma denyut jantungku yang dengan sabar bersitahan terhadap rasa sakit yang entah batasnya, yang dengan setia mengusut rahasia demi rahasia, yang tak putus-putusnya bernyanyi bagi kehidupanku aku mencintaimu, itu sebabnya aku takkan pernah selesai mendoakan keselamatanmu.


19 Sapardi Djoko Damono is known for lyrical poems, and who is widely regarded as the pioneer of lyrical poetry in Indonesia. His first collection of poetry, DukaMu Abadi (Your Eternal Sorrow), was released in 1969. The focus of DukaMu Abadi is on the pain of the individual who questions existence, and unlike many of his literary peers of this time, Sapardi's poetry focused more on the human condition rather than revolutionary and social ideas. In 1974, he published Mata Pisau (Knife) and Akuarium (Aquarium). These were followed by Perahu Kertas (Paper Boat) and Sihir Hujan (Rain Spell), and in 1986 he received SEA-Write Award for poetry.

In 1998/1999, Sapardi wrote about the social turbulence resulting from the fall of the New Order regime. This resulted in the book Ayat-ayat Api (Verses of Fire), which received some negative criticism, largely due to the angry tone of the work which differed markedly from his normal style. His best known works include “Hujan Bulan Juni” (A June Rain) and “Berjalan ke Barat di Waktu Pagi Hari” (Walking to the West in the Morning). Hujan Bulan Juni, one of his most popular works, was published in 1994. It contains 95 poems, including a selection of his poems from 1964 to 1992.

Sapardi's poems have also formed the inspiration behind several musical compositions, most notably by Indonesia’s internationally-acclaimed pianist Ananda Sukarlan. Several singers have also released albums using his poetry: Hujan Bulan Juni (1990), Hujan Dalam Komposisi (Rain in Composition) (1990) Gadis Kecil (Little Girl) (2006) and Becoming Dew (2007). In the realm of film, Aku Ingin has been rearranged into a soundtrack by musician Dwiki Dharmawan for Garin Nugroho’s 1991 film Cinta dalam Sepotong Roti (Love in A Slice of Bread). Today, he is a retired professor at the University of Indonesia.

He was once elected Dean of the faculty of letters after a few times previously becoming the Vice Dean.

20 IN MY PRAYERS (Dalam Doaku by Sapardi Djoko Damono) in my prayers this morning you transformed the sky which during the night do not closed her eyes which extends clear ready to receive first light, which is curved silent as it will receiving voices when the sun is quiet floating above my head, in my prayers you transformed shoots of the pine which kept in the green, which incessantly ask questions that abstruse intended for sough of wind from nowhere in my prayers this afternoon, you transformed a sparrow, which feathers flapping in the drizzle, which perch the twigs and dropping of feathers rose-apple flowers, suddenly restless and then fly perched on a limb of that mango this evening in my prayers, you transformed the wind which went down very slowly from the nun there, which walk slowly on the path infiltrate in the cracks of windows and doors and touched cheeks and lips in the hair, forehead and my eyelashes in my evening prayer, you transformed my heartbeat, which the patiently stick to pain, which either limit, who faithfully investigate the secret for the sake of a secret, which incessantly singing for my life I love you, that's why I'll never finish pray for your welfare.

1989 Translated by Ibnu Wahyudi

21 ASIA MEMBACA by Afrizal Malna Matahari telah berkali-kali berganti di sini, tetapi kami tetap menghadapi langit dan tanah yang sama. Setelah dewa-dewa pergi dan menjadi batu dalam pesawat-pesawat televisi; setelah waktu-waktu yang menghancurkan dan berita-berita lama memanggil lagi dari dunia yang lain, setiap kata-kata terasa gelap di situ. Lalu kami masuki dekor-dekor baru yang menyimpan kerusuhan-kerusuhan, mencari hari-hari dalam pasar yang digantungi kepala naga. Asia. Kami meranggas dalam pertaruhan-pertaruhan kekuatan yang mengantar kami ke dalam pembisuan.

Bagaimanakah kami tahu bahwa kami sedang memasuki sebuah dunia yang berbau bensin, melepas anak-anak berlarian dalam bentangan kawat listrik; dan dari setiaplembaran kitab suci, kami mencari kembali saat-saat penciptaan. Tanah berkaca-kaca mencium bau manusia, menyimpan kami dari segala jaman. Asia. Kami pahami lagi debur laut, tempat para leluhur mengirim burung-burung mencipta hutan. Asia hanya bisa ditemui setelah malam gelap-gulita, menggerayang, mencari tanah-tanah yang hilang. Asia.

1985 Afrizal Malna can be regarded as a writer of various genres. In addition to his poetry that is most regarded as a special contribution to the world of poetry in Indonesia, Afrizal also produce work in the form of prose (short stories and novels), essays, and theater scripts. His poetry, stylistically, is characterised by syncopated rhythms, non sequiturs, and broken sentences. Early in his poetic career, he occasionally seemed to delight in simply listing a string of mixed images in his poems. Objects also frequently metamorphose in his work. Among his works, the theme of the poem Afrizal Malna that stands out is the depiction of the modern world and urban life, as well as the material objects of the environment.

The works of his poetry has been collected in a number of anthologies, such as Abad yang Berlari (The Runaway Century, 1984), Yang Berdiam dalam Mikrofon (Who Silence In Microphone, 1990), Arsitektur Hujan (Architecture of Rain, 1995), Kalung dari Teman (Necklace from a Friend, 1999), Dalam Rahim Ibuku Tak Ada Anjing (In My Mother’s Womb There Are No Dogs, 2002), danTeman-Temanku dari Atap Bahasa (My Friends from the Roof of Language, 2008).

22 Asia Reading (Asia Membaca by Afrizal Malna) The sun has been changed many times here, but we still face the same sky and ground. After the gods go and become rock in the television sets; after a devastating times and old news call again from another world, every word was dark in there. Then we enter a new which stores the riots, look for the days in the market, which hung with the head of the dragon. Asia. We wither in the betting-gambling forces that drove us into a mute. How do we know that we are entering a world that smells of gasoline, release the kids running around in a stretch of electrical wire; and of each sheet scriptures, we are looking for the moments of creation.

Land glazed smell humans, save us from all times. Asia. We understand again the crash of the sea, where the ancestors sent the birds create the forest. Asia can only be found after night in the dark, grope, searching for the lost lands. Asia. 1985 Translated by Ibnu Wahyudi

23 CELANA (3) by Joko Pinurbo Ia telah mendapatkan celana idaman yang lama didambakan, meskipun untuk itu ia harus berkeliling kota dan masuk ke setiap toko busana. Ia memantas-mantas celananya di cermin sambil dengan bangga ditepuk-tepuknya pantat tepos yang sok perkasa. “ini asli buatan Amerika,” katanya kepada si tolol yang berlagak di dalam kaca. Ia pergi juga malam itu, menemui kekasih yang menunggunya di pojok kuburan. Ia memamerkan celananya. “ini asli buatan Amerika.” Tapi perempuan itu lebih tertarik pada yang bertengger di dalam celana. Ia sewot juga. “Buka dan buang celanamu!” Pelan-pelan dibukanya celananya yang baru, yang gagah dan canggih modelnya, dan mendapatkan burung yang selama ini dikungkungnya sudah kabur entah ke mana.

1996 Joko Pinurbo is one of the Indonesian contemporary writers whose works can be said to be the most widely read. His poems are very close to our daily lives, but it often contains irony, parody, or even satirical. Of his works, Pinurbo seem to be exploring and studying the treasures of Indonesian poetry diligently from the beginning to the present generation. And apparently, Joko Pinurbo does not want to be in the shadow of other poets. His poetry was thus very different from previous works or the works of the great poets before. His work often mixes different strands of imagery and linguistic

24 registers. Reality and dream, the solemn and the comic, the lofty and the pedestrian may be found together in the same line, mentioned in the same breath. Religious imagery may appear alongside socio-political commentary or intimate conversations. He has published eight poetry collections and has won numerous awards in Indonesia. Among his collection of poems are Celana (Trousers, 1999), Di Bawah Kibaran Sarung (Under the Fluttering of the Sarong, 2001), Pacarkecilku (My Little Lover, 2002), Telepon Genggam (Cell Phone, 2003), Kekasihku (My Beloved, 2004), Pacar Senja: Seratus Puisi Pilihan (Twilight Lover: One hundred selected poems, 2005), and Kepada Cium (To: Kiss, 2007).

25 TROUSERS (3) (Celana (3) by Joko Pinurbo) He had to get trousers long dream coveted, though for that he should went around the city and get into any clothing store. He tried on his trousers in the mirror, while he patted proudly thin buttock which quasi dashing. "This is a genuine American-made," he said to the idiot who acted in the glass. He went well that night, meet a lover, waiting at the corner of the cemetery. He showed off trousers. "This is a genuine American-made." But the woman was more interested in which perched in the trousers. He was also furious. "Open and throw away your trousers!" Slowly, he opened the new trousers, which dashing and sophisticated model, and get a bird that had been kept all the time, had run away somewhere.

1996 Translated by Ibnu Wahyudi

26 MODERN SHORT STORIES 1. Kota-Harmoni by Idrus (1921-1979) Kota-Harmoni, 1943 2. Robohnya Surau Kami by A.A. Navis (1924-2003) The Collapse Of Our Surau, 1955 3. Pengemis Dan Shalawat Badar by Ahmad Tohari (1948) The Beggar And Shalawat Badar, 1989. All short stories translated by Ibnu Wahyudi

27 KOTA-HARMONI by Oleh Idrus Trem penuh sesak dengan orang, keranjang-keranjang, tong kosong dan berisi, kambing dan ayam. Hari panas dan orang dan binatang keringatan. Trem bau keringat dan terasi. Ambang jendela penuh dengan air ludah dan air sirih, kemerahan-merahan seperti buah tomat.

Dalam trem susah bernapas. Tapi orang merokok juga, menghilangkan bau keringat dan terasi. Seorang perempuan muda, Belanda Indo, mengambil sapu tangannya, kecil sebagai daun pembungkus lemper, dihirupnya udara di sapu tangannya, lalu katanya: Siapa lagi yang membawa terasi ke atas trem. Tidak tau aturan, ini kan kelas satu.

Seorang orang Tionghoa, gemuk seperti Churchill, merasa tersinggung dan berkata dengan marah kepada nona Belanda Indo itu: Jangan banyak omong. Sekarang kemakmuran bersama, bukan Belanda. Orang Tionghoa itu membungkuk, mengambil dari keranjang sayurnya sebuah bungkusan dan katanya, sambil melihatkan bungkusan itu kepada nona Belanda Indo itu: Ini dia terasi, mau apa? Seorang perempuan tua, bungkuk dan kurus, bajunya berlubang seperti disengaja melubangkannya, seperti renda seperai, dimarahi kondektur: Ini kelas satu, mengapa di sini. Ayo ke belakang. Kalau tidak, bayar lagi. Perempuan tua itu beriba-iba, meminta supaya ia dibolehkan di kelas satu saja: Terlalu sempit di sana Tuan.

Saya tak bisa. Ya, kalau tak bisa bayar lagi.

Lambat-lambat perempuan tua itu pergi ke kelas dua. Tiba di sana ia melihat dengan marah kepada kondektur dan katanya: Ah, belagak betul. Sedikit saja saja dikasi Nippon kekuasaan sudah begitu. Sama orang tua berani. Tapi coba kalau orang Nippon, membungkuk-bungkuk. Bah!

28 Seorang laki-laki, kuat dan tak memakai baju, berdiri dan katanya kepada perempuan tua itu: Jangan banyak bicara. Duduk. Di sebuah tempat perhentian trem berhenti. Orang berdesak-desak, pekikan tukang jual karcis kedengaran: Yang turun dulu. Ayo, cepat. Orang-orang berasa legah sebentar.

Tapi sebentar lagi trem penuh sesak kembali. Dari bawah kedengaran suara seorang Nippon: Kasi jaran. Bagero. Orang-orang tambah berdesak, memberi jalan kepada orang Nippon itu. Seorang anak muda, melihat kepada Nippon itu dengan muka masam dan katanya lambat-lambat: Orang kelas satu dan orang kelas dua disamakannya saja, seperti binatang saja diperlakukannya.

Tapi waktu orang Nippon itu berdiri di dekatnya, ia diam dan melihat ke tempat lain. Orang Nippon itu bergayut pada kulit di atas atap trem dan dari lengan bajunya yang pendek itu keluar bau terasi. Pemuda itu mengambil sapu tangannya dan dilekatkannya ke hidungnya. Di tengah jalan trem berhenti. Orang tercengang-cengang. Pikir mereka tentu ada kerusakan atau ada kecelakaan. Semua orang melihat ke luar. Di tengahtengah ril kelihatan tiga orang Nippon berdiri menahan trem. Kondektur takut dan untuk keselamatan kepalanya diberhentikannya trem.

Ketiga orang Nippon itu naik. Tangan orang-orang gores-gores kena pangkal pedangnya.

Mereka berdiri dan tertawa, tertawa kemenangan. Trem jalan lagi berciut-ciut seperti bunyi kerekan. Pada pengkolan orangorang terhereng. Seorang perempuan muda tiba di atas pangkuan seorang anak muda. Seperti sudah biasa, anak muda itu memeluk pinggang si gadis dan ditolongnya berdiri kembali. Tapi tempatnya tak diberikannya kepada gadis itu. Bau keringat tak terahan-tahan lagi. Setiap orang mengeluh. Ah, aku teringat kepada masa silam, kata seorang orang Indonesia, bajunya bagus dan bersih. Sebentar-sebentar dipukulnya lengan bajunya, menghilangkan debu.

29 Orang-orang tak menjawab perkataan orang Indonesia itu. seperti perkataan itu sudah biasa saja. Di sebuah perhentian trem lagi, naik seorang pemuda dan seorang gadis. Muka mereka merah, karena kepanasan. Tapi mereka tertawa dan berkata dalam bahasa Belanda, kata yang laki-laki: Hm, enak betul di sini. Seperti dalam pasar ayam. Yang perempuan tertawa, diambilnya sapu tangannya, dilekatkannya ke hidungnya, mancung seperti hidung orang Yahudi. Katanya: Lebih baik daripada berjalan kaki. Yang laki-laki memberengut: Hm. Pukul berapa hari. Orang perempuan itu mengangkat tangan kirinya, hendak melihat hari.

Tangan kanannya mengingsut lengan kebayanya, tetapi lengan kebayanya tak bergerak. Dilihatnya... arlojinya sudah menonjol ke luar dari sebuah lubang di lengan kebayanya itu. kemalu-maluan katanya: Pukul setengah dua.

Kondektur berjalan di muka perempuan tua tadi di kelas dua: Karcis yang baru, karcis yang baru. Perempuan tua itu melihat saja kepada kondektur. Di belakang kondektur bibirnya ditariknya ke kanan, seperti monyet, dan katanya: Lihat monyet itu. Orang banyak heran dan melihat ke bibir orang tua itu. Tiba di Harmoni trem berhenti pula. Dari Kota ke Harmoni lamanya dua puluh menit. Seorang Indonesia, pakai destar Jawa dan sepatu Inggris melihat dengan marah ke arlojinya dan dengan suara naring seperti gersik daun kelapa yang sudah tua, katanya: Bah, dulu hanya empat belas menit. Tak ada yang teratur sekarang ini.

Pada tukang jual karcis katanya: Bang, mengapa tak diatur orang banyak di tangga trem. Apa itu macam. Apa sekarang tidak ada aturan lagi. Itu, orang berdiri di atas tangga itu, larang. Nanti jatuh.

30 Keheran-heranan tukang jual karcis itu melihat kepada orang Indonesia itu dan mengejek diputarnya badannya dan ditiupnya peluitnya. Beberapa orang berpekikan: Hai, nanti dulu. Mau turun. Trem yang sudah berjalan itu, tertegun, berhenti lagi. Berdesak-desak kembali. Masih banyak orang yang hendak turun. Orang Indonesia yang berdestar Jawa dan bersepatu Inggris itu melompat ke arah tukang jual karcis, ditariknya bajunya. Dengan marah katanya: Engkau apa? Berbuat sekehendak hatimu. Lihat dulu orang baru bunikan peluit.

Tukang karcis itu bertambah heran. Dalam hatinya: Siapa orang ini? Ia membalikkan badannya pula, tapi tak mengejek lagi, ketakutan rupanya.

Sangkanya: Barangkali anggota Chuo sangiin. Trem berjalan lagi. Orang tak begitu banyak. Sudah banyak yang dapat tempat duduk. Di tengah-tengah tak berapa orang berdiri yang lagi. Di kelas satu tak seorang juga orang Nippon. Perempuan gemuk berkata, sambil menyeka keringat dari lehernya, pendek seperti Nippon: Euh, kalau tak terpaksa, kuharamkan naik trem. Mobilku diambilnya. Belum dibayar. Bilang saja hendak merampas, lebih baik.

Orang laki-laki yang di sebelahnya, berkata: Nyonya, siapa yang mengambil mobil. Siapa lagi. Orang tertawa dan maklum. Sabarkan saja hati. Nanti tentu datang hari gilang gemilang. Suara ini ke laur dari sebuah mulut, berkerinyut seperti kulit orang tua. Apa . Sabar? Kalau aku tak sabar sudah lama aku masuk rumah sakit gila, seperti ...

31 Perempuan gemuk itu tak mau meneruskan perkataannya. Mengeluh katanya: Zaman susah sekarang. Tahun dua puluh dulu susah juga, tapi tak sesusah sekarang. Seorang laki-laki, celananya pendek dan kotor, mendekati perempuan gemuk itu; lambat-lambat katanya: Jangan bicara begitu.

Nanti menyesal. Dekat Pasar Baru trem berhenti di muka gedung kumidi. Orang banyak naik dan turun. Beberapa orang naik dari jendela. Seorang orang Nippon naik pula dari jendela. Seorang orang Indonesia di atas trem berkata kepada orang Nippon itu: Hai, engkau apa? Naik dari jendela. Tak tahu aturan. Orang Nippon itu mengeluarkan beberapa perkataan Indonesia, patah seperti pengkolan jalan. Orang Indonesia itu merah mukanya. Baru ia tahu yang ditegurnya tadi, orang Nippon. Tapi ia malu kepada orang banyak. Diberanikannya saja hatinya, dan katanya: Itu tidak bagus. Naik jendela. Orang Nippon itu naik juga.

Tiba di atas trem, ia marah-marah kepada orang Indonesia itu: Kerja di manaka? Kenapa berani rarang-rarang Nipponka? Orang Indonesia itu tak mau kalah, tapi dalam hatinya ia kecut seperti cita Nippon kena air. Katanya: Tuan kerja di mana? Saya kerja di Naimubu. Mereka bertengkaran mulut. Tapi Nippon itu tak mau melekatkan tangannya, sebab dekat itu ada Kenpei.

Kenpeitai itu berdiri, berkata dalam bahasa Nippon dengan orang Nippon pereman itu. Rupanya Kenpeitai itu marah. Dengan suara manis, katanya kepada orang Indonesia itu: Dia sudah saya marahi. Memang dia salah. Orang Indonesia itu berasa senang, mendapat kemenangan yang gilang gemilang.

32 (Sumber: H.B. Jassin, Kesusastraan Indonesia di Masa Jepang, Jakarta: Balai Pustaka, 1975, h. 158- 163. Cerpen ini pertama kali dimuat dalam Dari Ave Maria ke Jalan Lain ke Roma yang terbit pada tahun 1948). Idrus was an Indonesian writer, best known for his realistic short stories and novels.

He is known as the representative of the prose of the '45 Generation of Indonesian literature. Idrus wrote with a style which emphasized the harsher aspects of reality, using short, concise sentences and abandoning the aesthetics present in the earlier Balai Pustaka and Poedjangga Baroe eras. His writing style is full of cynicism and sarcasm. Most of Idrus' characters were average persons. He is often said to be the Chairil Anwar of prose, namely the writer who brought forth a new style through his writings but many observers do not agree with this opinion and reputedly he himself was not happy that his name is included in the ’45 Generation.

In the world of writing, Idrus has produced a number of works, mainly in the form of prose, either short stories or novels. Short stories have been collected in Anak Buta (Blind Child) and Dari Ave Maria ke Jalan Lain ke Roma (From Ave Maria to Another Way to Rome), while his novels include Aki, Corat-coret di Bawah Tanah (Doodles on the Underground), Dengan Mata Terbuka (With Eyes Open), Hati Nurani Manusia (Human Conscience), Hikayat Petualang Lima (Adventurers Tale of Five), Hikayat Putri Penelope (Tale of Princess Penelope), and Surabaya. Because Idrus has the ability to speak many foreign languages, he also has translated a number of foreign works into Indonesian.

Among the works he translated are Acoka, Cerita Wanita Termulia (The Story of Greatest Woman), Dari Penciptaa Kedua (From A Second Creation), Dua Episode Masa Kecil (Two Episodes of Childhood), Ibu yang Kukenang (Mother I Recalled), and Keju (Cheese).

33 KOTA-HARMONI by Idrus The tram was crowded with people, baskets, empty and filled containers, goats and chickens. The day was hot and the people and animals were soaked with sweat. The tram smelled of sweat and terasi. 4 The window sill filled with saliva and water betel, reddish-crimson like tomatoes. In the tram difficult to breath. But the people smoked as well, eliminate smell of sweat and terasi. A young woman, Indo-Dutch, took out her handkerchief, small as lemper5 wrapping leaf, the air inhaled in her handkerchief, and said: Who else is bringing terasi to the tram. Do not know the rules, this is first class.

A Chinese man, fat like Churchill, was offended and said angrily to the IndoDutch girl: Shut up. Now prosperity for all, not just for the Dutch. The Chinese were bent, took a bundle of his vegetable cart and said, showing the girl the packet: Here it is the terasi, so what? An old woman, bent and thin, her clothes perforated holes like intentional, such as lace bedding, scolded by the conductor of the tram: This is a first class, why are you here. Move to the back. If not, pay the extra. The old woman begged, asking that she be allowed in the fist class: Too crowded in there Sir. I can not get into the room.

Come on, if you can not, pay the extra. Slowly the old woman went to second class . Arriving there she looked back angrily at the tram conductor and said: What a bossy officer. Just a little power from the Nippon and he acts that way. With an old woman, he’s tough as nails. But you can bet if I were Japanese, he’d be bowing and scraping. Damn!

A man, strong and shirtless, stood up and said to the old woman: Shut up. Sit down! 4 Condiment made from pounded and fermented shrimp or small fish. 5 Snack made from sticky rice, minced meat stuffed in it and wrapped in a banana leaf.

34 At a tram stop, the tram halted. People crowded around. The yell of the ticket seller could be heard: Passengers getting out first! Come on, hurry it up! For a moment, the people inside could breathe, but in another second the tram was packed again. From below came the voice of a Japanese: Let me through. Idiots!6 The crowd jammed closer together to make way for the Japanese.

A youngster looked at the Japanese, and with a sour face slowly said: First and second class are treated the same, just like animals. But when the Japanese stood next to him, he shut up and looked away. The Japanese hung on the leather strap from the ceiling of the tram and from the short sleeved shirt came the stink of terasi. The young man took his handkerchief and attaches to the nose.

Along the way, the tram stopped. Passengers perplexed. They thought for sure the tram had broken down or there had been an accident. Everyone looked out. Between the rails, three Japanese stood holding up the tram. The tram driver was afraid, and for his safety, he had stopped the tram. The three Japanese climbed in, scratching the passengers’ hands with the hilts of their swords. They stood and laughed, laughed for their victory. The tram started off again, squeaking like a rusty pulley. On the curves the people swung to the side. A young girl landed on a boy’s lap. As usual, the boy hugged the girl’s waist and helped her stand up.

But he didn’t give her his seat. The smell of sweat became intolerable. Everyone complained.

Ah, I remember the past, said an Indonesian in a fine clean shirt. From time to time he dusted off his shirtsleeves. No one responded to the words of that man. As if those words were already common. At another stop, a young man and woman got on. Their faces red from the heat. But they laughed and spoke in Dutch. The young man said: Hmm, it really feels great in here. Just like in a chicken coop. 6 As in the original script, the words of the Japanese people are generally less clear when it should pronounce the sound / l /. The sound / l / is usually pronounced as / r /. In translation, an example for this case is rather difficult to display.

35 The woman laughed, took her handkerchief, and clapped it over her nose, long and pointed like the nose of a Jew and said: It’s better than walking. The man scowled: What time is it? The woman raised her left hand to look at her watch. Her right hand tugged up her kebaya sleeve, but the sleeve didn’t move. She looked ... the watch was sticking out from a hole in the sleeve. Embarassed, she said: 1:30 pm The tram conductor walked past the old woman in second class: Tickets, any more tickets. The old woman just looked at the tram conductor. Once he passed, she pulled her lips to the right, monkey-like, and said: Look at that monkey.

Passengers surprised and looked at the old woman’s lips. At Harmoni, the tram stopped again. From Kota to Harmoni, it had taken 20 minutes.

An Indonesian, wearing a Javanese destar7 and English shoes, angrily looked at his watch and said in a shrill voice, high like the rustle of old coconut palm leaves: Damn, it always used to take only 14 minutes. These days, everything’s gone to hell. To the ticket seller he said: Bang,8 why don’t you get rid of all those people on the steps of the tram? What the hell is this. Aren’t there any rules anymore? There, those guys on the steps, it’s forbidden. They’ll fall off. Astonished, the ticket seller stared at the Indonesian and contemptuosly, he turned his back on him and blew his wistle.

Several people yelled: Hey, wait a minute! We want to get off!

The tram was already moving, but it stopped suddenly again. People crowded on again, but a lot still wanted to get off. The Indonesian in the destar and English shoes jumped toward the ticket seller, grabbed him by the shirt and said: 7 A headband formed of batik cloth triangular. 8 A call for male officers commonly used in Jakarta.

36 Who do you think you are? Doing whatever comes into your head. See what people want first, then blow your whistle. The ticket seller grew more astonished. He said to himself: Who does he think he is? He turned his back on the man, but not contemptuously, scared it seemed.

He thought: Maybe he’s a member of the Chuo Sangiin.9 The tram started again. There weren’t so many passengers now. There have been many who got a seat. Only a few standing in the aisle. In first class, there wasn’t a single Japanese. The fat woman spoke, wiping the sweat from her neck, short as a Japanese: Uh, if I didn’t have to, I’d say forget the trams. They’ve taken away my car. Without paying too. It’d be more honest if they came out and said they were robbers. A man next to her said: Lady, who took your car? Who else?

The man laughed, understanding what she meant. Be patient. The great day will surely come. The voice came from a mouth dripping like sweat off skin. What? Be patient? If I hadn’t been patient this long already, I’d be in the nut house, like ... The fat woman didn’t want to continue. She sighed: Times are hard. In the twenties, it was hard too, but not like now. A man in dirty shorts moved closer to the young woman, quietly saying: Don’t talk like that. You’ll be sorry later. Near Pasar Baru the tram stopped in front of the theater. Crowds got on and off.

Several people climbed up through the window.

A Japanese was climbing up through the window too. An Indonesian on the tram called to the Japanese: 9 Puppet ligislature during the Japanese occupation.

37 Hey! What are you doing? Climbing up through the window. Have you no manners? The Japanese muttered several words in Indonesian, broken like the curves in the road. The Indonesian turned scarlet, suddenly realizing the man he’d just bawled out was a Japanese. But now he felt humiliated in front of the other passengers. So he got his courage up and said: That’s no way to get in. Climbing up through the window. The Japanese just kept on climbing in. When he got inside the tram, he roared at the Indonesian: Where do you work? How dare you tell a Japanese what he can’t do. The Indonesian didn’t want to give in, but inside, his heart shriveled like Japanese cloth after washing.

He said: And you Sir, where do you work? I work at the Naimubu. They argued, but the Japanese was unwilling to lay a hand on him because nearby stood someone from the kenpeitai.10 The kenpeitai man spoke in Japanese to the Japanese civilian. Apparently he was angry. Ingratiatingly, he said to the Indonesian: I’ve reprimanded him. After all, he was in the wrong. The Indonesian felt happy. He had won a glorious victory.11 Translated by Ibnu Wahyudi (Source: H.B. Jassin, Indonesian Literature in the Period of Japan, Jakarta: Balai Pustaka, 1975, p. 158-163. This short story first appeared in From Ave Maria to Another Way to Rome, published in 1948) 10 Military police.

11 “Kemenangan yang gilang gemilang”; a joke about the way Japanese victories were always described on the radio.

38 ROBOHNYA SURAU KAMI by Ali Akbar Navis Kalau beberapa tahun yang lalu Tuan datang ke kota kelahiranku dengan menumpang bis, Tuan akan berhenti di dekat pasar. Melangkahlah menyusuri jalan raya arah ke barat. Maka kira-kira sekilometer dari pasar akan sampailah Tuan di jalan kampungku. Pada simpang kecil ke kanan, simpang yang kelima, membeloklah ke jalan sempit itu. Dan di ujung jalan itu nanti akan Tuan temui sebuah surau tua. Di depannya ada kolam ikan, yang airnya mengalir melalui empat buah pancuran mandi.

Dan di pelataran kiri surau itu akan Tuan temui seorang tua yang biasanya duduk di sana dengan segala tingkah ketuaannya dan ketaatannya beribadat.

Sudah bertahun-tahun ia sebagai garin, penjaga surau itu. Orang-orang memanggilnya Kakek. Sebagai penjaga surau, Kakek tidak mendapat apa-apa. Ia hidup dari sedekah yang dipungutnya sekali se-Jumat. Sekali enam bulan ia mendapat seperempat dari hasil pemungutan ikan mas dari kolam itu. Dan sekali setahun orang-orang mengantarkan fitrah Id kepadanya. Tapi sebagai garin ia tak begitu dikenal. Ia lebih terkenal sebagai pengasah pisau. Karena ia begitu mahir dengan pekerjaannya itu.

Orang-orang suka minta tolong kepadanya, sedang ia tak pernah minta imbalan apa-apa. Orang-orang perempuan yang minta tolong mengasahkan pisau atau gunting, memberinya sambal sebagai imbalan. Orang laki-laki yang minta tolong, memberinya imbalan rokok, kadang-kadang uang. Tapi yang paling sering diterimanya ialah ucapan terima kasih dan sedikit senyum. Tapi kakek ini sudah tidak ada lagi sekarang. Ia sudah meninggal. Dan tinggallah surau itu tanpa penjaganya. Hingga anak-anak menggunakannya sebagai tempat bermain, memainkan segala apa yang disukai mereka. Perempuan yang kehabisan kayu bakar, sering suka mencopoti papan dinding atau lantai surau di malam hari.

Jika Tuan datang sekarang, hanya akan menjumpai gambaran yang mengesankan suatu kesucian yang bakal roboh. Dan kerobohan itu kian hari kian cepat berlangsungnya. Secepat anak-anak berlari di dalamnya, secepat perempuan mencopoti pekayuannya. Dan yang terutama ialah sifat masa bodoh manusia

39 sekarang, yang tak hendak memelihara apa yang tidak dijaga lagi. Dan biang keladi dari kerobohan ini ialah sebuah dongengan yang tak dapat disangkal kebenarannya. Beginilah kisahnya. Sekali hari aku datang pula mengupah Kakek. Biasanya Kakek gembira menerimaku, karena aku suka memberinya uang.

Tapi sekali ini Kakek begitu muram. Di sudut benar ia duduk dengan lututnya menegak menopang tangan dan dagunya. Pandangannya sayu ke depan, seolah-olah ada sesuatu yang yang mengamuk pikirannya. Sebuah blek susu yang berisi minyak kelapa, sebuah asahan halus, kulit sol panjang, dan pisau cukur tua berserakan di sekitar kaki Kakek. Tidak pernah aku melihat Kakek begitu bermuram durja dan belum pernah salamku tak disahutinya seperti saat itu. Kemudian aku duduk di sampingnya dan aku jamah pisau itu.

Dan aku tanya Kakek, “Pisau siapa, Kek?” “Ajo Sidi.” “Ajo Sidi?” Kakek tak menyahut. Maka aku ingat Ajo Sidi, si pembual itu. Sudah lama aku tak ketemu dia. Dan aku ingin ketemu dia lagi. Aku senang mendengar bualannya. Ajo Sidi bisa mengikat orang-orang dengan bualannya yang aneh-aneh sepanjang hari. Tapi ini jarang terjadi karena ia begitu sibuk dengan pekerjaannya. Sebagai pembual, sukses terbesar baginya ialah karena semua pelaku yang diceritakannya menjadi model orang untuk diejek dan ceritanya menjadi pameo akhirnya. Ada-ada saja orang-orang di sekitar kampungku yang mencocoki watak dari pelaku-pelaku ceritanya.

Ketika sekali ia menceritakan bagaimana sifat seekor katak, dan kebetulan ada pula seorang yang ketagihan jadi pemimpin yang berkelakuan seperti katak itu, maka untuk selanjutnya pimpinan tersebut kami sebut pimpinan katak. Tiba-tiba aku ingat lagi pada Kakek dan kedatangan Ajo Sidi kepadanya. Apakah Ajo Sidi telah membuat bualan tentang Kakek? Dan bualan itukah yang mendurjakan Kakek? Aku ingin tahu. Lalu aku tanya Kakek lagi. “Apa ceritanya, Kek?” “Siapa?” “Ajo Sidi.” “Kurang ajar dia.” Kakek menjawab.

40 “Kenapa?” “Mudah-mudahan pisau cukur ini, yang kuasah tajam-tajam ini, menggorok tenggorokannya.” “Kakek marah?” “Marah? Ya, kalau aku masih muda, tapi aku sudah tua.

Orang tua menahan ragam. Sudah lama aku tak marah-marah lagi. Takut aku kalau imanku rusak karenanya, ibadatku rusak karenanya. Sudah begitu lama aku berbuat baik, beribadat, bertawakal kepada Tuhan. Sudah begitu lama aku menyerahkan diri kepada-Nya. Dan Tuhan akan mengasihi orang yang sabar dan tawakal.” Ingin tahuku dengan cerita Ajo Sidi yang memurungkan Kakek jadi memuncak. Aku tanya lagi Kakek, “Bagaimana katanya, Kek?” Tapi Kakek diam saja. Berat hatinya bercerita barangkali. Karena aku telah berulang-ulang bertanya, lalu ia yang bertanya padaku, “Kau kenal padaku, bukan? Sedari kau kecil aku sudah di sini.

Sedari mudaku, bukan? Kau tahu apa yang kulakukan semua, bukan? Terkutukkah perbuatanku? Dikutuki Tuhankah semua pekerjaanku?” Tapi aku tak perlu menjawabnya lagi. Sebab aku tahu, kalau Kakek sudah membuka mulutnya, dia takkan diam lagi. Aku biarkan Kakek dengan pertanyaannya sendiri.

Sedari muda aku di sini, bukan? Tak kuingat punya isteri, punya anak, punya keluarga seperti orang lain, tahu? Tak kupikirkan hidupku sendiri. Aku tak ingin cari kaya, bikin rumah. Segala kehidupanku, lahir batin, kuserahkan kepada Allah Subhanahu wataala. Tak pernah aku menyusahkan orang lain. Lalat seekor enggan aku membunuhnya. Tapi kini aku dikatakan manusia terkutuk. Umpan neraka. Marahkah Tuhan kalau itu yang kulakukan, sangkamu? Akan dikutukinya aku kalau selama hidupku aku mengabdi kepada-Nya? Tak kupikirkan hari esokku, karena aku yakin Tuhan itu ada dan pengasih dan penyayang kepada umatnya yang tawakal.

Aku bangun pagi-pagi. Aku bersuci. Aku pukul beduk membangunkan manusia dari tidurnya, supaya bersujud kepada-Nya. Aku sembahyang setiap waktu. Aku puji-puji Dia. Aku baca Kitab-Nya. Alhamdulillah kataku bila aku menerima karunia-Nya. “Astagfirullah” kataku bila aku terkejut. “Masya Allah” kataku bila aku kagum. Apa salahnya pekerjaanku itu? Tapi kini aku dikatakan manusia terkutuk.”

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