A MIRROR NO LESS
New Straits Times, Kuala Lumpur, December 6, 2007
Indonesian author Pramoedya Ananta Toer’s works reflect his country’s strengths and weaknesses. JAMES HIPKISS gains insight into the man from Max Lane, who translated the literary giant’s book, Arok of Jawa.
ONE of the most famous works of Pramoedya Ananta Toer, the book was originally published in Bahasa Indonesia in 1981 with the title Arok Dedes.
The Indonesian literary giant (“Pram” to his friends and colleagues) with a huge volume of work passed away in April last year.
The translator of the book into English, Max Lane, was at the launch of Arok of Java where he gave insights into the book and its author.
Arok of Java is the story of Ken Arok, a legendary figure of Indonesian history who lived in Kediri, Java, 900 years ago during the Hindu era.
Arok is born into a low caste, but coming into contact with Brahmin priests, he acquires education and knowledge, gaining a huge intellectual capacity in the process.
He fights against the injustices of the caste system and is branded an outlaw, Robin Hood-style.
Indonesian author Pramoedya Ananta Toer’s works reflect his country’s strengths and weaknesses. JAMES HIPKISS gains insight into the man from Max Lane, who translated the literary giant’s book, Arok of Jawa.
ONE of the most famous works of Pramoedya Ananta Toer, the book was originally published in Bahasa Indonesia in 1981 with the title Arok Dedes.
The Indonesian literary giant (“Pram” to his friends and colleagues) with a huge volume of work passed away in April last year.
The translator of the book into English, Max Lane, was at the launch of Arok of Java where he gave insights into the book and its author.
Arok of Java is the story of Ken Arok, a legendary figure of Indonesian history who lived in Kediri, Java, 900 years ago during the Hindu era.
Arok is born into a low caste, but coming into contact with Brahmin priests, he acquires education and knowledge, gaining a huge intellectual capacity in the process.
He fights against the injustices of the caste system and is branded an outlaw, Robin Hood-style.
He takes on and defeats the regional governor, then in a battle defeats the king of all Kediri, Sri Kretajaya, and finally becomes ruler himself.
Underlying this narrative is a detailed picture of Java at that time: its system of government, and its strengths and weaknesses.
It is a picture, too, of the human condition as portrayed in Arok when he climbs up the ranks to the priestly and warrior classes until he is a composite of all three castes.
The fighter for the downtrodden gains power, but in his case power does not corrupt, but transforms him.
This novel, though, is much more than a story of a legend. It is part of a series of four historic novels in which Toer sets out to examine, investigate and make sense of modern Indonesia and its culture and politics.
It is as if a mirror is being held up for Indonesians to see their country.
Looking for lessons to improve the lot of his people was a life’s work for Toer. But the authorities often perceived his criticisms as threats.
Toer’s Ken Arok has been likened to Soekarno, for whom the author had much sympathy.
However, others see Ken Arok as a critique of Soeharto.
The author never confirmed or denied either of these theories.
Toer did spend more than 14 years in jail, mainly during Soeharto’s rule.
His books, plays and essays were banned in his own country and officially they still are, though the ban is no longer enforced.
Students and educated professionals read his works now, and his plays are performed regularly to sell-out audiences too poor to buy his books.
Though Max Lane is Australian, he has spent many years in Indonesia as a diplomat and also as a writer and researcher.
His wife Faiza Mardzoeki is also a well-known Indonesian cultural activist. Lane has previously translated six other works by Toer.
Lane also knew Toer, listened to many of his speeches and addresses, and obviously had many long conversations with him.
I asked Lane how he set about translating Arok Dedes.
No, he did not attempt a word-for-word translation.
He read passages of the original text, and got to know the man from his personal experiences and conversations with him.
He would then translate the passages, keeping to what he believed to be the author’s original sentiments, rather than a literal translation.
I wondered how Lane viewed the author’s portrayal of Arok.
“It was a very literal representation of Arok and an unsympathetic, rather than romantic one. The story is also realistic in its description of the historical period. Toer did a huge amount of background research, and was keen to explain concepts such loyalty to authority and the caste system,” he said.
Lane added that Arok was necessarily a creature of his time, and though a fighter for the oppressed, he could only remain successful by playing by the rules and customs of the period, harsh though they may have been.
A fine translation, I believe, of a great novel, a fascinating historical story and an insight into Javanese and Indonesian culture. This one’s published by Horizon books and available in major bookstores.