this article

IA BARKA AND SERO}A MASIN 01 KOlAM.
WOMEN'S VOICE FROM A GYNOCRITIC
PERSPECTIVE
BV: Dharmaletchimi Haidu
INTRODUCTION
Comparative literature is the study of literature which crosses
boundaries of countries. According to Abdul Ahmad (1994), comparing
a piece of literature with another is nothing new in the world of Malay
literature. Comparative literature involves comparing literature of a
certain country to that of another, be it internally or externally (Dan.vis
Harahap 1996: 74).
In his book, Tokoh dan Kecenderungan Kritikan Sastera Mutakhir
(1999: 3 - 5), Sahlan Mohd Saman stated that comparative literature
originated from the spread of knowledge which took place in Europe
and culminated in three stages. According to him in the third stage of
the spread, scholars of literary comparisons had split into two groups
being that of the French and modernistic schools. Nevertheless the
definition of comparative literature was attained in the 20th century.
Literary comparisons had spread by comparing sets of work of
larger geographical and political areas such as between Asian and
Western literature, Eastern and European literature and also between
the literature of the colonies and the colonialists. Apart from that,
comparisons can also cover the comparison of work through minor
thinking elements in the encounters between civilization and a certain
race. However, there arose the demand for comparative literature to
be re-valued in the post colonial era and thus renewed. In the end, the
demands and perceptions towards Western hegemony were valued
from the perspectives of the West and the East. As a consequence,
214
DHARMALETCHIMI NAIDU
comparative literature had spread rapidly especially in the third world
countries (Hashim Ismail 2003: 28).
According to Hashim Ismail (2003: 28 - 29) comparative literature
can compare any literary text which represents its period or certain
writers without having to take into account his status or even his school
of thought. This comparison ought to cut across borders. Hence this
researcher had chosen to compare La Barka (1975) written by Nh. Dini
which was printed in Jakarta and Seroja Masih di Ko/am (1968) written
by Adibah Amin which was printed in Kuala Lumpur.
The two novels are looked from the gynocritical perspective. The
gynocritic theory is one of the branches of feminism which will be touched
upon. According to Rosnah Baharudin (2003: 69) feminist criticism
reached its second level when Elaine Showalter introduced the gynocritics
approach, which is the study of women writers that include their history,
styles, themes, genre and the structures of their work. The emphasis
here is the aspect of woman as a producer. This term is the approach
of the second wave towards literary criticism which focuses more on
texts produced by women writers (Rosnah Baharudin 2003: 16).
Before looking at the research, this researcher feels that it would
be better to introduce the backgrounds of the two writers. With this, the
readers would be able to understand the positions of the two figures
that have produced such works. Next, this researcher will look at the
structure of the two writers before focusing on the topic of discussion,
which is the women's voice as put forth in these two feminists' works.
The Indonesian Writer's Background: Nh. Dini
Nh. Dini or Nurhayati Sri Hardini is one of Indonesia's most productive
writers. She began writing in 1951 while she was still in 1/ SMP class.
Pendurhaka was her first writing featured in the Kisah magazine and
was highlighted by H.B. Jassin. Her batch of short stories, Dua Dunia,
was published while she was studying at the SMA level.
This writer was a former Garuda Indonesian Airways stewardess
before marrying a Frenchman by the name Yves Coffin. From their
marriage they had two children, Marie Claire Lintang and Pierre Louis
Padang. Nh. Dini is highly experienced with various sociocultural
societies. This is a product of her having followed her diplomat husband
to countries such as Japan, the Philippines, Cambodia, America, Holland
and France. At the same time, her married life was not a happy one
and ended in divorce following her husband's change in attitude and
behaviour after they had gotten married (Atisah, Widodo Djati and Nur
Hayati 2002: 149).
In the end Nh. Dini returned to her motherland in 1980 after being
abroad for more than 20 years. She is active in Wah ana Lingkungan
215
MALAY LITERATURE
Hidup and Forum Komunikasi Generasi Muda Keluarga Berencana.
In 1986 she established the Pondok Baca Nh. Dini which is a reading
place for children which continues to thrive to the present day. This writer
received the 1989 Hadiah Seni untuk Sastera from the Department
of Education and Culture. She also received the SEA Write Award
in the field of literature from the ruler of Thailand (http://id.wikipedia.
org/wiki/Nh._Dini).
Among her novels published by P.T. Gramedia Pustaka Utama
are her Cerita Kenangan series: Sebuah Lorang di Kotaku (1986),
Padang lIalang di Belakang Rumah (1987), Langit dan Bumi Sahabat
Kami (1988), Sekayu (1988), and Kuncup Berseri (1996), together with
her novels such as Pada Sebuah Kapal (1985), Pertemuan Dua Hati
(1986), Namaku Hiraku (1986), Keberangkatan (1987), Tirai Menurun
(1993), Kemayoran (2000), Jepun Negerinya Hirako (2001) and Dari
Parangakik ke Kampuchea (2003). Her novels, La Barka was produced
in 1975 and Orang-orang Tiran in 1985.
Nh. Dini also produced a novelette entitled Hati yang Damai,
batches of stories entitled Tuileries (1982) and Segi dan Garis (1983),
along with Amir Hamzah's biography entitled Pangeran dari Seberang
(1981). She also translated an Albert Camus' piece entitled La Peste
from which Samparcame in 1985 (Atisah, Widodo Djati dan Nur Hayati
2002: 149).
In 1985 Nh. Dini won the first prize in a French short story writing
competition held throughout Indonesia through her work entitled Le Nid
de Poisson dans la Baie de Jakarta. The competition was carried out
by the Le Monde newspaper in collaboration with the French Embassy
in Jakarta and Radio Franche Internationale. She received the Bhakti
Upapradana citation in the field of literature from the Daerah Jawa
Tengah ruler in 1991. This writer also gives talks to various Australian
universities financed by the Australia-Indonesia Institute.
Nh. Dini was invited by the Mayor of Toronto to read her literary
work together with writers, poets and dramatists from Japan, Korea, the
Philippines and Thailand at a foundation centre in the city. Nh. Dini was
also financed by the French Premiere to stay and carry out research
in France to enable this writer to continue with her Cerita Kenangan
series.
Nh. Dini was born in Semarang on February 29, 1936 and her
parents are Saljowidjojo and Kusaminah. She has Bugis blood. She is
the youngest of five and is closer to her sister, Teguh Asmara, who is
also involved in the literary world. Dini's interest in literature began from
young. Her mother, a batik maker, often told stories from books such as
Panji WL:lung, Penyebar Semangat, Tembang-tembang Jawa, Aksara
Jawa and so on. This writer writes to uphold justice for women and has
been referred to as a highly feministic writer by literary researchers.
216
DHARMALETCHIMI NAIDU
The Malaysian Writer's Background: Adibah Amin
Khalidah Adibah binti Haji Amin or better known as Adibah Amin was born
in Johor Bahru on February 19, 1936 and was educated in a Malay-Arab
school until Form Four (IV), in a religious school until Form Six (VI) and
later studied in an English school. She qualified from University Malaya
(Singapore) with a Bachelors of Arts in 1957 and several years later
received a Diploma in Education from University Malaya, Kuala Lumpur.
She was a teacher in the Malay Girl's College from 1958 to 1961, a
lecturer at the Language College in Kuala Lumpur and was a part of the
journalistic world when she was in The New Straits Times magazine.
Adibah uses pseudonyms such as Aida, Aida Kalmin, Sri Delima and
ida Seroja when she writes (Baharuddin Zainal: 130 - 131).
This writer had published several novels before the age of twenty.
But Seroja Masih di Ko/am is still seen as her most serious novel. She
has written for radio dramas which were successful in capturing prizes
(in the 70's) and is famous for her English column, As I was Passing in
The New Straits Times daily. Adibah had translated Shahnon Ahmad's
work, Ranjau Sepanjang Ja/an into an English piece entitled No Harvest
But A Thorn, which shot the piece to the international level.
Adibah Amin had received citations for her contributions to Malay
literature and also to the journalistic field. She won the University Book
Prize in 1956, was chosen as Asian Journalist of the Year in 1979 by
Press Foundation of Asia-Matsui and in 1981 she was awarded an
Honorary Doctorate of Letters from Universiti Sains Malaysia. Adibah
received the SEA Write Award in Bangkok in 1983 (Virginia Matheson
Hooker in Shamsuddin Jaafar et al. 2003: 534 - 535). She went on to
receive the Setia Mahkota Johor (SMJ) award in conjunction wiU] the
Sultan of Johor's 51 st birthday. She was also chosen to receive the
Tun Razak Award in 1998 for her considerable contribution in the field
of journalism (Baharuddin Zainal: 133).
Adibah Amin is known as a dramatist, a translator and a female
journalist of high calibre in Malaysia. Her six novels had placed her as
a novelist. Amongst them are Gadis Sipu (1949), Puteri As/i (1949),
Bangsawan Tu/en (1950), Seroja Masih di Ko/am (1968), and Tempat
Jauh Lagi Dikenang (1983). She also produces short stories, writes radio
drama scripts and had translated Latiff Mohidin's poem into English.
She had published a set of radio dramas with Habsah Hassan entitled
Pu/ang Gadisku Pu/ang. From 1977 to 1978, she was successful in
winning the Drama Radio Terbaik (Baharuddin Zainal: 113 - 135).
Adibah had appeared on the stage (1973) and on television (1978)
in the production of A/ang Rentak Seribu. According to her, she is more
comfortable with the radio than the television. In spite of that, she is still
interested in the field of acting. In the 80's Adibah was chosen as the
217
MALAY LITERATURE
Best Supporting Actress in the Adik Manja film. Her role as a comical
teacher brought on a warm response from her fans.
The Structures of Nh. Dini's and Adibah Amin's Work
There are several interesting features in the two works such that this
researcher had chosen to compare the two of them. Even though
Nh. Dini had produced various novels which had women as the main
characters, her La Barka (1975) novel showed a difference in that the
writer used various women characteristics and personalities to bring
out different cultural elements.
The Seroja Masih di Kolam novel (1968) was Adibah Amin's serious
work and it had received stimulating response at that time. The novel
also brought forth cultural elements of the Malay society. As a matter of
fact, the two writers had produced their works when they were in their
thirties, 39 for Nh. Dini and 32 for Adibah Amin. This researcher feels
that it would be better to take a peek at the similarities and differences
of the two works before discussing the matter further. To make it easier
for the readers, this researcher has prepared her findings in a table
form. The following are the structures of the two works:
_~_A_d_ibah Ami"
Nh. Dini
Writing
Technique
Seroja Masih di
Kolam
La Barka
Theme
Love which encompasses th e
love for the husband, childre n,
family, relatives.
Plot
Chronological
------
Cultural conflict
between Malay
traditions (Eastern
culture) and
Western culture.
--------j
Chronological
"-"
A town and country backdro p.
A work place as in a clothing
store, a toy store and severa
other places as in Monique's
house, restaurants, theater,
Christine's house, garden an d the
beach.
Backdrop
J
218
I
A town backdrop. A
work place as in an
office and homes of
the upper class. The
writer also depicted
a little kampong
atmosphere through
an unkempt home.
DHARMALETCHIMI NAIDU
I-
----~-"-
i Perspective
I
Third point of view, the writer uses
the name Rina who is on vacation
with her child while waiting for her
divorce to come through.
\
Character
and
CharacteriI zation
Uses many characters especially
female characters. For example
the main character is Rina. Other
characters include Monique,
Francine, Christine, Sophie,
Yvonne, and several minor male
characters such as Rene, Daniel,
Robert and Rina's lover.
Language
Style
Language
Uses many
characters. For
example the main
character is Nur
Diana. Several other
characters such as
Che Eton, Hayati,
Siti Fatima, Latifah,
Che Jalal, Ridhwan,
Rusli and group
characters who
are degenerates
as in Noni, Doyah,
Betty, Lucy, Sarinah,
Nora, Barbara,
Stella and so on.
There are also
group characters
that have careers
I
_
as in Tuan William,
Tuan Faulkes, Tuan
Rajagopal and
Amdin.
I
L
Third point of view,
the writer uses the
name Nur Diana
who is the main
character in the
novel.
-----
h. Dini
a Sarka
Uses the Indo nesian and every
day language which is easy
to understan d. There are also
French and E nglish terms in
several spec ific instances as the
backdrop of the book is in France.
Adibah Amin
Seroja Masih di
Ko/am
Uses standard
Malay but with the
old spellings as
this was written in
1968. Middle class
Malay which is of
the educated and
governs the entire
novel. The language
used is easy to
understand.
219
MALAY LITERATURE
The Use
of Foreign
Language
The writer uses English and
French terms.
Example:
"Serge mengatur pick-up dan
penyuaraannya hingga ke
kebun."
Structure of
the Novel
Long sentence structures
especially when recountin~ a
certain matter. There are five
chapters in this novel which
are divided according to the
characters that go to La Barka.
The names of the chapters are
the names of the characters that
Rina would tell about through her
observations. It is as though this
novel is Rina's personal entry.
The sentence structures are
short, that is between 1 to 3 lines.
Dialogue
Language
220
There is less use of dialogues if
compared to the writer's account
as widely used by the wnter.
The writer uses
several English
terms especially in
Diana's dialogue.
Example:
"Pereksa H.C.S.,
aku study
Kesusasteraan
macham gila, Wan,
aku ingat boleh
make up untuk
bahagian bahasa."
Short sentence
structure as in each
sentence contains
4-13 words. This
novel is divided into
14 chapters and is
told chronologically.
Long sentences are
usually used when
the writer recounts
certain incidents.
Diagolues is widely
used by the writer.
However, the
use of dialogues
brings the story
to life especially
when they are
interspersed with
an account of a
situation or emotion.
DHARMALETCHIMI NAIDU
Nh. Dini
La Barka
c:
0
EI/)
0
Q.
><
w
0
;:
c:
0
(.)
Adibah Amin
Seroja Masih di
Kolam
The writer relates about the life and
describes the attitudes of the other
characters through Rina's views, which
happens to be the main character in this
work. Apart from that, the writer also
relates about Rina before and after her
marriage.
The writer relates
about the life and
describes the main
character and her
family. The writer
also describes the
town. Several impish
teenage characters
are also included. The
society is depicted as
one that likes to hold
and attend functions
and also to have a
good time.
There are many instances of conflicts in
this novel. Amongst them, Sophie who
goes to Monique's home, bringing a
different man even though engaged to
Monique's friend. The writer also relates
the conflict between Monique and her
in-laws as they often change the location
of her garden. The conflict with Rina
erupts when her letters to her lover are
unanswered. In this novel the writer
triggers various conflicts in the characters
that she develops.
There is not much
conflict. There is often
conflict between Diana
and Rusli. The conflict
between Diana and
Ridhwan happens
temporarily as a form
of teasing. The conflict
within Diana is due
to her looking for her
identity. The writer
also depicts conflicts
between Che Eton
and her husband and
between Che Jalal
and his office mates.
221
MALAY LITERATURE
><
III
E
U
..
c:
0
::l
0
til
CIl
a:::
222
Monique has an argument with her
husband over the division of property.
Monique is determined to own the house
and lets her husband take the valuable
things in it. The writer also depicts Rina's
lover as having an affair with Sophie and
of him losing his memory following an
accident in the Vietnam War. Monique's
husband remarries soon after their divorce
is finalised.
The climax begins
when Diana's mother
disagrees with Diana's
desire to resit her
H.S.C. Che Eton
wishes to see Diana
married to Rusli.
Meanwhile, Diana
wishes to delay the
marriage as she
wants to think things
over carefully. She
resits the exam. Her
relationship with
Ridhwan, her cousin,
is also very close and
this makes her have
second thoughts as
to whether to choose
Rusli who leads a
Western lifestyle
or Ridhwan who is
steadfast in his belief
of Eastern culture.
Rina and Monique are portrayed as being
broken hearted and try to control their
emotions in their individual ways. Rina,
who had gone too far with Robert, decides
to tell Christine (Robert's mother) about it
and wishes to distant herself from Robert.
Rina realizes that she loves her lover more
and hopes to make up with him again.
At the end of the
story, Diana makes
the decision to either
choose Rusli or
Ridhwan. However,
she does not choose
anyone but comes to
the realisation of her
true self. The writer
ends the story with the
question as to whether
or not Diana would
get married. This
shows that the writer
leaves the readers
to make their own
assumptions.
DHARMALETCHIMI NAIDU
Back----,-~
drop
{Background
....o
til
til
"C '-
c:~
::::l U
o
10
'-
'-
0110
~..c:
UU
10
<11
1II..c:
<11..-
..-..c:
c..
o
'-
"C
~
U
10
..c
<11
..-..c:
Nh. Dini
Adibah Amin
------------------------------~--------------~
La Sarka
Seroja Masih di
Kolam
Rina, the main character, is a more
mature woman than her friend Monique.
This is becuse Rina would think things
over very carefully before taking any
action while Monique is portrayed as
being more emotional and would react
first and think later. Both these character
are in the middle of their divorces and
they have a lover each. On the other
hand, Christine is depicted as a teacher
who has two children .
The Dina character is
portrayed a young girl
brought up in luxury.
She is Westerneducated and is more
comfortable in a blouse
and skirt. She is the
exact opposite of the
Hayati character that
is more at home in a
baju kurung or kebaya.
Siti Fatimah is depicted
as a young girl that is
highly-educated and
is very into the Malay
culture. The writer
depicted Latifah as one
who likes to wear neat,
tight-fitting clothes, to
do herself up and to
wear high heels.
The backdrop is one that surrounds
Monique's home in La Barka, the clothing
store where she works (the entire town
is also depicted), the beach for picnics,
the theatre, restaurants and the gardens
around La Barka .
The writer writes
mostly about town
and the modern life.
She also included a
kampong atmosphere
and parties in her
work. Backdrops of
the beach, cinema,
university, Diana's
home and a kampong
home are also
included.
223
MALAY LITERATURE
'-l
CIJ
i
E
:.;::
'0
r:::
::J
...CI0
~
0
The story takes place when the Vietnam
War broke out. However, France is
portrayed as having a calm summer.
nl
.tJ
The story takes place I
after independ ence
and the society of that
time was in a dil emma
about its culture as it
was leading an 0 vertly
Western lifestyl e.
II
CIJ
J::
I-
...>'(3
0
II)
'0
r:::
::J
...0CI
~
0
nl
.tJ
CIJ
J::
I-
The writer por trays
the local backg round
society as looki ng up i
to Western cui tures. i
However, ther e is a 1
group of student swho I
try to bring back Malay
values and traditi ons in I
the Malay socie ty.
I
II
CIJ
Monique has a huge house that can
sleep a large number of people and
there are many rooms. Rina and
Monique's other friends visit Monique's
house to have a good time over the
summer. The society there values
freedom.
J
I
Analysis
The two novels portray women's voices in various aspects. Amongst
them are the aspect of biological needs, gender ideology, social status,
limitations in male female socializing, education, familial relationships
and also marriage (including the choosing of one's own mate). These
two writers voiced women's rights in their own ways in order to stimulate
women to strive for and to voice their rights.
Women's Voice in La Barka and Seroja Masih di Kolam
There is a variety of voices put forth by the two writers in their novels. In
her novel La Barka (shortened to LB from here on), Nh. Dini portrayed
her female character, Monique, as a good-hearted woman; Sophie as
a beautiful young girl who, though beautiful, is shallow and materialistic
besides being a sex slave; Francine as a woman who strives hard
until she is successful in running a clothing store but to the extent of
neglecting her responsibilities as a wife and is also vigilant over her
husband's behaviour; Yvone as a divorcee who likes to spend men's
money and Christine as a teacher who is stoic in facing life's trials and is
an understanding person. The Rina character, which is from Indonesia
and is close to Monique, likes to be alone and observes others. Th. Sri
224
DHARMALETCHIMI NAIDU
Rahayu Prihatmi (1974: 337) stated that Dini often give prominence to
love themes, parents' responsibilities, problems faced by youths and
husband-wife relationships in her work.
On the other hand, in Seroja Masih di Kolam (shortened to SMDK
from here on) Adibah Amin brought forth the character of Nur Diana that
likes Western way of dressing and is more knowledgeable of Western
writers. Nevertheless she begins to show her interest in Malay traditions.
Siti Fatimah is an educated young woman and leads a life according to
Malay traditions. Hayati is Diana's cousin who comes from the kampong
and is being put up in Diana's home after the death of her father. She is
depicted as a young lady who likes to help Mak Jah do the housework.
Che Eton who is Diana's mother, likes to size people according to their
status and Latifah is a typist who likes to wear neat and tight clothes,
takes great care of her appearance and works in Che Jalal's office.
Latifah is morally corrupt and is the one that the writer focuses on.
a. Gender Ideology
Women's voice on gender ideology deals with the duties of man and
women. Mohamad Daud Mohamad (1996: 9) stated that men and
women in the West have specific individual limits. They each have their
duties and responsibilities. This shows that men must also carry out
tasks equal to that of women's as in the looking after children, cooking
and so on.
This is clearly emphasized by Nh. Dini through her Rina character.
Rina who has just become a mother hopes that with the birth of this
child the husband-wife relationship with her husband, Bunin, would
strengthen. However, her hopes do not come true as her husband
changes towards her. Instead, Bunin often complains and does not
sincerely help in looking after their child (LB: 43 - 44). This shows that
Nh.Dini vocalizes women's voice that wants to see men helping out in the
homes besides being sincere and happy in taking care of children.
Adibah Amin, through the character of Diana and Hayati, addresses
women's voice of a different nature. She portrays a kampong girl who
faces hardships after her mother falls ill and who is also used to running
the household while living in the kampong. The Hayati character is
comfortable in helping Mak Jah, the maid to Diana's family, while being
put up in Che Jalal's home (SMDK: 107-108). While Diana is depicted
as someone who loathes cooking and does not like helping out in the
kitchen (SMDK: 108). She prefers to read, revise her studies and tease
Mak Jah and Hayati. A change in Diana is shown after she visits Mak
Jah's home in the kampong. Diana likes to lead a meaningful and simple
life by having close ties to her family members. Whereas the character
of Che Eton, Diana's mother, is portrayed as one who does not cook
225
MALAY LITERATURE
but instead likes to attend cocktails, official functions and likes to attend
classes such as flower arranging class, home decorating class, how to
put on make-up and so on (SMDK: 138).
Adibah presents three different characters that come from different
backgrounds. Hayati as an ordinary kampong girl who takes over the
housework when her mother falls ill and finally dies. Then there is Diana,
a girl from middle class family who resides in town and has a Western
lifestyle due to her upbringing. Thus she is not used to and is not good
at housework. Despite this being the case, she begins to change and
learns to cook after visiting the home of Mak Jah's offspring. Meanwhile,
Diana's mother, Che Eton places great importance on Western living
and has never cooked for her family. She pays Mak Jah to do the
housework and cook while she, Che Eton, attends various classes
and functions.
b. Propinquity
Propinquity here takes the meaning of the affable and firm relationship
whether between husbands and wives or between children, siblings or
relatives. This propinquity is often emphasized in the works of Nh. Dini
and also Adibah. However, the focus here would be the propinquity from
women's perspective and those brought forth by the two writers.
Nh. Dini voices her resentment towards couples who always argue
with each other. They do not try to understand and resolve their family
problems but instead pick on the faults of the other. Nh. Dini also
addresses that it would be better to divorce and live separately rather
than to live in anguish and to bear dissatisfaction towards their partners.
Indeed through the character of Rina, the writer voices that women ought
to not let themselves be merely objects for the husbands to satisfy their
lust. Women ought to think, delve into and accept the fact that if their
husbands' behaviour were to change then there might be a possibility
of the husbands having other women on the side (LB: 44 - 45).
Through the character of Monique, the writer tries to make women
realise so that they will accept facts and be more open-minded towards
their husbands. Monique does not want to hear nor believe that her
husband has another woman. She trusts her husband whole-heartedly but
after their divorce she is jarred by the news of Danial's (her ex-husband)
impending marriage in less than a month of their divorce being final.
Nonetheless this does not surprise Rina as she had predicted such a
thing happening (LB: 163).
Adibah questions propinquity within a society especially within the
middle and lower classes and the poor through the dealings between Che
Eton and Hayati and Ridhwan. All the same, if one were to look carefully
besides looking at the big picture, Adibah too in a refined manner voices
226
DHARMALETCHIMI NAIDU
propinquity amongst men through the character of Che Jalal. Che Jalal
is portrayed as not making any effort to restore his relationship with his
wife that had turned murky as they begin to argue and he begins to turn
to Latifah, a typist in his office. Latifah receives a modern kebaya suit, a
pair of shoes and a bottle of perfume from Che Jalal (SMDK: 141). Apart
from that, the writer had in another instance described how Che Jalal
follows his desires with Latifah and does not care about his wife. Clearly
Adibah questions the fairness in which men can easily seek happiness
elsewhere when on the home front they are besieged by problems. The
following passage shows Che Jalal's unfaithfulness.
"At the lonely roadside Che Jalal stopped the car and his monosyllabic
questions were met with Latifah's tears. Without him being aware of it,
he had clasped Latifah tightly to his chest and there, against his wide
chest, Latifah buried her face while crying to her heart's content. In his
distress Che Jalal could still savour the feel of the girl's luscious body."
(SMDK: 174 -175)
i. Biological Needs
Biological needs or sex is a very complex and sensitive issue for women
of the East. However for women of the West, it is a normal matter.
According to Mohamad Daud Mohamad (1996: 9), white women are
not reticent in having sex with black men who were once looked down
with disdain.
Biological needs are addressed in the La Barka novel through the
characters of Sophie, Monique and Rina. Nh. Dini addresses the biological
needs of women as being the same as those of men's. Women's voice
through the Rina character shows the writer as being less than pleased
with men who satisfy their lust elsewhere while women are not in the
least able to do the same (LB 1975: 23 - 24). Sophie, who is engaged,
still has affairs and engages in sex with other men for self gratification.
On the other hand, Monique is seen as waiting for her divorce to come
through and does not live with her husband who works outside the
county where they lived. She moves out after her husband fails to fulfil
her conjugal needs. In the end, Monique has an affair with a man who
understands her better. The following are passages that show the
biological needs of a woman:
"There were times when Monique tried to fire her husband's lust.
For her efforts she only received several lukewarm kisses on her lips.
To the point where Monique was frustrated and suggested Daniel
pay a visit to the doctor."
(LB 1975: 23)
227
MALAY LITERATURE
In fact, Ajip Rosidi who had reviewed Dini's work said that Nh. Dini
often openly reveals what lies in the hearts of women.
"Women as beings who are not only of the same level and prestige
as that of men but also have the same desires. What is special about
Nh. Dini is her sagacity in relating what lies in women's hearts. She
relates about herself, her kind and her people and relates it openly in
no uncertain terms."
(Danui Darwin 1979: 66)
On the other hand, Adibah Amin does not write as much about the
biological needs of women. Instead she writes about the moral decay
of some youths who like to throw parties and are constantly changing
partners. However, the writer addresses the biological needs of the
Rosli character that tries to seduce Diana into having intercourse before
marriage. Still, Diana does not give any reaction to her lover and holds
on to her chastity (SMDK 1968:76 - 78).
Nh. Dini clearly writes about the biological needs of a woman being
equal to that of a man especially through the characters of Rina and
Monique. On the other hand, Adibah does not give prominence to women's
voice from this perspective. She is more comfortable to write on women
characters that guard their virtue. It can also be that, unlike Dini, Adibah
is reticent about being fortright in her work. This is because in Malaysian
society, especially for the women, such matters are very sensitive and
personal. There is this difference because the two writers come from
varying cultural backgrounds. For example in her work, Nh. Dini often
relates cultures of the East on a macro level while on a micro level, the
concept of Javanese (Indonesian) culture often clash with Western values
(BS Mohd 1995: 30). Instead, Adibah delves in the concept of Malay
culture that adheres to Islamic teachings. The Malay culture views this
matter as being sensitive in order to be discussed openly.
ii. Education
The aspect of education can be seen from two standpoints. The first is
from the standpoint of formal education which is derived from readings
and teachings. This type of education is usually derived from when a
person enters his schooling years and is then followed by college or
university. While informal education is derived from lessons or upbringing
from the parents or those who are older than us. In reality, experiences
also form part of informal education.
Rina is characterized as a mother who is concerned over the way
her child is taught. She thinks that freedom ought to be given to growing
children. This being the case, Rina often takes her child around the
228
DHARMALETCHIMI NAIDU
gardens close to La Barka to soak in the air and scenery which are
very important to children's growing process (LB: 158). This matter
also becomes Rina's main excuse for agreeing with her husband's
suggestion of them not going through a divorce for the love of their
child, even though Rina did not agree to it in the beginning.
Apart from that, Christine has the strength, the willingness and a
strong personality that is admired by Rina. This is because Christine
is successful in educating her children such that they attain a higher
lever, are polite and are independent. Robert is portrayed as furthering
his studies in medicine and is ready to work to earn pocket money (LB:
155).
Adibah tends to write on the effects offamily backgrounds on young
girls' attitudes towards education (SMDK: 78). Diana is portrayed as
an only child who has a good life and receives Western education due
to the Western way her family lives. She has the enthusiasm and the
realization to resit her H.S.C. after failing the first time. She is keen
and earnest in her studies besides asking Ridhwan to guide her in
Literature. As an educated young girl, Diana is open-minded. This is
shown in the sentence "She came with the desire to know, with an open
mind. She is determined not to be quick in her judgements and to look
down upon (others) but at the same time not to be easily awestruck or
overwhelmed" (SMDK: 57).
Ridhwan's university mate, Siti Fatimah, is depicted as a highly
educated young girl who is active in the National Organization of her
university. She felt challenged when she once heard someone making
the remark, 'Haji Wahab's child is clever, it's a pity that it's a daughter'
(SMDK: 132). This shows that Adibah tries to point out to the society
that women too can study to higher levels and succeed in life if given
the chance and education equal to that of men's. Apart from that, the
writer also depicts Hayati, who does not have the chance to study due
to her mother being ill often, as taking adult classes to improve her
knowledge (SMDK: 108).
iii. Marriage
Th. Sri Rahayu stated that Nh. Dini often writes on the issues of choosing
a suitable partner in life and of wives who are often lonely as they are
incompatible with their husbands as those faced by Rina. Such issues
manipulate the psyche of her characters deeply and are convincing
through the artistic arrangement of the language. Through her novels,
Dini addresses the issues of humanity and acumen on a large or small
scope but they influence and touch upon her life.
The issue of mixed marriages is executed well by Dini through
her Rina character (Indonesian) that marries Bonin (French). She
229
MALAY LITERATURE
also presents that choosing a life partner ought to be carried out in an
organized manner and ought to be thought out carefully. Dini, in La
Barka, presents two characters, Rina and Monique, which marry men
of their choice in haste without getting to know their partners well. Rina
is depicted as marrying Bonin when he visits Indonesia after knowing
him for only a month. The result is that she is happy for only two years
and her husband begins to change after she gives birth to their child
in the third year of their marriage (LB: 43). Meanwhile, Monique meets
Daniel, an architecture graduate, and marries him a year later without
going steady for long (LB: 17).
Dini also developes her opinions through her Rina character towards
Rene's and Francine's partners. Dini states that is better for them to
divorce as they no longer live under the same roof, are incompatible
and they also do not have any children (LB: 92).
At the same time, in Malaysia the issue of being forced into marriage
is a thing of the norm in Malay societies, especially in the kampongs of
the traditional era. The writer depicts Nur Diana as having the freedom
to choose her life partner. Her parents do not object but instead
encourage the relationship between Diana and Rusli, an M.e.S. officer.
The relationship carries on for four years. Diana's mother prefers for the
marriage to take place immediately in order to secure Diana's position.
Thus she does not agree when Diana voices her intentions to return to
her studies as this will delay her daughter's marriage (SMDK: 8). Still,
Diana makes the decision because she wishes to find out and compare
between Rusli and Ridhwan as to who will be suitable for her.
Siti Fatimah is also portrayed as comparing and looking out for a
suitable life partner for herself. She compares Hafiz who she thinks is
attractive, truthful but is hot-tempered and rash to Zamri who Siti Fatimah
thinks is able to live a good life even though he is Western-educated
and leads a Western lifestyle. At the same time, her thoughts move to
Ridhwan (SMDK: 135-136).
In this aspect, the two writers address the same voice but in different
ways. They both do not address the issue of women being forced into
marriages but instead those who have the freedom to choose their life
partners. The difference that stands out between the two writers is that
Dini portrays the consequence of marriages based on following the heart
instead of thinking things through as in the compatibility between the
couples. On the other hand, Adibah addresses the characters of Diana
and Siti Fatimah that think things through very carefully and also make
comparisons in order to to see the advantages and disadvantages in
their future life partners before making their decisions so that they do
not regret later.
230
DHARMALETCHIMI NAIDU
CONCLUSION
After studying the women's voice in the two novels, what can be seen
is that Eastern women's struggle is still restrained and have not gone
beyond humanity. This may be due to the unshakeable hold on religion
by Eastern societies. These two writers show similarities and also
differences as in there are differences in their backgrounds such as Nh.
Dini having vast experience and is, in a way, influenced by Western
lifestyle for having lived in France. Whereas Adibah is more spirited
in her approach in awakening the Malaysian society of the 60's that
lived in a state of inequality. On a positive note, society begins to seek
knowledge and to send their womenfolk to school, especially young
girls in the towns have the opportunity to attend school.
The societal (Indonesia and Malaysia) and writers' backgrounds in
themselves show differences. The difference that stands out is in the
aspect of biological needs. Dini voices out that the sexual needs of
men and women are the same while Adibah puts forward characters
that guard their virtue apart from portraying morally corrupted youths
who often exchange partners and practise free sex. It can be seen,
through gender ideology, that Dini says that men ought to also manage
the home. While Adibah thinks that there is a natural tendency to
have division of labour, thus each ought to know their responsibilities,
understand each other and work together. Consequently, propinquity
will be strengthened.
Consecutively, the two writers have opened women's minds so
that they are open-minded and seek justice when husbands (men) are
allowed by society to play around and seek happiness outside the home
and do not heed the conjugal needs of their wives. Apart from that, Nh.
Dini is of the thought that parents ought to sacrifice in order to educate
their children so that the children become useful human beings. Adibah
also addresses the same issue namely a family's background has an
impact on the education of that family's children. Lastly, in the aspect
of marriage, the two writers clearly and firmly voice out that each and
every woman ought to choose their life partners carefully and after
giving it much thought so that they do not later regret. It is found that
the two writers address the issues of modern women and the problems
faced by them.
231
MALAY LITERATURE
Appendix 1
A La Barka Synopsis
Sugiharino or better known as Rina lives in France after marrying a
French engineer. However, their marriage does not last long and they
plan to divorce after realising that they are no longer compatible. Rina
begins a personal journal while on vacation at her friend's place. The
aim of the vacation is to settle her mind while waiting for her divorce to
come through. Rina is portrayed by Nh. Dini as a character that likes to
observe. The writer also uses the point of view of an objective narrator
in order to develop the story.
Rina received her early education in a Catholic convent. Her parents
were farmers who had died in a flood. Since then Rina had lived in the
convent and received her secondary education there. Rina then went
on to do Pharmacy but was unable to continue to a higher level as she
was not good in Mathematics. Rina then took up stenography.
Rina is a person who values freedom. That being the case, she
refuses to become a nun even though several nuns try to convince her
to do so. In the end, Rina decides to move to another town and meets
up with herfuture husband, Bonin, who has just visited Indonesia. They
marry a month after meeting each other. After giving birth to their child
in the third year of their marriage, Rina's dreams are shattered when
her husband begins to change. She focuses solely on their child and
is unmindful of her husband.
They decide to divorce after Rina meets a Vietnam War journalist
who promises to marry her. They are so in love such that Rina is loyal
to him and brushes off other men who come into her life. Despite this
being the case, Rina went all the way with Robert, a university student
who is seven years younger than she and is totally in love with her. He
becomes the bane of her life when he meets with an accident and loses
his memory. She is crushed when she finds out that her lover had an
affair with Sophie whom Rina cannot in the least tolerate.
In the end Rina just wants to get away after telling Christine, Robert's
mother, that she has gone too far with Christine's son. Christine is
understanding and is ready to accept Rina but Rina thinks that it would
not be fair on Robert, who is still young to be tied down to her. Thus she
leaves to make a life for herself in town, all the while with the hopes of
taking up once again with her lover whom she loves very much. Rina
realises that she is still in love with and cannot forget her lover.
232
DHARMALETCHIMI NAIDU
Appendix 2
A Seroja Masih di Kolam Synopsis
Nur Diana or Anna is the daughter of Che Jalal, a government officer.
Che Jalal and his wife, Che Eton, are often at loggerheads. In Hayati's
room Diana finds Ridhwan's (Hayati's brother) poems. Ridhwan is a
university student and upon their father's death, Che Jalal took care of
him and his sister. Ridhwan and Hayati are Diana's cousins. Diana is
determined to resit her H.S.C. after being given a boost by Ridhwan.
On the other hand, Che Eton does not want Diana to continue with her
studies but instead she wants Diana to marry Rusli. Diana asks Ridhwan
to guide her and this draws them closer.
Ridhwan is a student who wishes to uphold his people's heritage
and also focuses on Malay culture and literature. He is very active and
has written a stage drama script which will be staged by the language
society at his university. He is different from Rusli who does not value
the Malay culture and glorifies Western culture such that he always
attends parties and likes to have a good time. However, all that Rusli
does is not known by Diana. Rusli likes to spend time with other girls
to appease his lust.
Diana is unlike her mother, Che Eton, who looks down upon the
poor and those of the lower status. Diana does not like her mother's
attitude of not respecting Hayati as her niece but Diana is powerless to
do anything about it. Diana, who is Western educated, is sympathetic
of Hayati's fate. Diana is depicted as being closer to Hayati and her
mother's maid than to her very own mother. This is because her mother
is often busy with her societies or attending cooking and flower-arranging
classes. The writer depicts the Diana character as floundering between
her love and her loyalty to Rusli and her relationship with Ridhwan. In
the end, Diana makes the decision to find her identity before choosing
her life's partner.
233
MALAY LITERATURE
BIBLIOGRAPHY
Ab. Rahman Ab. Rashid (pnys). Kamus Sastera Terkini. 2004. Selangor:
Longman.
Adibah Amin. 1968. Seroja Masih di Kolam. Kuala Lumpur: Pustaka Melayu
Baru.
Anwar Ridhwan. 1993. Seroja Masih di Kolam: Struktur Berakar di Bawah
Riak Tema. Dim. Hamzah Hamdani (pngr.). Novel-novel Malaysia dalam
Kritikan. him. 252 - 256. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Atisah, Widodo Djati & Nur Hayati. 2002. Antologi Bersama 30 Pengarang
Sastra Indonesia Modern. Jakarta: Pusat Bahasa.
Baharuddin Zainal (pnys.). 1981. Wajah: Biografi Seratus Penulis. Kuala
Lumpur: Dewan Bahasa dan Pustaka.
BS Mohd. 1995. Preferensi Wanita dalam Novel-novel Nh. Dini. Dewan
Sastera, Jun: 27 - 34.
Danui Darwin. 1979. Nh. Dini dan Karya-karyanya. Alam Wanita, Jun: 66.
Darwis Harahap. 1996. Zulkifli Muhammad dan Willem Iskander: Perbandingan
Puisi dari Sudut Tema. Dewan Sastara, April, 74-80.
Fatimah Busu. 2003. Memupuk Bakat dan Minat Penulisan Kreatif: Teori dan
Proses. Kuala Lumpur: PTS Publications & Distributors.
Hashim Ismail. 2003. Sastera Bandingan yang Merentas Sempadan. Dewan
Sastera, Julai: 28 - 31.
Nh. Dini. 1975. La Barka. Jakarta: PT Dunia Pustaka Jaya.
Rosnah Baharudin. 1995. Singkowoton: Sesal dan Dendam Wanita. Dewan
Sastera, September: 52 - 56.
Rosnah Baharudin. 2003. Mencari Jati Diri Feminisme dalam Karya Novelis
Tempatan. Dim. Zalila Sharif (pngr). Feminisme da/am kesusasteraan
Malaysia dan Asia Tenggara, him. 12 - 23. Kuala Lumpur: Dewan Bahasa
dan Pustaka.
Rosnah Baharudin. 2003. Wacana Wanita Melayu dan Sastera. Bangi:
Penerbitan Universiti Kebangsaan Malaysia.
Sahlan Mohd. Samano 1999. Tokoh Dan Kecenderungan Kritikan Sastera
Mutakhir. Bangi: Persatuan Penulis Selangor.
Th. Sri Rahayu Prihatmi. 1974. Orang-orang yang Bercinta dalam Kealpaan
Semesta. Horison, April: 337.
Lie Hua. 2003. Nh. Dini: A writer bravely bares her soul. (Iaman sesawang)
http://www.thejakartapost.com/yesterdaydetai I. asp ?fi leid =200 30824.
G01.12 Mac 2007.
234
DHARMALETCHIMI NAIDU
Pengarang Sastra Feminis. (Iaman sesawang). htt:!lid.wikipedia.org/wikil
Nh Oini. 12 Mac 2007.
Tokoh Indonesia Dot Com. Ensiklopedi Tokoh Indonesia. (Iaman sesawang)
http://www.tokohindonesia.com/ensikloped ia/nl n h-d i n iii ndex.shtml.12
Mac 2007.
(Translated by Nor'Ashikin Abdullah)
235