Nonetheless, history has to be separated from literature. One thing that is impossible to do with the historical note. In the sense of literature, we may “see” how Diponegoro spoke, how Jan Pieterszoon Coen’s body gestures expressed when he walked, and others. On the other hand, it also helps “living” historical actors. Literature could loan the historical facts as the story background. In the preface, I used to note that the story inside is just historical fiction, not a historical book. As you may see, in my book covers, I always write a disclaimer, “A Novel”. I do not ever hope the historical fiction I have written becomes historical literature. Nevertheless, in your opinion, could a literary work have a position as historical literature? Or do you have a desire to make such a thing becomes? However, when today we write a story with a background of 1945, and the writer will reuse that story in 2040 as the historical source of the events on 1945, it cannot be responsible for the accuracy of historical notes. That novel records youth life in the ’70s, from hairstyle, the places they have fun, the brand of motorcycle, the shirt they wore, and others. In the future, it can be used by a writer who lives in 2040, when he/she will write historical fiction about Jakarta in 2020.Ī concrete example for this case is Ali Topan Anak, a novel by Teguh Esha. It can be a hotel, street, fun park name, even the brand of mobile phone. For example, when I write a realism novel that recorded youth social life in Jakarta this year (2020), perhaps considered or not, I also recorded the atmosphere of Jakarta in 2020 accurately. Within a note, it only works for contemporary literary works, that recorded social condition, geography, and environmental psychography and the year of the stories were told. On the specific line, literary works can be a historical source. Do you try to make literary as like one of the sources for studying history? So, there is a possibility Abdul Muis only retold the work of Nicolina that was the source is fiction.Īlthough it is a work that tries to balancing fiction and history, historical weighted value has a considerable portion. But there is very little data I collected from that because, on the historical notes written by Leonard Blusse, Untung Surapati since in his childhood lived with Pieter Cnoll family. Except for the short story “Penunjuk Jalan” about Untung Surapati’s childhood within Suzanna, the child of Edeleer Moor, I studied from Surapati written by Abdul Muis and Nicolina Maria Sloot. Secondary sources from literary works had little impact as a resource in my works. Moreover, for the short stories in Semua untuk Hindia and Teh dan Pengkhianat, almost every data I collected from books, Netherland newspapers, and online articles, because there is not much detail that must be delineated.Īre there your works that the idea comes from literary works? Kurnia Effendi and I had to go to the Netherlands for seeing the places that had been visited by Raden Saleh, the studio he studied painting, his boarding house in Prinsengracht, Mauritius, and others. It also happened when I wrote Pangeran dari Timur. I also collected the data from any book and article on an old Netherland newspaper. So, for a week I went to Kudus, met with Nitisemito’s legacy, visiting his house of twin at Kali Gellis, seeing Kretek Museum, and also visiting some prioritized places that I have listed. When writing the novel Sang Raja, unfortunately, I got research funding from the sponsor. I think it depends on the coverage of the ongoing story, also depends on if there any funding sources. Is your gathered-source is a primary source, which means you did literature study, archives, and others? Your delineation of past events is very realistic. Balairung had an opportunity to do an interview with Iksaka Banu for quarrying his perspectives.
He tries to explain a counter-perspective through his humanistic protagonist. Iksaka Banu presents a new narration on Indonesian historical fiction by becoming the Netherlands as the central character. His two literary works have a topic of Indonesian history, Iksaka Banu’s unique theme, which appears in his short stories and novel.įrom any time setting on the Indonesian historical periods, colonialism has dominated Iksaka Banu’s two anthologies of short stories. That was the second award for Iksaka Banu, after his anthology of short stories, Everything for Hindia ( Semua untuk Hindia), won Kusala Sastra Khatulistiwa in 2014.
Indonesian literary award, Kusala Sastra Khatulistiwa, honored the anthology of short stories, Tea and The Betrayer ( Teh dan Pengkhianat) as the best literary works in the category of prose in 2019.
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