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All That Is Gone By Pramoedya Ananta Toer
Free PDF All That Is Gone By Pramoedya Ananta Toer
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- Sales Rank: #1408861 in Books
- Brand: Toer, Pramoedya Ananta
- Published on: 2005-02-01
- Released on: 2005-02-01
- Original language: English
- Number of items: 1
- Dimensions: 7.65" h x .74" w x 5.08" l, .41 pounds
- Binding: Paperback
- 272 pages
From Publishers Weekly
In these early stories, many appearing in English for the first time, one of Indonesia's leading writers illuminates with a quiet ferocity some of the most turbulent years in his nation's history. Often told through a child's observant eyes, the eight stories—which draw on the author's own upbringing in East Java during Dutch colonial rule, Japanese invasion and bloody periods of independence and civil war—are written in a warm, lyrical style that gives way to sudden pools of sadness. In the title story, the narrator evokes a dreamlike childhood along the banks of the Lusi River, but also tells matter-of-factly of a beloved servant who contracts syphilis and is abruptly dismissed for stealing. "Revenge" tells of the "bullet fever" of the independence years, as undertrained, undersupplied young nationalists are set loose on enemies near and far. "Independence Day" is also a cautionary war tale, featuring a young man maimed and blinded in combat and pitied by his family. In "Acceptance," a novella-length work, sisters and brothers take up arms for opposing political movements while their once-prosperous home disintegrates. Pramoedya, as he is called, is best known for his Buru Quartet, a cycle of novels set in the dying days of Dutch rule, and recent books such as The Girl from the Coast. These stories, though smaller in scope, show the nascent political consciousness that flowered in later novels and led to the author's long-time imprisonment under the Suharto regime. Samuels ably translates Pramoedya's informal storytelling, and his introductory note gives a useful overview of the author's long career.
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From The New Yorker
In the last story of this collection from Indonesia's preëminent writer, the author himself makes a short appearance, stricken with self-doubt and grieved by the evil events he recounts. But he reminds himself, "You must be willing to tell stories about the loss of hope." A sense of duty is perhaps natural for a writer who spent nearly two decades as a political prisoner under three different regimes. But the striking achievement of these stories is an unshakable innocence of voice and a willingness to leave judgment to the reader. Pramoedya's art is made more of sadness than of anger, and he is particularly adept at narrating from a child's perspective—as when a six-year-old boy sees his best friend, a girl of eight, married off, beaten by her husband, and, after she flees, made a social outcast.
Copyright © 2005 The New Yorker
From Booklist
*Starred Review* Translator Samuels says that, while in the West the novel is the dominant literary form, in Indonesia, shorter stories and poems are still preferred because they are closer to the orally told story. Toer, many of whose novels have appeared in English, launched his career with stories, and this volume indicates more truly why his compatriots love him. These narratives of family life in Toer's birthplace, the little Javanese city of Brora, possess the accessible diction, clear vision, and friendly fellowship expected of and carefully cultivated by oral storytellers. Toer is so good in this manner that, while we read him, we become townspeople of Brora and achieve considerable understanding of what life in a twentieth-century "developing" country was like. This collection isn't a random presentation but traces from early childhood to marriage the life of a man who is narrator of the first five stories and the last one. The other two are about contemporaries of the narrator--one a blind, legless ex-soldier; the other an 11-year-old thrust into the care of her younger siblings when the Japanese occupy Indonesia. The poetry of the first story is complemented by the humor of the last, the dire but not fatal situation in the second (an 8-year-old girl's marriage) by the horrors that, in the penultimate one, attend little Sri's stewardship of her family during years of war. Toer is a great storyteller. Ray Olson
Copyright © American Library Association. All rights reserved
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