Euphrosyne: Selected Poems

Penerbit Buku Sastra Digital
2

“Cecep Hari is one of the most creative poets working in Bahasa Indonesia today. He uses the gentle nature symbols which characterize the work of other writers, such as Sapardi Djoko Damono, but moves these symbols into a unique realm of fantasy and personal exploration which is completely his own. There is a distinct sound to his voice, a firm and brave manner of joining images, an exploration of Indonesian and western literary and cultural resources, which deeply stirs the reader and is impossible to forget.” (Prof. Harry Aveling, Ph.D.) 

ABOUT THE TRANSLATORS

Harry Aveling (born 1942 in Sydney) is an Australian scholar and translator. He received the degrees of Doctor of Philosophy in Malay Studies from the National University of Singapore and Doctor of Creative Arts from the University of Technology, Sydney. He specialises in Indonesian and Malaysian literature, and Translation Studies. 

Dr. Phil. Dewi Candraningrum is a published author and translator. Lecturer of Universitas Muhammadiyah Surakarta. Editorial Board of IJIS (International Journal of Indonesian Studies) Monash University. Chief Editor Jurnal Perempuan Indonesian Feminist Journal. She is a part-time painter as well.

Euphrosyne is an English edition of the Indonesian poetry book Efrosina, which is widely known to Indonesian enthusiastic poetry readers. 

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About the author

Cecep Hari (Cecep Syamsul Hari) is an Indonesian  poet and writer.  He was a writer-in-residence in South Korea (Korea Literature Translation Institute), Malaysia (Rimbun Dahan Arts Residency), Hungary (Magyar Forditohaz/Hungarian Translators House), Czech (The Indonesian Embassy in Prague), Australia (Bundanon Arts Residency and University Technology of Sydney), and a guest poet in China (Xian-xi Writers Association). He is the founder of CSH Poetry Award. Official website: http://www.cecephari.com

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Additional Information

Publisher
Penerbit Buku Sastra Digital
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Published on
Feb 10, 2019
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Pages
167
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ISBN
9781796411799
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Language
English
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Genres
Poetry / American / Asian American
Poetry / Asian / General
Poetry / Australian & Oceanian
Poetry / General
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Content Protection
This content is DRM free.
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"One of the most recurrent themes of this section of the whole collection is the development of the idea of ‘spring’  and countless variations of the way ‘Spring’ gives way to the other seasons. Here in Prague the poet reflects upon his visit to the memorial: ‘Jan Zajíc and Jan Palach Spring’.  So Spring has many meanings for this poet in his first experiences of a European spring: some of which are bitter sweet, as he stands in front of the memorial to the 1968 Prague spring revolt and describes the scene more than forty years on: ‘No More Prague to be Depended’. Time has moved on.... 


But the core and the undoubted strong point of the whole collection is the section of poems from Hungary. In many ways he demonstrates how so many of the features of his earlier poems in Efrosina (English edition: Euphrosyne) -- written without any direct experiences in Central Europe but replete with European mythological and historical references, and with playful references to characters including musicians with European names eg Liszt, Mozart, Tchaikovsky -- are now even further developed through his experiences of actually sojourning in Central Europe.


But perhaps one of the finest poems in the collection is the poem, ‘Wind Dance’, which continues the musical allusions from the earlier poem addressing the musical heroes. No other Indonesian contemporary poet has pioneered so forcefully the thematic use of European classical music as a subject and theme in Indonesian poetry. Most other poets have stopped short of giving a central place to classical music in the European tradition. Most have looked to other aspects of the European intellectual or physical and historical landscape. But in ‘Wind Dance’ Cecep takes a composition by Liszt, ‘Wind Dance’ and makes it centre and core of the development of the poem.


There are poems in the collection that expand the classical Greek mythological references that we first saw in the Efrosina collection. For example, In the current collection, the poems ‘Hades’ and , ‘János Wine’. These poems are also infused at times with allusions to the actual contemporary Hungarian street scenes, as myth and counter-myth are posed and reset in down-town Budapest. The section concludes with the dazzle of the allusions to the rhapsody, one of Lizst’s key compositions, ‘Hungarian Rhapsody’, with the contrast of unremittingly rapid chords brought to a shattering stop, then a resumption, to return to break-neck musical pace. In the poem ’Budapest’s Rhapsody’  we are also taken on a rip-roaring journey into Hungarian night scenes, with allusions to jazz and Frank Sinatra. But even sitting in the Opera House in Budapest provokes a reflection on Indonesian history...."


(Ian Campbell, author of Tak ada Peringatan [poetry] and currently an Honorary Research Associate, Department of International Studies, Macquarie University, Sydney). 

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“[Fatimah] Asghar interrogates divisions along lines of nationality, age, and gender, illuminating the forces by which identity is fixed or flexible.”—The New Yorker

NAMED ONE OF THE TOP TEN BOOKS OF THE YEAR BY THE NEW YORK PUBLIC LIBRARY • FINALIST FOR THE LAMBDA LITERARY AWARD

an aunt teaches me how to tell
an edible flower
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just in case, I hear her say, just in case.

From a co-creator of the Emmy-nominated web series Brown Girls comes an imaginative, soulful debut poetry that collection captures the experiences of being a young Pakistani Muslim woman in contemporary America. Orphaned as a child, Fatimah Asghar grapples with coming of age and navigating questions of sexuality and race without the guidance of a mother or father. These poems at once bear anguish, joy, vulnerability, and compassion, while also exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests itself in our relationships. In experimental forms and language both lyrical and raw, Asghar seamlessly braids together marginalized people’s histories with her own understanding of identity, place, and belonging.

Praise for If They Come for Us

“In forms both traditional . . . and unorthodox . . . Asghar interrogates divisions along lines of nationality, age, and gender, illuminating the forces by which identity is fixed or flexible. Most vivid and revelatory are pieces such as ‘Boy,’ whose perspicacious turns and irreverent idiom conjure the rich, jagged textures of a childhood shadowed by loss.”—The New Yorker

“[Asghar’s] debut poetry collection cemented her status as one of the city’s greatest present-day poets. . . . A stunning work of art that tackles place, race, sexuality and violence. These poems—both personal and historical, both celebratory and aggrieved—are unquestionably powerful in a way that would doubtless make both Gwendolyn Brooks and Harriet Monroe proud.”—Chicago Review of Books

 “Taut lines, vivid language, and searing images range cover to cover. . . . Inventive, sad, gripping, and beautiful.”—Library Journal (starred review)
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