Papers by Sulistya Ningtyas
Ahmad Tohari's novel, Ronggeng Dukuh Paruk, portrays the struggle of the underclass of Du... more Ahmad Tohari's novel, Ronggeng Dukuh Paruk, portrays the struggle of the underclass of Dukuh Paruk in facing the political turmoil, particularly around the 1960s. The present study examines political subjectivity through the truth procedure in the novel. The research problems are answered by using a qualitative research method and post-Marxism as the critical approach. By applying a theory proposed by Alain Badiou, this study questions the role of Javanese women, represented by Srintil as the main character of the novel, in adapting to the rapid changes of the world. In Badiou's philosophy, truth is not a static state but appears as a procedure-in which it can be seen for a passing moment as an event. The results of the analysis show that the Dukuh Paruk community experiences an event of political propaganda which, eventually, leads to independence of the working class. Due to the incorporation, Srintil as a ronggeng (a local traditional dancer) who plays an essential role in the center of the community is subjectivated to become a reactive subject, one who denies the event of truth.
Culturalistics: Journal of Cultural, Literary, and Linguistic Studies, Oct 14, 2022
The multi-interpreted narrative of Han Kang's novel The Vegetarian is developed on an allegory. I... more The multi-interpreted narrative of Han Kang's novel The Vegetarian is developed on an allegory. In this study, the allegory is seen as the meaning of freedom where the subject chooses to resist social intervention through the radical Act and political withdrawaltwo main practices of action in the Žižek study. This study aims to examine the practices of action demonstrated by the protagonist that resulted from her childhood trauma. By applying Žižek's theory of radical politics, the results of the study revealed the radical Act of being a vegetarian taken by the main character as her criticism of the violent environment. Further, the subject's political withdrawal from living as a normal human indicates that she has gone beyond the radical Act. Even though the subject collapses in her effort to transform to become a tree, her courage to start taking this action in the first place confirms that she has value as an authentic subject.
This study aimed to examine the paradoxical problems of the nation in Martin Aleida’s Tanah Air s... more This study aimed to examine the paradoxical problems of the nation in Martin Aleida’s Tanah Air short story. It also identified alternative spaces depicted in the story using a concept of spatial politics proposed by Upstone. By using textual analysis, the results showed that the meaning of the nation is problematic since the main characters glorify the nation, which in fact is a product of colonial culture. To overcome this problem, alternative spaces are present in the form of a journey as a nomad, exile, and migrant. The alternative space in the form of the most-free journey, as a nomad, is carried out as the character moves around from Indonesia, Egypt, China, and Belgium. As an exile, both grudge and nostalgia grow together in the inner self of the character with his background as a victim of the regime’s atrocities. While as a migrant, the character emigrates from her origin country to the Netherlands.
Culturalistics: Journal of Cultural, Literary, and Linguistic Studies
The multi-interpreted narrative of Han Kang’s novel The Vegetarian is developed on an allegory. I... more The multi-interpreted narrative of Han Kang’s novel The Vegetarian is developed on an allegory. In this study, the allegory is seen as the meaning of freedom where the subject chooses to resist social intervention through the radical Act and political withdrawal — two main practices of action in the Žižek study. This study aims to examine the practices of action demonstrated by the protagonist that resulted from her childhood trauma. By applying Žižek’s theory of radical politics, the results of the study revealed the radical Act of being a vegetarian taken by the main character as her criticism of the violent environment. Further, the subject’s political withdrawal from living as a normal human indicates that she has gone beyond the radical Act. Even though the subject collapses in her effort to transform to become a tree, her courage to start taking this action in the first place confirms that she has value as an authentic subject.Keywords: vegetarian; trauma; Žižek study; radical...
Kibas Cenderawasih, Dec 31, 2019
The taste of film is a reflection of the social, economic, and political circumstances in a certa... more The taste of film is a reflection of the social, economic, and political circumstances in a certain period in history. Taste, as subjective preferences towards symbolic objects, is strongly determined by the habitus of the audience. This study is motivated by the audience's interest to psychological thriller film, which is questionable given that this genre drives them to experience a set of negative emotions. To examine the research problems, this study adopts a Bourdieu perspective related to habitus and taste. The objective of this study is to find out the interrelation of habitus and taste of the audience in affecting their attraction towards the psychological thriller film. To give a specific context in the analysis process, The Girl on the Train film is chosen as the material object of this study. By using qualitative research methods, the results show that the habitus of the present conditions is engaged in a confrontation of social conflicts. It drives the audience to construct their taste of psychological thriller film as an escape from reality. Though this genre gives a set of detrimental feelings to the audience, they gain satisfaction as they play an important role in solving the problems of the film.
Alphabet, 2021
Our public domain is inseparable from the social construction stating that gender gives distincti... more Our public domain is inseparable from the social construction stating that gender gives distinction to males and females. This study is aimed at identifying the language use of the Middle Eastern freedom activists' speeches based on gender perspective. The data source was male and female Middle Eastern freedom activists' speech videos. Several participants were also involved to measure the powerful voice in the speech. The results showed that male and female speakers produced a set of spoken language differences, such as form, topic, content, and purpose. In using the language for speech, both male and female speakers produced some elements in random frequency. To conclude, one gender could not be considered more potential than the other to influence the audience when delivering speeches. Other factors, particularly non-verbal ones, exist to give an impact on the speech performance so that it has a certain degree to influence the audience.
Poetika, 2019
Identity is seen as something important to humans in society, as it shows the origin of the self... more Identity is seen as something important to humans in society, as it shows the origin of the self. Sometimes, someone cannot accept the identity that is attached to them, which will lead to the process of forming a new identity. This case also happens to the main character of The Scent of Sake, a novel by Joyce Lebra published in 2009. Rie Omura is not allowed to interfere in the sake making business, so that she tries to change that identity. Thus, this study aims to examine the process of identity formation that occurs in the character of a Japanese woman, represented by Rie. To answer the research problem, this study uses a textual analysis as the research methods. The theory used to assist the analysis is a perspective proposed by Žižek regarding the formation of subject’s identity to achieve the stage of authentic subject. The results show that in her efforts to unbind herself from the symbolic order, she makes attempts to rule the brewer house. However, her action cannot be ca...
Ahmad Tohari's novel, Ronggeng Dukuh Paruk, portrays the struggle of the underclass of Du... more Ahmad Tohari's novel, Ronggeng Dukuh Paruk, portrays the struggle of the underclass of Dukuh Paruk in facing the political turmoil, particularly around the 1960s. The present study examines political subjectivity through the truth procedure in the novel. The research problems are answered by using a qualitative research method and post-Marxism as the critical approach. By applying a theory proposed by Alain Badiou, this study questions the role of Javanese women, represented by Srintil as the main character of the novel, in adapting to the rapid changes of the world. In Badiou's philosophy, truth is not a static state but appears as a procedure-in which it can be seen for a passing moment as an event. The results of the analysis show that the Dukuh Paruk community experiences an event of political propaganda which, eventually, leads to independence of the working class. Due to the incorporation, Srintil as a ronggeng (a local traditional dancer) who plays an essential role in the center of the community is subjectivated to become a reactive subject, one who denies the event of truth.
Jurnal Ilmiah Mahasiswa Fib, Jan 23, 2015
Poetika, 2021
This study explored the practice of power relations and the panopticon as a disciplinary mechanis... more This study explored the practice of power relations and the panopticon as a disciplinary mechanism in Seno Gumira Ajidarma’s Istana Tembok Bolong short story. ‘Istana tembok bolong’ in this literary work refers to a place near a train station that is separated from the outside area by a perforated wall, which turns to be a palace for the lower class of society occupying the space. By using Foucauldian analysis, this study examined the case of ‘selling matches’ as the central issue of the story being discussed. This phenomenon that occurred in Yogyakarta in the 1970s became the media of the manifestation of power over street prostitutes. The results showed that power relations operate as a means to control the body, particularly female bodies. This is because female bodies become commodities as a result of capitalism. However, in a certain situation, these street prostitutes can also hold power in a way how their bodies are enjoyed. Besides, social norms outside the palace function a...
Jurnal Batra, 2021
This study aimed to examine the paradoxical problems of the nation in Martin Aleida’s Tanah Air s... more This study aimed to examine the paradoxical problems of the nation in Martin Aleida’s Tanah Air short story. It also identified alternative spaces depicted in the story using a concept of spatial politics proposed by Upstone. By using textual analysis, the results showed that the meaning of the nation is problematic since the main characters glorify the nation, which in fact is a product of colonial culture. To overcome this problem, alternative spaces are present in the form of a journey as a nomad, exile, and migrant. The alternative space in the form of the most-free journey, as a nomad, is carried out as the character moves around from Indonesia, Egypt, China, and Belgium. As an exile, both grudge and nostalgia grow together in the inner self of the character with his background as a victim of the regime’s atrocities. While as a migrant, the character emigrates from her origin country to the Netherlands.
Universitas Brawijaya, 2015
Examining the role of Middle Eastern freedom activists' speech based on gender perspective is con... more Examining the role of Middle Eastern freedom activists' speech based on gender perspective is considered noteworthy because the society in the Middle East is patriarchal. This research aims to examine the language use of the Middle Eastern freedom activists' speeches through gender perspective. The data source are from male and female Middle Eastern freedom activists' speech videos. In analysing the data, the theories employed are by Haas (1979) and Jones and Peccei (2004). The result reveals that there are sets of spoken language differences between male and female speakers. In using the language for speech, both male and female speakers produce metaphor, euphemism, the 'rule of three', parallelism, and pronouns in random frequency of production, which cannot be separated by genders. Moreover, it cannot be concluded that one gender is more potential than the other to influence the audience in delivering speech. There are other factors, particularly non-verbal factors, exist to give impacts on how a speech can influence the audience.
Poetika: Jurnal Ilmu Sastra, 2019
Identity is seen as something important to humans in society, as it shows the origin of the self.... more Identity is seen as something important to humans in society, as it shows the origin of the self. Sometimes, someone cannot accept the identity that is attached to them, which will lead to the process of forming a new identity. This case also happens to the main character of The Scent of Sake, a novel by Joyce Lebra published in 2009. Rie Omura is not allowed to interfere in the sake making business, so that she tries to change that identity. Thus, this study aims to examine the process of identity formation that occurs in the character of a Japanese woman, represented by Rie. To answer the research problem, this study uses a textual analysis as the research methods. The theory used to assist the analysis is a perspective proposed by Z iz ek regarding the formation of subject's identity to achieve the stage of authentic subject. The results show that in her efforts to unbind herself from the symbolic order, she makes attempts to rule the brewer house. However, her action cannot be categorized as a radical action since it cannot bring her out of the Symbolic. It confirms that Rie is failed to be an authentic subject.
Jurnal Kibas Cenderawasih, 2019
The taste of film is a reflection of the social, economic, and political circumstances in a certa... more The taste of film is a reflection of the social, economic, and political circumstances in a certain period in history. Taste, as subjective preferences towards symbolic objects, is strongly determined by the habitus of the audience. This study is motivated by the audience's interest to psychological thriller film, which is questionable given that this genre drives them to experience a set of negative emotions. To examine the research problems, this study adopts a Bourdieu perspective related to habitus and taste. The objective of this study is to find out the interrelation of habitus and taste of the audience in affecting their attraction towards the psychological thriller film. To give a specific context in the analysis process, The Girl on the Train film is chosen as the material object of this study. By using qualitative research methods, the results show that the habitus of the present conditions is engaged in a confrontation of social conflicts. It drives the audience to construct their taste of psychological thriller film as an escape from reality. Though this genre gives a set of detrimental feelings to the audience, they gain satisfaction as they play an important role in solving the problems of the film.
ACAH International Conference Japan (Conference Proceeding), 2018
As one of the most outstanding Japanese authors, Haruki Murakami always comes up with unique idea... more As one of the most outstanding Japanese authors, Haruki Murakami always comes up with unique ideas of surrealistic story. Yet, his only realistic novel, Norwegian Wood (2000), is also a masterpiece. Translated from the original version entitled Noruwei no Mori (1987), this novel tells about a complicated story rooted from the death of the beloved one. This research aims to investigate the subjectivity of the main characters: Kizuki, Naoko, and Toru as they do certain radical actions to be out from their symbolic mechanism. Set in Tokyo during the late 1960s, the background shows the student movement which grew wider after the World War II to protest the government. Nevertheless, their ambition to be free from the structures that chained them do not always come true. Some of them left their symbolic mechanism to enter another one. In the end, the characters cannot be the Other; as long as they are still structured by a particular symbolic mechanism they would only be able to be the other.
Universitas Gadjah Mada, 2011
In the process of reaching the absolute truth, the subject’s knowledge is always manipulated by s... more In the process of reaching the absolute truth, the subject’s knowledge is always manipulated by subjective presupposition which he considers true. In fact, this understanding is always distorted by a particular ideological framework when the subject interprets reality. Parallax, a change of view about something caused by different perspectives, makes the Real inconsistent. In this study, Orhan Pamuk’s novel My Name is Red is chosen to prove the position of that parallax.
This study is conducted by answering these problems: (1) How does parallax have implications for the emergence of ideological fantasy in My Name is Red novel?; (2) How does parallax have implications for the existence of authentic subject in My Name is Red novel? To answer those questions, the theories applied in this study are ideological fantasy and authentic subject in parallax schemes offered by Slavoj Žižek. While the method used is by analyzing the novel textually and objectively.
The results of this study prove that first, parallax has implications for the ideological fantasy of the subject. The miniaturists of Ottoman Empire who fantasize fundamentalism in their paintings desire the attainment of afterlife happiness. Conversely, Franks painters who fantasize secularism desire freedom. Although these perspectives can never meet in one synthesis, they both have similarity in the practice of capitalism. Second, parallax also has implications for the existence of the subject because of the shift of standpoint in its circuit. Olive, one of the characters, acts radically by killing his miniaturist colleague. Yet, he returns to the Symbolic because the doctrine of Islam makes him a subject that cannot be free. Ironically, Pamuk as the author is also trapped in the shackles of capitalism, so that the dream of becoming an independent subject is only an impossibility.
Talks by Sulistya Ningtyas
Universitas Gadjah Mada, 2019
In the process of reaching the absolute truth, the subject’s knowledge is always manipulated by s... more In the process of reaching the absolute truth, the subject’s knowledge is always manipulated by subjective presupposition which he considers true. In fact, this understanding is always distorted by a particular ideological framework when the subject interprets reality. Parallax, a change of view about something caused by different perspectives, makes the Real inconsistent. In this study, Orhan Pamuk’s novel My Name is Red is chosen to prove the position of that parallax.
This study is conducted by answering these problems: (1) How does parallax have implications for the emergence of ideological fantasy in My Name is Red novel?; (2) How does parallax have implications for the existence of authentic subject in My Name is Red novel? To answer those questions, the theories applied in this study are ideological fantasy and authentic subject in parallax schemes offered by Slavoj Žižek. While the method used is by analyzing the novel textually and objectively.
The results of this study prove that first, parallax has implications for the ideological fantasy of the subject. The miniaturists of Ottoman Empire who fantasize fundamentalism in their paintings desire the attainment of afterlife happiness. Conversely, Franks painters who fantasize secularism desire freedom. Although these perspectives can never meet in one synthesis, they both have similarity in the practice of capitalism. Second, parallax also has implications for the existence of the subject because of the shift of standpoint in its circuit. Olive, one of the characters, acts radically by killing his miniaturist colleague. Yet, he returns to the Symbolic because the doctrine of Islam makes him a subject that cannot be free. Ironically, Pamuk as the author is also trapped in the shackles of capitalism, so that the dream of becoming an independent subject is only an impossibility.
Conference Presentations by Sulistya Ningtyas
ACAH International Conference Japan, 2018
As one of the most outstanding Japanese authors, Haruki Murakami always comes up with unique idea... more As one of the most outstanding Japanese authors, Haruki Murakami always comes up with unique ideas of surrealistic story. Yet, his only realistic novel, Norwegian Wood (2000), is also a masterpiece. Translated from the original version entitled Noruwei no Mori (1987), this novel tells about a complicated story rooted from the death of the beloved one. This research aims to investigate the subjectivity of the main characters: Kizuki, Naoko, and Toru as they do certain radical actions to be out from their symbolic mechanism. Set in Tokyo during the late 1960s, the background shows the student movement which grew wider after the World War II to protest the government. Nevertheless, their ambition to be free from the structures that chained them do not always come true. Some of them left their symbolic mechanism to enter another one. In the end, the characters cannot be the Other; as long as they are still structured by a particular symbolic mechanism they would only be able to be the other.
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Papers by Sulistya Ningtyas
This study is conducted by answering these problems: (1) How does parallax have implications for the emergence of ideological fantasy in My Name is Red novel?; (2) How does parallax have implications for the existence of authentic subject in My Name is Red novel? To answer those questions, the theories applied in this study are ideological fantasy and authentic subject in parallax schemes offered by Slavoj Žižek. While the method used is by analyzing the novel textually and objectively.
The results of this study prove that first, parallax has implications for the ideological fantasy of the subject. The miniaturists of Ottoman Empire who fantasize fundamentalism in their paintings desire the attainment of afterlife happiness. Conversely, Franks painters who fantasize secularism desire freedom. Although these perspectives can never meet in one synthesis, they both have similarity in the practice of capitalism. Second, parallax also has implications for the existence of the subject because of the shift of standpoint in its circuit. Olive, one of the characters, acts radically by killing his miniaturist colleague. Yet, he returns to the Symbolic because the doctrine of Islam makes him a subject that cannot be free. Ironically, Pamuk as the author is also trapped in the shackles of capitalism, so that the dream of becoming an independent subject is only an impossibility.
Talks by Sulistya Ningtyas
This study is conducted by answering these problems: (1) How does parallax have implications for the emergence of ideological fantasy in My Name is Red novel?; (2) How does parallax have implications for the existence of authentic subject in My Name is Red novel? To answer those questions, the theories applied in this study are ideological fantasy and authentic subject in parallax schemes offered by Slavoj Žižek. While the method used is by analyzing the novel textually and objectively.
The results of this study prove that first, parallax has implications for the ideological fantasy of the subject. The miniaturists of Ottoman Empire who fantasize fundamentalism in their paintings desire the attainment of afterlife happiness. Conversely, Franks painters who fantasize secularism desire freedom. Although these perspectives can never meet in one synthesis, they both have similarity in the practice of capitalism. Second, parallax also has implications for the existence of the subject because of the shift of standpoint in its circuit. Olive, one of the characters, acts radically by killing his miniaturist colleague. Yet, he returns to the Symbolic because the doctrine of Islam makes him a subject that cannot be free. Ironically, Pamuk as the author is also trapped in the shackles of capitalism, so that the dream of becoming an independent subject is only an impossibility.
Conference Presentations by Sulistya Ningtyas
This study is conducted by answering these problems: (1) How does parallax have implications for the emergence of ideological fantasy in My Name is Red novel?; (2) How does parallax have implications for the existence of authentic subject in My Name is Red novel? To answer those questions, the theories applied in this study are ideological fantasy and authentic subject in parallax schemes offered by Slavoj Žižek. While the method used is by analyzing the novel textually and objectively.
The results of this study prove that first, parallax has implications for the ideological fantasy of the subject. The miniaturists of Ottoman Empire who fantasize fundamentalism in their paintings desire the attainment of afterlife happiness. Conversely, Franks painters who fantasize secularism desire freedom. Although these perspectives can never meet in one synthesis, they both have similarity in the practice of capitalism. Second, parallax also has implications for the existence of the subject because of the shift of standpoint in its circuit. Olive, one of the characters, acts radically by killing his miniaturist colleague. Yet, he returns to the Symbolic because the doctrine of Islam makes him a subject that cannot be free. Ironically, Pamuk as the author is also trapped in the shackles of capitalism, so that the dream of becoming an independent subject is only an impossibility.
This study is conducted by answering these problems: (1) How does parallax have implications for the emergence of ideological fantasy in My Name is Red novel?; (2) How does parallax have implications for the existence of authentic subject in My Name is Red novel? To answer those questions, the theories applied in this study are ideological fantasy and authentic subject in parallax schemes offered by Slavoj Žižek. While the method used is by analyzing the novel textually and objectively.
The results of this study prove that first, parallax has implications for the ideological fantasy of the subject. The miniaturists of Ottoman Empire who fantasize fundamentalism in their paintings desire the attainment of afterlife happiness. Conversely, Franks painters who fantasize secularism desire freedom. Although these perspectives can never meet in one synthesis, they both have similarity in the practice of capitalism. Second, parallax also has implications for the existence of the subject because of the shift of standpoint in its circuit. Olive, one of the characters, acts radically by killing his miniaturist colleague. Yet, he returns to the Symbolic because the doctrine of Islam makes him a subject that cannot be free. Ironically, Pamuk as the author is also trapped in the shackles of capitalism, so that the dream of becoming an independent subject is only an impossibility.
Salah satu solusi yang dapat diaplikasikan untuk permasalahan tersebut adalah melalui pembelajaran sastra dengan menggunakan pendekatan Contextual Teaching and Learning (CTL). Pembelajaran konstekstual ini dapat dijadikan model pembelajaran alternatif untuk menjunjung
nilai-nilai budaya agar tercipta keharmonisan karena adanya penghubungan beberapa konteks. Konteks yang termasuk di dalamnya terdapat lingkungan pribadi, sosial, dan budaya tersebut merupakan ruang-ruang pembelajaran yang kondusif untuk mengarahakan peserta didik ke
pengaplikasian pengetahuan tentang sastra yang inovatif.
Hasil penelitian yang berupa pemikiran konseptual ini menunjukkan bahwa pembelajaran sastra dengan menggunakan pendekatan CTL dinilai efektif untuk mencapai tujuan utama mengukuhkan keharmonisan bangsa. Pembelajaran ini melibatkan lima elemen yaitu activating knowledge dengan cara mencerna kembali pengetahuan sastra yang sudah ada, acquiring knowledge dengan cara mempelajari secara menyeluruh pengetahuan sastra yang baru, understanding knowledge dengan cara mengapresiasi sastra, applying knowledge dengan cara menciptakan karya sastra, serta reflecting knowledge dengan cara melakukan refleksi terhadap karya yang sudah dibuat tersebut.
Fahiya tersenyum. “Ayuk, I love you…” bisiknya pelan, tapi terdengar jelas di telingaku. Dan bibirku pun langsung membeku, tak dapat digerakkan.
Fahiya membawa perubahan besar dalam hidup Zevrin. Dia mengajarkan banyak hal pada Zevrin. Dia juga membawa Zevrin terbang ke Lebanon yang penuh darah perang lewat tulisan-tulisannya. Zevrin pun sudah menganggap Fahiya seperti adiknya sendiri.
Dibalik semua itu, Fahiya membelokkan kisah cinta Zevrin yang sudah lama dirajutnya. Perahu-perahu kertas yang selama ini Zevrin alirkan dengan cinta pertamanya, kini hanyalah seonggok sampah yang menumpuk di muara sungai. Zevrin sendiri tak bisa membohongi dirinya. Apa yang dirasakan Zevrin dengan cinta pertamanya itu hanyalah sepenggal masa lalu yang kini tinggal kenangan.
Kisah Zevrin mengalir indah dalam setiap potongan waktu seperti aliran Sungai Musi. Kadang mengalir dalam aliran yang deras, kadang tenang.
Aku tak ingin menganggapnya sebagai cerita paling sia-sia.
Anggap saja ini adalah lembar penutup catatan senja. Berpita manis seperti boneka berdasi yang terlukis di cangkir teh kita.
Mungkin kau hanya bunga trembesi yang datang dari masa perbungaan raya. Menyinggahi penghujanku yang menderas memenuhi janji kemaraunya. Kau hanya setitik di antara ribuan tetes, seserpih di antara hamparan es, sepucuk yang baru bersemi menemani embun dini tadi. Sedangkan aku, terus menjadi musim yang berlari di sayap waktu; menerka isi hatimu, menantinya terbuka untukku.
Musim akan tetap bergulir, dan aku terus menunggumu hadir, meski harus menjemput ke belahan bumi yang lain.
Dear editor,
Saya terjebak dalam cerita yang saya mulai sendiri. Saya selalu membiarkanmu mengacaukan kata-kata yang sudah saya urutkan, membiarkanmu memenggal kepala huruf-huruf yang sudah berbaris rapi itu. Saya pun menikmati setiap cara yang saya lakukan untuk merangkainya kembali, lalu menyusunnya menjadi mozaik baru yang kamu suka.
Ini tentangmu, percayalah. Bagian mana dari dirimu yang tidak saya tahu? Tak ada satu celah pun yang terlewat; setiap potong kehidupanmu adalah gambaran paling jelas yang tersimpan dalam benak saya. Setiap langkahmu adalah jejak tanpa putus yang tercetak di atas peta saya.
Saya tidak ingin selamanya menjadi rahasia. Saya hidupkan kamu dalam cerita.
Waktu berutang kepadaku.
Tentang jarum jam yang lelah berputar.
Tentang cerita yang menggantung.
Tentang perjalanan yang belum usai.
Menjadi ilustrator sebuah buku perang membawa Granada Mahari
pada petualangan panjang. Saat kehilangan inspirasi untuk
membuat gambar buku itu, ia mengalami peristiwa ganjil.
Putaran warna yang sangat cepat
tiba-tiba saja membuka lorong waktu.
Gadis itu—penderita achromatopsia,
buta warna total—tak menyadari bahwa
warna-warna itulah yang membawanya
ke petualangan tak terbayangkan.
Melintas jarak, menembus masa—ke Sarajevo 1993.
Di sana, ia mendapatkan inspirasi untuk ilustrasinya,
lebih dari apa yang ia inginkan.
Tak hanya inspirasi,
Nada pun menemukan warna cinta di lintas masa.
Dunia tak lagi hitam-putih atau abu-abu bagi Nada.
Membuatnya dilema,
apakah ia harus kembali ketika hidup lebih sempurna
di lintas masa yang mulai tak asing baginya?
Membuatnya bertanya,
apakah di sanalah waktu akan menyelesaikan perjalanannya?
Akulah yang memiliki ide gila ini. Berpura-pura pada dunia bahwa persahabatan kami berakhir di pelaminan. Membenarkan ramalan teman-teman dan keluarga kami bahwa kami diciptakan untuk bersama. Entah apa yang akan mereka katakan jika tahu bahwa ini sandiwara. Dan entah bagaimana jika Lexa tahu kalau aku benar-benar mencintainya, tanpa sandiwara.
(Laksana Tudung Rasa, oleh Rae Shella)
Batu cadas, pakaian yang terlempar, ranjang tidur buatan bapa, dan dua manusia di atasnya. Lukisan itulah yang ia buat saat meme mendesah di dalam kamar bersama pria yang bukan bapa. Lukisan itu dibuat saat Asium memberi tahunya sebuah rahasia. Asium yang menuntun tangan mungil Heita. Detik itu Kanesti ingin berlari menjauh dari putrinya; ingin mengejar taksi yang membawa pergi cinta pertamanya. Ia ingin pulang.
(Pulang, oleh Arum Effendi)
Hei, siapa yang gila sekarang? Wanita di depanku ini atau orang-orang kampung tak berpendidikan itu? Wanita ini hanya kehabisan air ketuban saat melahirkan anaknya yang kembar. Dan dia jadi hilang akal begini bukan karena sekarang hidup di dunia gaib, tapi hanya karena shock dengan kematian putri kembarnya. Kalau aku membawanya pada teman-teman Psikologi-ku di kampus, pasti buyar semua cerita hantu itu. Wanita ini bukan lagi tokoh dongeng untuk menakuti anak-anak yang tak mau pulang saat magrib, tapi bisa menjadi obyek penelitian psikologi kami.
(Rahim, oleh Tyas Effendi)