Budi Darma’s narrative is always a place where readers will find the darkest sides of human beings: hatred, envy, spitefulness, loneliness, indifference, anger, obsession, resentment. If anyone ever read his works before (for example: Hotel Tua, Kritikus Adinan, or Olenka), they’ll know right away that the late Indonesian author never describes human beings as “okay” (literally or figuratively). People have ill-intentions, they have their own evil; and the tone in which Mr. Budi portrays them can always drive the reader even more to that dark corner where they wish (or deny) that they are not one of them. Orang-Orang Bloomington is no exception. Every piece of the seven short (and rather long) stories on the list brings us disturbing narrators who let us see more characters with even more disturbing behaviors and attitudes and thoughts, which often result in sort of saddening situations.
Laki-laki Tua Tanpa Nama is the starting example. Through the eyes of the ever-curious, and disturbingly anxious, narrator―who rents an attic room in Ny. MacMillan’s house, which is one of the three in a row in Jalan Fess―the reader will see an old World War II veteran who plays with a gun in his own rented room and carries it to crowded places, causing confusion (and cautious amusement) among people.
But under this worrying situation―at least according to the narrator―what becomes a bigger problem is the indifference of the people around him, and how it clashes with the narrator’s unreasonable, growing fear. On the one hand, readers have to witness how―for some people―an old, senile man carrying a gun (loaded or not) is “none of my business”; on the other hand, the narrator keeps nagging his lady neighbors about the old man and his gun and trying so hard to get to know and befriend him so that he can stop him. It’s not something pleasant to read; it shows how people―in their comfortable space―try to draw a clear line between other people and themselves and end up misunderstanding others and then taking an unnecessary, fatal action. It also shows how our unstoppable desire to meddle in other people’s business can bring about their bad ending.
Another disturbing story is Keluarga M. However, here, instead of giving a disturbing vibe of a character, the narrator seems more of a dark-hearted, vengeful person. The Meek family is poor, and though both parents (Melvin and Marion) are working, the children (Mark and Martin) still cannot get enough food and clothing, and they definitely do not have toys to play with. That, quite understandably, leads to both often having fights with other children in their apartment complex over toys and trivial stuff.
Mark and Martin, however, also do not have the best of characters, and do not always do the best of actions. One day the narrator finds out that the younger brother has scratched his car’s passenger door, so he demands justice from their parents. But Melvin and Marion defend their children, and they already apologize so there’s nothing the narrator can do about it. Unfortunately, the narrator’s mind cannot rest until he can make Martin pay for what he’s done; and somehow, in his action of revenge, he hurts the other family’s child instead.
In Yorrick readers will meet a worse narrator (not the worst, if they can understand the annoyance and the broken heart he has to suffer) and an annoyingly worse character who (very much strangely, as the narrative shows) is very likable among people around him. For some inexplicable reason, Yorrick―this annoying man, at least according to the personal experiences and opinions of our narrator―can be very friendly toward others (but not toward the narrator) and can even snatch the attention of the girl our narrator falls in love with. If we put ourselves in our narrator’s shoes, we can probably understand why he hates Yorrick (and everybody around him) so much; but if we step back and observe everything from another point of view, then we won’t probably agree with all his actions.
Not all stories here are bleak and dark, though; some are pretty warm to read―with a tinge of grittiness still. Orez is a story of a man who’s determined to marry the woman he loves despite knowing what bad things could result from their marriage, and who still loves his son however his condition is and whatever he’s growing up into. There’s a fleeting moment when he almost kills him but fortunately doesn’t have time to because once he gets back into his car, that moment’s gone away. Ny. Elberhart is also heart-warming, although it is actually a reminder to the reader that we, people, at the end of our days, will always be old and lonely and have no one to accompany us day and night, unless there’s someone who is sometimes willing enough to take care of us―someone who doesn’t necessarily like us, for that matter.
Through these “unpleasant” stories, in general, we kind of able to see our true faces reflected like in a mirror. It’s not to say that we are all as bad and pathetic as those characters drawn by Mr. Budi, but at the very least we are as complex as they are. None of us are saints, and sometimes, not to say that it is right to, we can hate someone who has treated us unfairly or has merely annoyed us to the core.
Mr. Budi treats all his characters in this book very humanly, giving them a chance to speak out their minds through their narratives and let the reader see not only their personalities but what makes them decide what they do. And Mr. Budi’s profound writing style lend more strength to their each characterization so they look, feel and sound so real that readers would not probably be able to bear it sometimes. Some points in some pieces feel too cruel, too painful to “enjoy”. For some readers it would probably be like, “I’ve had enough of this life I don’t need it to be written on a piece of paper.”
But that’s not actually the flaw of Mr. Budi’s writing here; it’s the grammatical errors and the diction. Orang-Orang Bloomington was written and first published in 1970s and 1980 respectively so it shouldn’t be a surprise that Mr. Budi didn’t use today’s standard of Indonesian language. But the book being reviewed here is the reprinted edition from 2016 and they should’ve edited some incorrect sentences and confusing diction but apparently they didn’t. It makes the writing a bit off and awkward; and just imagine reading it in the middle of putting so much effort to sit still and face unacceptable characters.
All in all, however, Orang-Orang Bloomington by Mr. Budi Darma is a classic to start off if people want to know more about Indonesian literature, though not about our culture because that’s not what he’s talking about here. But at least people get to know our kind of literature and that there are still more fields yet to explore. This book is already translated into English by Tiffany Tsao and published by Penguin Classics for those who are interested.