ON MALAYSIAN LITERATURE

 WOMEN  IN MALAYSIAN LITERATURE AND INTELLECTUALISM

Women writers have  made important contributions in the development of Malaysian literature and intellectualism. Their emergence and involvement  can be traced to the pioneering figures, Ibu Zain, Kamariah Saadon, Jahlelawati and later  Adibah Amin, Zaharah Nawawi and Khadijah Hashim,  Ibu Zain or Hajah Zainon Sulaiman, (1903-1989)  who was a teacher with English education is remembered as an advocater of education for girls through her writings in Majalah Guru or Bulan Melayu, . Bulan Melayu was the first women’s magazine in Malaysia, initiated by Ibu Zain herself  and it played an important role in creating awareness amongst women on the importance of education.

Creative writings in modern fictions began in 1934, with the production of a short story Kesedihan Perkahwinan Paksa (The Misery of Forced Marriage) by Hafsah, published in a magazine, Pengasuh. Later in the same year, a fiction entitled Waktu Isyak Menangkap Pencuri written by Siti Nurmah, was published. However, novels written by women writers surfaced much later, that is, as late as 1941, about 15 years after the first novel written by a man writer.

Where Poetry is concerned, Women have been involved in poetry writing since 1930 with the emergence of a poem in a newspaper Lidah Benar by  Hasnah Brahim, and later, on May 7, 1936,  Zainun Nasir published her poem entitled "Women Must Wake Up”,   in the magazine Al-Hikmah. Other names detected before 1940 were Perawan Kampung, Kalthum Awang dan Wok Jamilah.

The presence of women poets became more noticeable after 1945 following the end of Japanese occupation. Several names that appeared were Mariam Abdul Ghani, Fatimah Othman, Wanita Kampung, Hafsah Perak,  Siti Aishah,Kamariah Johor and Normah Kamarudin. These were followed by names that later became important in Malaysian literature, Ibu Zain, Salmi Manja and Anis Sabirin.. Poems by Salmi Manja and Anis Sabirin were  included in an  anthology  Puisi Melayu Baru (The New Malay Poetry (1942-1960) compiled by Ali Haji Ahmad, 1966, together with important Malaysian poets Masuri S.N., Tongkat Warrant, A.Samad Said, Noor S.I., M.Ghazali, A.S.Amin, Kassim Ahmad, Suhaimi Haji Muhammad, Nahmar Jamil and Jihati Abadi. 

Some of the early literary works by women writers in Malaysia, introduced new ideas to the society, particularly in the efforts to elevate women’s status. There were fictions about forced and unhappy marriages in which, the writer suggested a smart way out of  unhappiness without rebelling or breaching social values and norms. The narrative strategies organized by the writer suggest that the woman can achieve her freedom through means which do not contradict the religious values, customs and norms of her society.

Such features were more prevalent in post-independence literatures, in novels such as Seroja Masih Di Kolam (1968) by Adibah Amin, and Badai Semalam (1968) by Khadijah Hashim. For example, Badai Semalam related the struggle and perseverance of a woman to realize her dream of continuing her studies to university level. Through this novel, the writer brought to the fore the image of a woman of the new generation who is modern in her thinking, ambitious, and willing to work hard to realize her dreams.

Based on the early novels it can be seen that women writers’ depictions of women were not too drastically different from those of male writers. Although women were depicted as highly educated and career-driven, after marriage these women were still expected to play the five main roles as specified in the Panca Darma Wanita. However, the women writers in the early 1930s attempted to apply specific features in highlighting real-life experiences of women, i.e., in displaying the emotions of joys and sorrows, and in expressing their desires and dislikes. However, these specific features were not outstanding enough and were still peripheral in nature compared to the other aspects of convention which had greater control over writing styles. The features that were more noticeable in these novels were the experiences of the women whose lives are subjected to the customs and values which confine and oppress them. The writers showed that generally women at that time were still not free to realize their own dreams and visions as they were still bound by their domestic roles, the influence of men and societal values.  Hence, although the writers tried to voice their demands for the rights and status of women, their voice and bravery at that time were still drowned by the dominance of patriarchy. 

            It is therefore evident that women writers in Malaysia have endeavored to express their experiences in the effort to elevate the status and prestige of women. At the same time, repeated attempts were made by these women writers to deviate from the male dominant system. For this purpose, they revealed a unique way of narrating by not adhering to the conventional writing styles, specifically the ones practiced by men writers. As such, women writers at this stage exhibited attempts to dismantle the narrating style through the presentation of women’s experiences as well as through a different usage of language.

POETRY

More names appeared in the mid-sixties. They were  Maimoonah Haji Omar, Rahimah M.Y, Noraini Shahrin, Azizah Shahrin, Halimah Haji Ahmad, Aina M, Maznah Ali who became regular contributor in  weekly newspapers such as Utusan Zaman, Mingguan Malaysia and Berita Minggu and monthly magazines  Mastika and Dewan Masyarakat .

But the work of women poets were generally not given due attention and criticism. There were hardly any write up, review or essay that examines their work in literary magazines or academic journals.

Public opinion about the inferiority of women writer's works began to change in the early 1970s. This change was brought  about by the Malaysian Literary Prize  established in 1971. The literary world seemed surprised when  several  women writers appear as winners. And this proved that women work should not be underestimated.

In 1982, Dewan Bahasa dan Pustaka (DBP) credits by issuing a special collection of poems poetess. Anthology is defined  as Kembang Melati. Compiled  by Suhaimi Haji Muhammad and Pyan Hussein. It includes works of seven poetess  Salmi Manja, Anis Sabirin, Maimoonah Haji Omar, Zurinah Hassan, Muhammad Nor Aini Muhammad, Siti Zainon Ismail and Zaihasra. Kembang Melati is the only anthology of women poetry. Jasmine flower is the only poetess poetry ever published by DBP. After that the group published Mustika Diri (DBP, 1994) compiled by  Ahmad Kamal Abdullah and Siti Asiah Murad.

Siti Aishah  Murad story. However Mustika Self is not limited to poetry. It involves writing in all genres namely poetry, short stories, plays and literary essays. Poet of women and the number of the poems contained in Mustika Self is Habsah Hassan (6), Hasnah Ibrahim, (3), Khadijah Hashim, (1), Mahaya Mohd Yassin (10), Maimon Rahman (2), Mariam Omar (3 ), Maznah Ali (4), Norzeha Kasbi (6), Radziah M.Zin (3), conflicts Jamil (3), Rogayah A.Hamid (2), Sairah Haji Antin (2), Salmi Manja (3), Susan Ismail (2), Siti Zainon Ismail (2), Siti Zaleha M.Hashim (5), Sitti's Haji Abd Muttalib (20, Zaiton Ajamain (6), zakiah Maritime (2), Zanariah Wan Abdul Rahmadn (2), Zurinah Hassan (5).

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Anyone looking for informations on women writers in Malaysian literature can refer to A JOURNEY THROUGH PROSE AND POETRY by Zurinah Hassan, Malaysian 13th national laureate and the first female writer to be conferred the award.  The book is co published by Dewan Bahasa dan Pustaka and International Islamic University Press 2018.The.

This book originates from the writer"s talk on  “Women Writers in Malaysia: The Road I Have Taken” delivered at a seminar organized by the Institute of Thai Studies, Chulalongkorn University, in Bangkok on 9 September 2013. The seminar, The Emergence and Heritage of Asian Women Intellectuals examined the role of women in development of a nation and society. It facilitated discussion on the challenges faced by aspiring women due to gender inequality. The writer  was called to talk on her experience as a woman writerand the problems she has to face amidst the cultural background in which she  grew up.

The paper started with an account of the development of women writers in Malaysia written by Dr. Norhayati Ab Rahman from the Academy of Malay Studies, University of Malaya, before the writer focused on he involvement in Malaysian literature.

The book is divided into two sections. The first part is  an account of the writer”s personal involvement in writing, how she began,  and the struggle that followed. The long and winding road taken manifested the hardship that a woman in Malaysia has to overcome, to pursue her aspiration of becoming a writer or to create a name for herself amidst the social and cultural situations. According to the writer, what sparked off writing was the suppressed feeling of being silenced by norms and upbringing, the warning that a girl should not speak or exert her voice. When there was so much to say, the only way out was to write them down.

She  talked about issues in poems and short stories, exposing creative processes of some selected works that have been highlighted. The issues in the writings are also common in the literary works of other contemporary Malaysian writers.

The second part of the book contained examples of her poems and short stories.

The book give an insight, especially to foreigh students on Malaysian literature scene.

WQUESTION:    What do you plan to speak about in Singapore at the festival?

ANSWER: The importance of regional  co-operation in literature.Writers should stand together to protect their rights.

 2.    What do you think of the festival theme of Jie, or world/boundary, especially with regards to the relationship between Singapore and Malaysia? (please elaborate the theme to me).

I suppose it means each country have their own identity. As far as literature or artwork is concerned there should not be restriction . We can appreciate each other. We heard about dispute in sports etc. In literature I hope there is not.

3.    What does it mean to you to be the first woman in Malaysia to receive the Sasterawan Negara?

 To give a simple answer, anyone would feel happy regardless whether you are a woman or man, to receive awards. What more my name will be in history for being the first woman after 12 men selected to receive it. The  Anugerah Sastera Negara which is the highest literary recognition in Malaysia.  The award is conferred by the His Magesty the Yang di Pertuan Agong which carry the tittle Sasterawan Negara (SN). The award was initiated in 1981 with the 1^st receipients Keris Mas or Kamaluddin Muhammad. Nearly 40 years ago. Since then 13 writers have been conferred the tittle with me being the latest or the 13^th. As you can see it is very difficult to obtain, It is not a yearly affair. Of course it give me much encouragement to go on. At the same time a fear that I am not doing enough to carry the tittle. That’s why I feel happy to be invited to this festival. It is something I should do to promote Malaysian literature.

4.    What was your first reaction when you heard the news?

To tell the truth, I cannot say the news came as a “surprise” It is not something that you suddenly hear that you are promoted to SN. Not something like that. Actually the discussions as to who should be chosen were all over newspapers, literary magazines and forums held everywhere. My name was mentioned as the potential reciepient as early as 1990’s. So when the minister made the announcement it is just to say that the time has finally arrived for you.  Not something you don’t expect at all.

5.    How has life changed for you since you became the poet laureate?

 Most of the time I feel there is not much changes. I still go on writing at home and feel the time constraints and difficulties as usual. But now I am expected to go out more often to attend literature events. In official events I feel more respected.  In Malaysia, the national laureate will go up in the protocol and saluted in ceremonies and events especially literary events by Dewan Bahasa dan Pustaka. You are qualified for better hotel accommodation and business class flight. Otherwise there is not much change. You just go on writing. Whatever problem you faced in the process of writing will be the same. You cannot overcome them  with the national laureate tittle. 

6.    What inspired you to become a writer?

Many things. I do not know which is the more important factor. What I can say the motive of becoming a writer is not a static thing. It changed with your age and time. I started very early. I grew up with grandparents who did not allow me the freedom to move around. So I just sat in the house and listened to the radio. That’s when I listened to songs with poetic and meaningful lyrics. The traditional Malay songs use  pantuns (traditional Malay poetry ) as their lyrics. This is how I felt in love with beautiful words. I learned the use of metaphors, similes and other poetic expressions. 

I was brought up to think that a girl should not talk a lot. My freedom for oral expression was limited. So the only other thing to do is write down what I felt. I found mental and emotional relief through writing. . This is how I become a writer..

At young age I mainly wanted to write as a past time, I want to become recognized in society. I wanted to do something important for myself first, then to society and nation.  As I grew older I feel responsible to voice my opinion on what is rights and wrongs around me.

7.    Were your parents writers too? if not, what were their occupations?

My parents were not writers. My father died when I was six months old. My mother was a nurse and she was too occupied that I was left in the care of my aunt (my father’s sister) and my grandfather and grandmother in a remote village in Kedah. I was brought up kampung style, not free to go out. There was no library in the village and suitable books were not available.  I was asked to cook rice when I wanted to read . Cooking rice at that time does not mean putting the rice in the rice cooker. It may involve going out to look for fire woods. There was no electricity in the village.

8.    How have the themes of your poetry changed over the years?

The themes change over the years as you developed and according to changes in environments and issues around you.

As I have said, I began early at the age of 12. I sent little poems about love for my family, the beauty of my village.

 Approaching the age of 20 and about ten years I wrote about social problems particularly poverty as I experienced in the live of farmers and villagers around me. I was influenced by writers like Usman Awang and Kassim Ahmad who said that  writers should be the voice of their society .

I was searching for the meaning of life.

 In my late twenties (around 1980’s) I wrote about love, the meaning of relationships especially between husband and wife, parents and children.  

1990s and up to now I am very concern about my people ( The Malays ). What is their future and how can they compete with other races. They seem to be inferior economically. Will we loose our political power too?  This is the only place we have. .

9.    Where do you look to for inspiration?

I write quite a lot from reading the historical and legendary stories.  Old tales and folk tales like Sejarah Melayu, Hikayat Hang Tuah and other legendary stories give many things to think about and develop into poems and short stories. I get new meaning from old  stories.

10.  How many books have you published to date?

22 (not much considering that I am almost 70 and have been this long in writing) . How I wish I have produced more.

11.  What is your favourite of all the poems you have written, and why?. 

Very difficult to point in specific. But there are poems I consider more successful than others. There are few poems that people talk about  read and quoted in important speeches.

12.  What are some examples of the challenges you faced as a woman writer in Malaysia?

 I have written a book with this issue in focus. The book is  A JOURNEY THROUGH PROSE AND POETRY ,  co published by Dewan Bahasa dan Pustaka and Islamic International University Press in 2018.

13.  How do you juggle your writing with your family life?

It is difficult and can make you  desperate. When my children were small I almost cannot write anything. Read about this in the book if you are interested.

14.  What are your thoughts on the drastic changes in Malaysia today after the elections, and what do you hope to see in the future?

Malaysia is full of shocks and surprises so much so nothing surprises you any more. Anyway there are a lot to write about. I really don’t know what is going to happen. So unpredictable that I cant say whether it is positive or negative. As a human being I can only hope and pray for better things to come, especially for the future generations, including my children and grand children. I am worried about them most of the time.

15.  What direction do you think the Malaysian literary scene needs to head in, and what pitfalls must it avoid?

Everything must be towards moulding and strengthening our identity as Malaysian that is bangsa Malaysia. We allow diversity but all races must be aware that they are rakyat Malaysia and should identity as one.

16.  What are you working on now?

There is a collection of poems that I want to get published quickly .But  I feel I need to add more and still improve on  what I already have. But my creative process is always interrupted with calls to seminars and talks for which I have to prepare papers. (answering these questions for examples) Not to mention other social and family commitments.