Saturday, November 14, 2020

 

 WOMEN  IN MALAYSIAN LITERATURE AND INTELLECTUALISM


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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).

iii

Friday, November 13, 2020



CREATIVE EXPERIECE OF A WOMAN AND A NATIONAL LAUREATE.


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.

Thursday, September 3, 2020


 

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 1st 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 13th. 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.



Tuesday, July 14, 2020


Among the social  issue that often appear in my short stories  is the future of the younger generations. As I see it, most of them are being lulled by the less worthwhile entertainment.
Perhaps the most frightening is their madness to race on the road, getting killed or permanently disabled. An example of a short story pointing out this issue is “Sumpah Kuala Kedah”
 I built the story by adding another element of my interest that is history. The main character, which I named Ayub, was from Kedah. He was attending school in Alor Setar when the Japanese invaded. He was bitter with the Japanese for disrupting his schooling and
more bitter with the Siamese police for kicking his grandfather who did not stand to observe the Siamese anthem. When the war ended he was able to continue and pursue his study at the University of Malaya, then situated in Singapore. 

The second part of the story took place when Ayub had retired from his top government post and was being treated by his nephews to a birthday dinner at a restaurant in Kuala Kedah. The place held memories of the pain and miseries of his ancestors at the hands of the Siamese. Now the land is free. The horror of war is over, but regretfully the native youths are wasting their lives and inflicting their own injury by taking drugs and racing on their bikes.

EXCERPT OF The Short Story, 
“The Curse of Kuala Kedah”, (Sumpah Kuala Kedah),  A Journey Through Prose and Poetry: 65-75.


Ayub was not a history student in the university but he was deeply interested in history particularly the history of Kedah.He read many books and subscribed to historical journals. In his view, Kedah occupied a unique place in history being the oldest empire in the Peninsular. Since the 13th century Kedah had been a sovereign state with a famous city port in Sungai Bujang. His state history had been written in glorious ink. But the colour of gold began to fade when Siam emerged as a great power. Siam, now known as Thailand adopted an imperialistic policy expanding its colonies and succeeded in forcing the northern states of Malaya including Kedah to send bunga emas or gold flowers as a tribute. In 1791, Siam conquered the Malay Sultanate of Patani comprising the provinces of Pattani, Yala and Narathiwat and renamed it Pattani Changwat.

With the support of Britain, Siam was not afraid to do
anything. Part of what had happened could be read in the
account of Sherard Osborn, a naval officer in one of British
warships sent to blockade and to suppress upheaval in Kedah. On his arrival Osborn saw and recorded the deeds of unimaginable atrocities and utmost cruelty of Siamese soldiers on the poor people of Kedah. Sherard Osborn recorded the bloody accounts in his book The Blockade of Kedah in 1838.


He described the various methods of torture. One method
was cooking people alive. Prisoners were stripped naked and
put into a hollow of tree trunks. Then a slow steady fire was
maintained round it. Excruciating shrieks and howls of pain of
the victims was an entertainment to the devilish soldiers.

Ayub incessantly advised his children, nephews and the
younger generation to take the opportunity provided by the
government. Ayub often said to Kamal and Hisham, “You are
both lucky being born when the country is no longer under
invasion and suppression. You can go to school and do business
freely. Your father and I had suffered a lot.”

“But now we face other forms of difficulties especially in
doing business. Not like those who live on a fixed salary like
Kamal,” said Hisham.“The most complicated problem for contractors is managing employees. We are very dependent on labour force. Sometimes we have ample manpower but failed to get any contract. Sometimes we manage to obtain a job but did have
not enough workers.”
Hamid, who had been listening their conversation
attentively chipped in, “The main problem of businessmen
everywhere in this country is keeping reliable workforce.
We have to depend on foreign workers when our own youths
prefer to be unemployed rather than do a labourous job. Last
year our cousin, Salma, pleaded me to give a job to his son,
Mokhtar. Well I thought why not. I was more than happy to
give money to my own relative. But see what happen, Mokhtar
only worked for less than three months. He said I make him
do all sort of things and make up untrue stories against me.
Salma believed his words and did not speak to me. We are not
on good term anymore.”
“I know that Mokhtar. I used to see him playing truant. I
found him wandering in supermarkets during school times.
He had no pity for his mother who worked hard to get him 
money for schooling. He spent money at the game stations.”
Kamal added.

They eat their dinner while talking and observing the
surrounding. From the table they could clearly see the
road, the estuary and the pier jutting out into the open sea.
Unfortunately, the beautiful evening view by the seaside
was disrupted by irritating sound of screeching tires of
motorcycles being driven fast on the road. It was a common
sight of street racing by the youths, mostly local. Hisham who
understood what was lingering in his uncle’s mind said. “Look
at them, what a show-off, causing public disturbance. They
are not afraid to die. The government widen and improved
roads but the youths misuse it to race for cheap thrills. Even
the police fails to control. Yesterday Uncle Halim, our former
chef came here crying because his son met with an accident.
His son went racing all the time despite his mother’s plea and
persuasions to stop. The accident was bad and his leg has to
be amputated. Now, he is causing more hardship and misery
to his parents.”

Ayub took a deep breath and sigh. He heard such news 
many times before. He felt very old and tired of hearing such
news of youngsters wasting their lives away, getting killed in
road accidents due to ruthless driving and racing. Many more
die or leading a useless live as drug addicts. Besides these
there were also news of unmarried mothers abandoning
their babies in garbage bins and everywhere. So many Malay
schoolboys were wasting their time at game stations in the
shopping complexes. With this situation, what is going to
happen to his race and his mother land? Is his race heading
for a defeat while other races are improving themselves and
strengthening their position even sharpening their weapons.

Ayub eyes fixed on the fort of Kuala Kedah across the river.
The fort was still standing like a lonely monument, overlooking
the estuary where blood had splashed and thousands of his
predecessors tortured and killed. There was a scar that cannot
be erased. But how many people passing by it had stopped to
recall the history and read the massage? Ayub recalled the
words of George Santayana, “People who do not learn from
history will be cursed by history to repeat their mistakes.” The
words are often quoted by Dr. Mahathir in his speeches.
The straits was calm and the wave was low. The estuary
was beautiful. There was no more alien enemies to be seen
terrorising his people like what Sherard Osborn had written in
his book. Unfortunately, his people are inflicting injuries on themselves"

Thursday, June 25, 2020


I have written poems about women in the legends, but  I am also concerned  about the present situation. What happened to the legendry ladies is happening to many women in our time, though in different ways. Even today,  marriages are not  necessarily a matter of the heart. There are marriages of convenience, marriages for family honour, business arrangements, social commitments, and more often to save a woman and her family from the social stigma. A girl is  brought up to preserve a good name so that she will be married into a  good family. It is believed that no woman would remain unmarried by choice . There is a high and often unaffordable price of living alone and remaining true to one’s identity and carving one’s own destiny. My point is what I put in the line, “A woman has to be less herself, in order to be more a woman”. This is delivered in a poem entitled “Marriage”:
Marriage
-one woman’s opinion

Marriage is the difficulty
Of changing routines and priorities
That make you less yourself
And a woman has to be less her self
In order to be more a woman.

Marriage to a woman
Is a protection
For her who dares not live
On her own identity
It is too costly and too risky.

(Menghadap ke Pelabuhan/Facing the Harbour: 82-83)


Even up to the present time some young girls sacrifice advancement in career for a marriage prospect much to the loss of their nations. In a poem “Salam Perempuan Dari Penjara,” (A Woman’s Greeting From Prison, 2010) [S1] ,  I looked at a woman’s journey through life as a procession which no one dares to divert from. It is a procession where everyone walked to a fixed destiny:
A woman’s greeting from prison

 One Zurinah in a chamber with her sisters
She dares not go out again
Though the field  is calling her name
For here they let her have
Anything except her own self

 She has something to say
But she does not own a voice
A woman must be protected
Her words could harm herself

So she offers unrefined verses form her prison
In a hurry to live up to their expectation
They demand perfection
Before the evening wind
Drop petals of roses on her table
Before the last shadow
Pass by her window
Before the twilight rays
Throw  lines on the glaze
And lines on her face


She and her sisters
In a procession to their dying day
While within these walls
They had never lived at all.

Original version in Bahasa Melayu
Salam Perempuan dari Penjara

Seorang Zurinah
di kamar saudara-saudara perempuannya
Dia tidak berani keluar lagi
Ke padang yang melambainya
Di sini ia bisa memiliki apa saja
Kecuali dirinya sendiri


Dia mahu berkata
Tetapi tidak punya suara
Kerana bahasa seorang wanita
Telah menjadi merbahaya


Lalu ditawarkan puisi-puisi sumbang dari kurungan
Terlalu banyak yang minta disempurnakan
Sebelum angin petang turun
Meleraikan mawar di meja
Sebelum bayang-bayang terakhir
Berlalu dari jendela
Sebelum senja menyuramkan
Garis-garis di kaca
Garis-garis di muka


Dia dan saudara-saudara perempuannya
Dalam perarakan menuju harimati
Sedang ketakutan telah lama
Membunuh mereka..
  
 ( Di sini tiada perhentian: 4) 


The translated version together with the original are later published in Menghadap ke Pelabuhan/Facing the Harbour: ITBM Kuala Lumpur, 2010. The second printing is in 2013 and third printing in 2018.The collection was also translated into Spanish, Russian, Japanese and French.

As I have mentioned earlier, there are women who marry for the sake of freeing themselves from social stigma. As for choosing their life partners, the elders told their girls not to be choosy and told their boys to choose their bride properly. This depressing situation gave rise to a poem “Satu Percakapan Singkat” (A Short Conversation):
            A Shprt Conversation
(with a fellow poet)

My friend
On our love for this life
We may not differ from each other
On our love for poetry
That too is similar

But you are a man
And I am a woman
That make the whole different

A man is free
to limit his choice
a woman limits her choice
to free herself.
            .

 ((Menghadap ke Pelabuhan/Facing the Harbour:  pp.88-89)

Born as a woman, there is not much that you can do but pray to God for his protection and guidance. I wrote a poem,  “Nyanyian Menidurkan Halini” (A Lullaby to Halini), in which I told a little girl  not to cry. And I wish I could teach her not to shed tears  now and forever. She should grow up as a strong personality and not to cry on the wrong shoulders.
With this song Halini
I put you to sleep
Sleep will not always come easy
When you are old enough to know it

Calm down Halini
Don’t cry anymore
You must learn to value your tears
Don’t let it fall
on any wrong shoulders.

May you grow up Halini
With courage and confidence
Put your trust in God
You will really need him
Because you are born a woman.

((Menghadap ke Pelabuhan/Facing the Harbour:  pp.80-81)