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Wednesday 26 August 2015

<b>Malaysia</b>: &#39;Offensive&#39; <b>Novel</b> Creates Controversy ? Global Voices - Blog Novel Malaysia


<b>Malaysia</b>: &#39;Offensive&#39; <b>Novel</b> Creates Controversy ? Global Voices

Posted: 20 Mar 2011 08:52 AM PDT

Interlok book. From the blog of Hartal MSM

A recent controversy that has arisen in Malaysia is the issue of a novel used as a textbook for literature in secondary schools.

Interlok, is a Malay novel written by Abdullah Hussain and published in 1971. It caused uproar when it was made a compulsory reading for students in Form Five as it refers to Malaysian Indians with derogatory words.

Malaysian English daily The Star reported:

Several individuals and Indian organisations are protesting and want the novel banned simply because in one paragraph on page 211, the words kasta pariah or pariah caste are mentioned in the context of how the Tamils were recruited from various parts of South India and how they were packed into crowded ships and suffered long and dangerous journeys to arrive in this country.

It has been received with mixed reactions, with some believing that it is just a work of fiction and that it was published so long ago that it does not reflect the actual society today. Others think that it is an insult to the Indians.

A blogger that goes by the name The Owl posted:

Writers may be good or writers may be bad. You may read their books, or you may dismiss them, that is your individual choice. But you cannot change what they have written, to suit yourself, current values or political situations. Interlok, is, in any event, a mediocre novel, and if we were to write a book review, it would be scathing.

Having said that, we are against it being used, or taught, in secondary schools. Malaysia's educational system does not promote, in our opinion, critical thought and analysis. Students who are products of such an educational system may lack the maturity to handle the book with the appropriate detachment or the critical eye and review that all books merit.

Blogger drrafick wrote:

I don't know who started the caste system in India. It is wrong and does not jive with Islamic teachings. It is unfortunate for an innocent child is born in a wrong cast like pariah and continues to live with such a brand on their head. He did not ask to be born in this cast and it is not right to continue being reminded as such.

For any books to be use as teaching material in the national school it must meet certain standard. One of the standards should be about national cohesion. The book INTERLOK failed this test. There isn't a need to remind the children of this nation about something that strongly practiced by the previous generation. The caste system is practice minimally today in Malaysia and it is best that it should not be reminded.

Kavi believes that the teachers in Malaysian schools are ill equipped to teach the students to analyse the story critically:

In Malaysia, with even school principals uttering racist remarks, can we say that our teachers are fully prepared 2 guide the children as necessary? The government clearly has no spine to enforce strict disciplinary codes in fear of losing support (or out of mere ignorance). Who's to say that the teachers themselves fully understand the usage of the word 'pariah' in context?

Teachers must b able to explain to children on why the word has been used. They should be well versed with literary concepts and have a strong grasp of Malaysian history before even attempting to educate the children. But with even our history syllabus distorted for political means, will this materialise? I am not saying that all teachers are such, but it doesn't matter if only a small percentage of teachers are ill-equipped. Planting wrong and inaccurate information into young minds, whether with or without intent, IS WRONG. Can the Education Ministry give a guarantee that all KOMSAS teachers are fully aware of all these issues and give a neutral perspective on 'pariah'?

At the time of writing, Education Minister Muhyiddin Yassin has said that the novel will remain in the syllabus, although a panel has been established to resolve the controversy.

Monday 24 August 2015

Budaya India dalam <b>Novel Melayu</b> – Bahagian 2 | roketkini.com - Blog Novel Malaysia


Budaya India dalam <b>Novel Melayu</b> – Bahagian 2 | roketkini.com

Posted: 16 May 2015 09:12 PM PDT

17 Mei 2015 oleh UTHAYA SANKAR SB

RK 2Thanusya

Bicara BudayaMenerusi novel Tak Sengaja Cinta (2014), Thanusya Shanmuganathan menggambarkan watak Sanjana "kelihatan cantik bagaikan bidadari" selepas didandan oleh kakak-kakak iparnya. Gadis itu memakai sari hijau, berinai merah pada jari-jemari dan rambut dihiasi bunga melur.

Bagi khalayak yang mahukan peluang memahami budaya kaum India sambil berhibur membaca sebuah karya penuh saspens, novel ini boleh dijadikan pilihan yang amat sesuai.

Sebagaimana majlis perkahwinan Sham digambarkan secara teliti pada halaman 238-241, majlis pertunangan adiknya, Sanjana, juga diceritakan dengan terperinci bagi memudahkan pembaca memahami budaya India.

"Seorang pandit telah dipanggil untuk melangsungkan majlis pertunangan mereka. Pandit mula membacakan warkah perkahwinan. Kedua [sic] keluarga bertukar dulang hantaran berisi daun sirih, buah pinang, kelapa, pisang, kunyit, serbuk kumkum dan sepasang sari dan vesthi, bunga melur serta gelang tangan. Kedua-dua papa mereka merenjis air mawar ke arah pasangan itu sebagai tanda merestui mereka". (Halaman 312-313)

Selain daripada majlis pertunangan dan perkahwinan, Thanusya turut mengkaji dan seterusnya menggambarkan majlis lenggang perut dalam budaya masyarakat India menerusi novel Tak Sengaja Cinta.

Pembaca Melayu khususnya akan berpeluang melihat banyak persamaan budaya dalam upacara ini. Pada masa sama, ada beberapa aspek yang unik dan mungkin tidak terdapat dalam budaya Melayu.

Misalnya, Shankar memakaikan kalungan bunga pada leher isterinya, Preeti, yang sedang mengandungkan anak sulung. Kemudian si suami memakaikan gelang-gelang kaca berwarna-warni yang dibeli khusus untuk majlis berkenaan.

"Preeti juga tidak lupa untuk sujud di kaki suaminya sebagai tanda restu buatnya untuk menghalalkan makan minumnya dan doa agar dia akan pulang dengan selamat bersama anak mereka. Ini kerana Preeti akan terus tinggal di rumah ibu bapanya sehinggalah dia bersalin dan habis berpantang nanti". (Halaman 325-326)

Dalam novel ini, majlis perkahwinan Sanjana berlangsung pada 18 September 2011. Upacara khas dalam tradisi India yang berlangsung sehari sebelum itu digambarkan oleh pengarang di halaman 403.

Upacara perkahwinan Sanjana pula diterangkan dan dihuraikan oleh penulis pada halaman 406-411. Apa yang menarik, selain daripada gambaran budaya, Thanusya turut menyelitkan pelbagai peristiwa yang menggerakkan cerita.

Bijak Menggabungkan Budaya, Jalan Cerita

Harus diakui bahawa gambaran budaya kaum India menerusi majlis perkahwinan itu bukan semata-mata sebagai tempelan. Sebaliknya menjadi sebahagian daripada plot yang menggerakkan cerita. Kejayaan pengarang menangani hal ini secara bijak wajar dipuji.

Thanusya mengakui bahawa Tak Sengaja Cinta bukan sekadar sebuah novel, tetapi "sebuah kitab yang menyentuh mengenai adat dan budaya masyarakat Hindu di Malaysia."

Penulis berumur 20-an ini adalah graduan sarjana muda sastera dari Jabatan Pengajian Media, Universiti Malaya. Beliau kini pelajar separuh masa dalam program sarjana pengajian penerbitan di tempat sama.

Anak bongsu daripada enam adik-beradik ini tinggal bersama ibu bapanya di Petaling Jaya dan bekerja di sebuah kedai buku terkemuka di Kuala Lumpur. Pilihan kerjaya itu berikutan kecintaannya yang amat mendalam terhadap bahan bacaan.

Thanusya meminati bidang penulisan sejak kanak-kanak dan bercita-cita menjadi seorang penulis terkenal. Walaupun sudah berjaya menghasilkan novel sulung, beliau mengaku masih mahu belajar untuk meningkatkan mutu penulisan dan ingin terus menghasilkan karya yang lain daripada yang lain.

Jumlah penulis kaum India yang menghasilkan karya bahasa kebangsaan tidak ramai. Malah, menurut sebuah rencana bertajuk "Ketandusan penulis bukan Melayu" (Mingguan Malaysia, 26 Mei 2013), terdapat hanya empat penulis kaum India yang masih berkarya secara konsisten. Karya puisi salah seorang daripada mereka pula sedikit pun tidak menggambarkan budaya kaum India.

Dalam keadaan tandus seperti ini, kehadiran Thanusya pasti sahaja amat dialu-alukan. Apatah lagi, pengarang muda ini berpegang pada keinginan untuk terus memaparkan budaya masyarakat India menerusi novel-novel yang dihasilkannya.

Menurutnya, "karya-karya yang menyentuh mengenai unsur budaya India tidak begitu menyerlah di Malaysia." Maka, pengarang wanita ini berhasrat memperkenalkan adat dan budaya kaum India kepada pembaca pelbagai kaum menerusi hasil tulisannya.

Tidak keterlaluan untuk mengandaikan serta mengharapkan bahawa Thanusya akan terus aktif menghasilkan karya-karya yang bakal membantu memperkayakan khazanah penulisan Bahasa Malaysia.

Khabarnya novel kedua yang sedang diusahakannya menampilkan lebih banyak aspek budaya, adat dan kepercayaan kaum India. Sama-sama kita nantikan juga hasil tulisannya itu.

ARTIKEL BERKAITAN

Saturday 15 August 2015

Purrfectly Ever After: An Otome Visual <b>Novel</b> Game by <b>Malaysian</b> <b>...</b> - Blog Novel Malaysia


Purrfectly Ever After: An Otome Visual <b>Novel</b> Game by <b>Malaysian</b> <b>...</b>

Posted: 28 Jul 2015 02:08 PM PDT

purrfectly1
[This article was originally written by Sue Anne Chan of Weeev.]

Purrfectly Ever After is an original English language visual novel (OELVN) for girls. This dating sim is filled with side-splitting comedy, over-the-top drama, and of course, heart-melting romance. This first game from Weeev aims to bridge the gap between Japanese-centric otome games told in a not-so-Japanese point of view and storyline.

Purrfectly Ever After focuses on a food-loving burglar cat who gets herself into a series of unfortunate events, which ended up with her feeling sorry for herself. Luckily for her, she also encounters kind strangers who rescue her along the way. She wished that she could become a human, and that she could earn her food honestly. Somehow her wish was overheard by a fairy godfather she didn't even know she had. And so begins her story…

Beginnings

In late 2014, I was looking for a partner to work on a visual novel when I met Lun through a mutual friend. Lun is an industrial expert in developing mobile apps, while I'm a regional creative lead for a multi-brand company. Both of us decided to form Weeev with Lun heading the game programming and me covering writing, directing and producing projects for Weeev. Although both of us are working for others full time, we hope that one day we could fulfil our dreams in making visual novels as our job.

Weeev is actually a homophone with the word, Weave. The core games that we make as a company are essentially visual novels and we encourage players to weave a story of their choice base on the game's theme. Our aim is to be on par with the likes of other otome game giants such as Voltage, Otomate and Rejet and strive to provide the best storyline, artwork and most importantly, experience for their players. We want the players to gasp at a plot twist, smile at a sweet moment, and ultimately we want to touch the players' hearts with our stories. Weeev's maiden game is geared towards the female audience, but we plan to expand to more genres in future when we manage to build a bigger team.

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Inspirations

One of the factors that fuel me to start this project is the lack of good otome games in the market. The good ones are always in Japanese only, but gradually they are more titles in English nowadays. I was playing one of them when I thought, hey if they could change it here, it'll look more interesting. I start to question a lot about the game flow, plot, characters, etc. And then, I figure that I could try to make one and see how the community takes it.

The implementation of Purrfectly Ever After was a juxtaposition of a few ideas. The first, of course, is my cat. I've always imagined what if my cat could talk to me instead. And from there I would visualize him to be a human and the type of personality he would have. So yeah, I guess you could say that the plot idea started with my cat. I continued to expand the possibilities of being a cat, to see the world in the eyes of a cat. I asked a lot of questions to myself during the incubation of the project, like how would I react and feel as a cat? What about a glutton cat? A connoisseur cat maybe? And of course the protagonist's personality influences the course of action and story flow, which brings to the next point…

I have always wanted a strong, empowering female lead. This is one thing that sets us apart from most of the Japanese otome games. Due to cultural differences, the Japanese centric otome games have few such characters and whenever I play an otome game, I would be fantasizing for the protagonist to be more vocal, to have stronger characteristics etc. So I incorporated all of my inner wants into the protagonist in Purrfectly Ever After, and this will be the core essence of the protagonists in future Weeev titles as well. In fact, the next project in the pipeline is about a self-esteem and empowerment, which we will discuss next time.

Platforms

I started playing otome game on consoles like Nintendo DS, PSP and now on smartphones (my first otome game was Tokimeki Memorial ~Girl's Side~!). To me, otome games should be portable. I would like to keep my games close to heart so I could play them whenever I want, wherever I want. They are supposed to be my companion. So from the start, my idea of doing an otome game has always been on smartphone as the technology now allows us to switch from consoles to smartphones, which is something that a lot of us rely on now. And having a game as an app is also very accessible and convenient.

We have only been thinking about releasing the game on mobile until our Kickstarter campaign is launched. We started to receive feedbacks for a PC release. At that time, we realized that in a lot of countries, PC is still the preferred gaming platform for VNs. After discussing with Lun, we decided to give it a try since we are also developing for Android. So exporting the game to PC is totally viable. With popular demand, we expanded another distribution channel on the PC platform.

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Why Kickstarter?

Why not? It's a big market in reward type crowdfunding and it has proven to help many small businesses to start up. I think it's the perfect platform for us to raise funds. We have already done with a good part of the aesthetics and game engine which we funded on our own, but we need more funds to pull together the rest of the creative assets in order to complete the game. We plan to have more than 30 backgrounds, intriguing event CGs and multiple emotions on each character to deliver the stories. We will also be creating different poses and attires for modularity purposes. Most of the funds goes towards aesthetics, namely the character designs, event CGs and background art. And if we reach our funding goal, stretch goals will be placed to add on more game features, more graphics and pay back the sum that Weeev has absorbed earlier. The sum that we absorbed were initial character designs and background art, music, writing, editing, programming, translation and Japanese voice acting. We believe that Kickstarter is a platform with people who support creativity and fulfill dreams. We have seen visual novels succeed here with the help of like-minded people and so we hope we will too.

Malaysian Developer

Both of us (me and Lun) are born and bred in Malaysia and being unconnected to the gaming industry in Malaysia is putting us at a disadvantage. I'm quite sure there are a good developers out there but Weeev is very, very new and some do not even consider visual novels as games. On top of that Malaysia may be famous for producing rubber and oil but not games. So there may be people who do not have much confidence in us. Although both of us are from Malaysia, the rest of the team is scattered around the world, each with their own expertise. And I dare say that I'm very strict when it comes to quality of work. Visual novels are all about the story, the visuals, the multimedia. Everything has to come together to make the experience enjoyable. We also take constructive feedbacks seriously. For example, there is a collective of comments about the writing, which does not 'flow' properly. This is something that we will not notice if not for these feedbacks. As a result, we hired a new writer to help us get things on track. Another feedback would be the PC platform which I have mentioned earlier. These are the things that helped us to develop more knowledge in the visual novel gaming world.

Thursday 13 August 2015

MACC seeks <b>Novel</b> Michael Thomas to assist in probe – BorneoPost <b>...</b> - Blog Novel Malaysia


MACC seeks <b>Novel</b> Michael Thomas to assist in probe – BorneoPost <b>...</b>

Posted: 23 Jun 2015 11:21 AM PDT

KUCHING: The Malaysian Anti-Corruption Commission (MACC) is currently seeking the whereabouts of Novel Michael Thomas, 53, to aid in the investigation pursuant to the Anti-Corruption Act 1997.

According to a press statement issued by the commission, Novel is an Indian-Christian whose last known address was at No 40, Green Hill Drive, Tanjung Bungah, Georgetown in Pulau Pinang.

"It is believed that he was last seen in Kota Kinabalu, Sabah," MACC said, appealing to Novel to come forward.

Those who may know of Novel's whereabouts or have any information about him are advised to contact MACC investigation officer Akmal Arif Fuad at 03-92065000.

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Budaya India dalam <b>Novel Melayu</b> – Bahagian 1 | roketkini.com

Posted: 09 May 2015 10:16 PM PDT

10 Mei 2015 oleh UTHAYA SANKAR SB

RK 2Thanusya

Bicara BudayaKebanyakan novel Bahasa Malaysia ditulis pengarang Melayu dan lebih banyak tertumpu kepada budaya, pemikiran, persoalan dan isu-isu berkaitan kaum Melayu-Islam.

Sesekali memang ada pengarang Melayu yang cuba menampilkan watak utama daripada kaum Bukan Melayu-Islam, tetapi sering kali gagal mengangkat jati diri, jiwa, perwatakan dan budaya sebenar kaum India.

Mujurlah terdapat sejumlah Sasterawan Kavyan iaitu kelompok penulis kaum India yang menghasilkan karya asli Bahasa Malaysia. Kebanyakan penulis daripada kategori ini mampu menampilkan budaya kaum India secara lebih positif dan meyakinkan.

Pada kali ini, saya memilih untuk memperkatakan sebuah novel yang judulnya pun sudah cukup untuk menyedarkan pembaca bahawa ia sebuah karya cinta. Sebagaimana diakui oleh pengarang, Thanusya Shanmuganathan, buku sulungnya ini merupakan "sebuah novel cinta Melayu".

Walau bagaimanapun, novel Tak Sengaja Cinta (2014) tidak mengangkat watak-watak utama kaum Melayu. Sebaliknya majoriti watak dalam novel setebal 742 halaman ini adalah watak kaum India beragama Hindu.

Maka, tentu sahaja novel ini menampilkan sedikit sebanyak aspek budaya kaum India di Malaysia untuk tatapan pembaca pelbagai kaum. Aspek-aspek budaya inilah yang akan diperhatikan serba-sedikit menerusi makalah ini; tanpa mendedahkan jalan cerita (plot).

"Saya menulis dari hati dan mahu dilihat sebagai penulis berwibawa, bukan penulis kaum India yang menulis karya kurang bermutu. Saya tidak suka dibanding-bandingkan dengan penulis Melayu," kata bekas pelajar Sekolah Menengah (P) Sri Aman, Petaling Jaya ini sewaktu saya bertemu dengannya.

Thanusya yang menggunakan nama pena Meera Natasya mengaku amat berminat membaca novel cinta Melayu. Malah, sehingga kini, beliau menyimpan koleksi hampir 200 novel dalam kategori berkenaan.

Apa yang menarik, walaupun bergelumang dengan bahan bacaan yang dipenuhi penampilan budaya Melayu-Islam, pengarang wanita ini tidak melepaskan peluang menyelitkan serba sedikit unsur budaya India-Hindu dalam novelnya.

Penulis kaum India seperti Saroja Theavy Balakrishnan dan M. Mahendran yang mula berkarya pada tahun 1980-an sering menampilkan budaya, pemikiran dan permasalahan masyarakat India menerusi cerpen.

Upacara Pertunangan dan Perkahwinan

Kehadiran penulis muda seperti Thanusya yang berani meneruskan tradisi itu (walaupun bukan dalam karya sastera) memang patut dialu-alukan dan diberikan galakan.

Tambahan pula, dalam konteks masyarakat pelbagai kaum, etnik dan agama di Malaysia, pemaparan budaya kaum India seperti dilakukan Thanusya mampu membantu usaha mendidik orang ramai supaya saling memahami, menghormati dan bertolak-ansur.

Pada bab 17 novel Tak Sengaja Cinta dipaparkan majlis perkahwinan Sham dan Roshini. Beberapa jam sebelum mereka "bakal bersatu dalam satu ikatan suci bergelar perkahwinan," mereka berdua dikatakan didandan oleh mak andam.

Pengantin lelaki memakai pakaian tradisional kaum India iaitu veshti dan jippa. Di kepalanya diikat talapha. Selepas dipakaikan kalung bunga dan disuruh memegang jambangan bunga di tangan, Sham diarak dari luar kuil ke pelamin untuk upacara seterusnya.

Penulis turut menggambarkan upacara kanyadaan yang disempurnakan oleh seorang pandit. Para pembaca yang sudah terbiasa menonton filem Hindi pasti tidak menghadapi masalah untuk membayangkan dan mevisulkan babak ini dalam minda masing-masing.

Majlis perkahwinan tradisional orang India dilukiskan secara amat teliti dalam novel ini. Makna-makna di sebalik upacara melibatkan varmala, agni puja dan mengikat taali pada leher pengantin wanita diterangkan bagi membantu pembaca memahami budaya India.

Sambil menggambarkan suasana pada majlis perkahwinan, Thanusya sempat juga menyelitkan sedikit kritikan berkaitan sikap segelintir ahli masyarakat India yang mengabaikan budaya tradisi:

"Dalam masyarakat moden kini, memang jarang lelaki mengenakan cincin kaki. Malah, ada juga wanita yang berani menanggalkan tali suci ketika keluar. Namun, di setengah kawasan, masih terdapat segelintir masyarakat India yang masih mengamalkan adat tradisi ini". (Halaman 241)

Pada halaman 312-313 pula digambarkan majlis pertunangan Sanjana. Bakal tunangnya memakai veshti dan jippa berwarna putih serta duduk di atas buaian yang disediakan khas bagi upacara berkenaan.

Walaupun cerita atau plot dalam novel ini mungkin tidak jauh berbeza dengan novel pengarang Melayu, keunikan terletak pada kemampuan Thanusya mengadunkan budaya kaum India secara kemas dalam penulisan.

Bersambung… – Roketkini.com

ARTIKEL BERKAITAN

Readers Find Echoes of <b>Malaysia</b> Flight Mystery in 1933 <b>Novel</b> <b>...</b>

Posted: 20 Mar 2014 06:44 AM PDT

The disappearance of Malaysia Flight 370 has prompted readers to return to James Hilton's 1933 novel Lost Horizon, the book which gave us the name "Shangri-la."

By Roger Tagholm

Lost Horizon

"And you say it never reached Peshawur?"

"Never reached there, and never came down anywhere else, as far as we could discover. That was the queer part about it…"

There is something of James Hilton's classic 1933 novel Lost Horizon in the mysterious disappearance of Malaysia Airlines flight MH370, something that touches our deepest longings for escape from the daily grind and our notions of a better life in a distant utopia. The words above from the novel's prologue have an eerie echo of statements and news reports of the last few days.

The heartbreaking interviews with partners of the passengers have an element of the mystical that is redolent of the novel — the woman who said she felt her partner's presence; the man who imagined his brother lashing together pieces of wreckage to make a raft. So many contemporary novels are dystopian — The Hunger Games et al; here was one, written in the innocent years before the horror of the Second World War, that was about a utopia.

Customers on Amazon have been reminded too. One posting, headed "If Only This Were the Story of Flight MH370," continued: "James Hilton's Lost Horizon has been haunting me ever since the disappearance of Malaysia Airlines flight MH370, so last night I began re-reading it for the first time in decade…"

Originally published by Macmillan in the UK in 1933, south coast independent, Summersdale, discovered it was out of print some years ago and MD Alastair Williams, long a fan of the book, successfully approached Curtis Brown for the rights. Williams republished the book in 2003, reprinting a 70th anniversary edition in 2006. But sadly, the publisher's copyright expired last year and, despite strong sales to the Shangri-La hotel chain, the agency has not as yet agreed a new deal.

It is somewhat frustrating for the publisher, recently named Independent Trade Publisher of the Year at the Independent Publishers Group awards and shortlisted for the Independent Publisher of the Year in the Bookseller Industry Awards. "There are one or two illegal editions out there currently being sold, but we've been selling it legally and paying the estate," said Williams. "We love the book and remain hopeful of getting it back."

The novel was made into an equally classic film in 1937, directed by Frank Capra and starring Ronald Colman. Hilton's story belongs to that rare club of books that have given words to the language. It is Hilton that we have to thank for Shangri-La, defined in the dictionary as "a place regarded as an earthly paradise, especially when involving a retreat from the pressures of modern civilization." It was the name he gave to the small, Tibetan hamlet and its harmonious society, tucked away in the hidden valley to which his airplane survivors are led.

Setting aside the Bible, which is in a category all its own, it is Joseph Heller's Catch-22 that is probably the most famous example of a novel giving a word or phrase to the language. A "catch-22″ is defined as a "dilemma or difficult circumstance from which there is no escape because of mutually conflicting or dependent conditions." It is familiar to publishers. They need sales through Amazon – it's the channel that always seems to grow — but they also need the discoverability and launch platforms offered by physical bookshops, the same bookshops that are closing in part because of all those sales through Amazon. It is the industry's very own catch-22.

Often it is a character's name that enters the language — J.M. Barrie's Peter Pan ("he never seems to get any older, he's a real Peter Pan figure"), Thurber's Walter Mitty ("he's such a dreamer, such a Walter Mitty"), or, further back, George du Maurier's Svengali from his 1894 novel, Trilby. Dictionaries now define Svengali as "somebody who controls and manipulates somebody else, usually for evil purposes." Which reminds us of Machiavellian and that other category — of authors whose own names have entered the language: Orwellian, Dickensian etc.

A much more recent name is on the cusp of making it into the language. In the UK, there have been proposals to abolish the 25% reduction single people receive in their council tax. But the plans have been attacked in some quarters as the equivalent of a "Bridget Jones tax," one that would unfairly hit those who live alone. So Helen Fielding's famous character from her 1996 novel is beginning a whole new life, referenced in newspapers and the House of Commons.

Whatever the outcome of the MH370 mystery, the essential idea of Lost Horizon will never die. It will fly on forever. For this novel from the black-and-white era gives voice to that part of us which gazes at all our own lost horizons.

About the Author

Roger Tagholm

Roger Tagholm is based in London and has been writing about the book industry for more than 20 years. He is the former Deputy Editor of Publishing News and the author of Walking Literary London (New Holland) and Poems NOT on the Underground (Windrush Press).

Budaya India dalam <b>Novel Melayu</b> – Bahagian 2 | roketkini.com

Posted: 16 May 2015 09:12 PM PDT

17 Mei 2015 oleh UTHAYA SANKAR SB

RK 2Thanusya

Bicara BudayaMenerusi novel Tak Sengaja Cinta (2014), Thanusya Shanmuganathan menggambarkan watak Sanjana "kelihatan cantik bagaikan bidadari" selepas didandan oleh kakak-kakak iparnya. Gadis itu memakai sari hijau, berinai merah pada jari-jemari dan rambut dihiasi bunga melur.

Bagi khalayak yang mahukan peluang memahami budaya kaum India sambil berhibur membaca sebuah karya penuh saspens, novel ini boleh dijadikan pilihan yang amat sesuai.

Sebagaimana majlis perkahwinan Sham digambarkan secara teliti pada halaman 238-241, majlis pertunangan adiknya, Sanjana, juga diceritakan dengan terperinci bagi memudahkan pembaca memahami budaya India.

"Seorang pandit telah dipanggil untuk melangsungkan majlis pertunangan mereka. Pandit mula membacakan warkah perkahwinan. Kedua [sic] keluarga bertukar dulang hantaran berisi daun sirih, buah pinang, kelapa, pisang, kunyit, serbuk kumkum dan sepasang sari dan vesthi, bunga melur serta gelang tangan. Kedua-dua papa mereka merenjis air mawar ke arah pasangan itu sebagai tanda merestui mereka". (Halaman 312-313)

Selain daripada majlis pertunangan dan perkahwinan, Thanusya turut mengkaji dan seterusnya menggambarkan majlis lenggang perut dalam budaya masyarakat India menerusi novel Tak Sengaja Cinta.

Pembaca Melayu khususnya akan berpeluang melihat banyak persamaan budaya dalam upacara ini. Pada masa sama, ada beberapa aspek yang unik dan mungkin tidak terdapat dalam budaya Melayu.

Misalnya, Shankar memakaikan kalungan bunga pada leher isterinya, Preeti, yang sedang mengandungkan anak sulung. Kemudian si suami memakaikan gelang-gelang kaca berwarna-warni yang dibeli khusus untuk majlis berkenaan.

"Preeti juga tidak lupa untuk sujud di kaki suaminya sebagai tanda restu buatnya untuk menghalalkan makan minumnya dan doa agar dia akan pulang dengan selamat bersama anak mereka. Ini kerana Preeti akan terus tinggal di rumah ibu bapanya sehinggalah dia bersalin dan habis berpantang nanti". (Halaman 325-326)

Dalam novel ini, majlis perkahwinan Sanjana berlangsung pada 18 September 2011. Upacara khas dalam tradisi India yang berlangsung sehari sebelum itu digambarkan oleh pengarang di halaman 403.

Upacara perkahwinan Sanjana pula diterangkan dan dihuraikan oleh penulis pada halaman 406-411. Apa yang menarik, selain daripada gambaran budaya, Thanusya turut menyelitkan pelbagai peristiwa yang menggerakkan cerita.

Bijak Menggabungkan Budaya, Jalan Cerita

Harus diakui bahawa gambaran budaya kaum India menerusi majlis perkahwinan itu bukan semata-mata sebagai tempelan. Sebaliknya menjadi sebahagian daripada plot yang menggerakkan cerita. Kejayaan pengarang menangani hal ini secara bijak wajar dipuji.

Thanusya mengakui bahawa Tak Sengaja Cinta bukan sekadar sebuah novel, tetapi "sebuah kitab yang menyentuh mengenai adat dan budaya masyarakat Hindu di Malaysia."

Penulis berumur 20-an ini adalah graduan sarjana muda sastera dari Jabatan Pengajian Media, Universiti Malaya. Beliau kini pelajar separuh masa dalam program sarjana pengajian penerbitan di tempat sama.

Anak bongsu daripada enam adik-beradik ini tinggal bersama ibu bapanya di Petaling Jaya dan bekerja di sebuah kedai buku terkemuka di Kuala Lumpur. Pilihan kerjaya itu berikutan kecintaannya yang amat mendalam terhadap bahan bacaan.

Thanusya meminati bidang penulisan sejak kanak-kanak dan bercita-cita menjadi seorang penulis terkenal. Walaupun sudah berjaya menghasilkan novel sulung, beliau mengaku masih mahu belajar untuk meningkatkan mutu penulisan dan ingin terus menghasilkan karya yang lain daripada yang lain.

Jumlah penulis kaum India yang menghasilkan karya bahasa kebangsaan tidak ramai. Malah, menurut sebuah rencana bertajuk "Ketandusan penulis bukan Melayu" (Mingguan Malaysia, 26 Mei 2013), terdapat hanya empat penulis kaum India yang masih berkarya secara konsisten. Karya puisi salah seorang daripada mereka pula sedikit pun tidak menggambarkan budaya kaum India.

Dalam keadaan tandus seperti ini, kehadiran Thanusya pasti sahaja amat dialu-alukan. Apatah lagi, pengarang muda ini berpegang pada keinginan untuk terus memaparkan budaya masyarakat India menerusi novel-novel yang dihasilkannya.

Menurutnya, "karya-karya yang menyentuh mengenai unsur budaya India tidak begitu menyerlah di Malaysia." Maka, pengarang wanita ini berhasrat memperkenalkan adat dan budaya kaum India kepada pembaca pelbagai kaum menerusi hasil tulisannya.

Tidak keterlaluan untuk mengandaikan serta mengharapkan bahawa Thanusya akan terus aktif menghasilkan karya-karya yang bakal membantu memperkayakan khazanah penulisan Bahasa Malaysia.

Khabarnya novel kedua yang sedang diusahakannya menampilkan lebih banyak aspek budaya, adat dan kepercayaan kaum India. Sama-sama kita nantikan juga hasil tulisannya itu.

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