Compilation: Edo Wallad writes about everything from memories of his father to living in excess.

In his first official poetry book, Pesta Sebelum Kiamat (Party Before the End of the World), Edo collected all the poems he had ever created since he began writing them in 2003 at the age of 26. The collection traces his growth as a poet who experimented with various styles and influences. His particular sensibilities consistently shine through however, with a mix of urban romanticism and the eclectic use of metaphors throughout.

To decide which of the many poems of his he would use, Edo settled on choosing those that fit under the theme of “nocturnal excess”.

“Nights that are identified with the nightlife, insomnia, and death — I try to conjure them up in a poetic yet realistic way,” he said.

“You can really trace my development through the writings, and how I began by basically just writing a stanza or a few words, and how I progressed to having my own style and technique, which grew alongside the poet-writing community I became involved in — and their influences both in method and in the forms of poems themselves,” Edo added, mentioning the Bungamatahari (Sunflower) collective in which aspiring and burgeoning poets congregate and share their works.

As he dove deeper into the local poetry community, Edo began publishing his pieces in various forms, including in the anthology Dian Sastro for President! #2: Reloaded, Antologi Puisi Bungamatahari (Bungamatahari Poem Anthology) and in the collection Lelaki Bercelana Kulot di Sebuah Pesta Pernikahan (A Man in Culottes at a Wedding Party).

Edo’s pieces in Kiamat showcase a touch of lyricism that was undeniably influenced by his days as the main lyricist for his band, with a lot of focus on “the excess” and the wilder side of life. It was also influenced by his former gig as a writer and editor for various Indonesian lifestyle magazines.

“For me, writing lyrics and poetry is the same thing, but with poems I can be less obvious and hide behind metaphors and personal symbols,” he said.

Edo also suggested that his poems portrayed him and his “eclectic personality” in a clear way, as someone who very much delighted in the more expressive side of life.

“I have a lot of hobbies, such as DJ-ing, singing, being a journalist,” he said.

Edo also called himself an “activist” because he had taken part in “fighting for the rights of drug users to health access”, especially in cases of serious illnesses.

“Because of that background, I also try to feature a lot of variety and colors in my poems — some are melancholic, some are filled with humor and some are cynical.”

Edo’s musical background also means that there are multiple references to music in his poems, and there is a sense of rhyme and rhythm that he infuses into his writing.

He cited contemporaries such as Anya Rompas and senior names like Saut Situmorang as prime influences. He also referred to non-poetry writers Haruki Murakami and Banana Yoshimoto as literary figures he was enamored by.

“I’m also deep into musicians whose lyrics contain some poetic flourishes like Lou Reed and David Byrne,” he said.

Edo singled out as one of his favorite Kiamat pieces “Jeda Komersial” (Commercial Break), which acts as somewhat of an ode to his late father. Presented as a free-flow narrative, the piece references his father’s early retirement via dismissal from his work with the government, with an old television set playing a crucial role in how Edo relates to his father.

“I love this poem,” he said.

“What’s funny is when he, my father, was alive, we often bickered. But as I got older, I realized how close my personality was to his. This poem also refers to the late 90s sociopolitical situation that affected people at a micro level, people like my family.”

— Photos courtesy of Comma Books

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