The desert groaned: Babylon!

The procession went on

…Between history

And crops

Pestilence 

And Hammurabi

After (all) that, we will not be here

The passage from Goenawan Mohamad’s poem “Tigris” still makes one stop and think, more than 30 years after it was first published in 1986. The verse’s musings on history and the transitory nature of life are comparable to early 20th century poet William Butler Yeats’ poem “Sailing to Byzantium”. The words of the Irish sage, who viewed the creative process as a means to stave off the ravages of aging, is reflected in the 82-year-old Goenawan, whose creative impulses remain undimmed by time and age.

Lofty goals

“Tigris” is one of the pieces that make up Di Ujung Bahasa: Antologi Puisi 1961-2022 (At the Edge of Language: An Anthology of Poetry 1961 – 2022). The tome was launched at the dia.lo.gue art space in Kemang, South Jakarta, simultaneously with Kitab Hewan: Book of Beasts, an exhibition of Goenawan’s lithographs and intaglios.

Bestselling Indonesian author Laksmi Pamuntjak, who edited the 115 poems that make up the anthology, noted that Di Ujung Bahasa and Book of Beasts reflected “the inseparable nature [of Goenawan’s] art and literary works, and how both mediums reflect his diverse, yet unified artistic vision. Most of all, the book seeks to refresh the Indonesian language.” She added that Goenawan is “one of the very few men of letters of his generation still active today. He managed this feat through Di Ujung Bahasa and Book of Beasts by visualizing his poetry and making his aesthetic and artistic philosophy more tangible.”   

Graphic designer and dia.lo.gue founder Hermawan Tanzil, whose Leboye graphic design consultancy designed the book at Goenawan’s request, agreed with Laksmi.

“Designing Di Ujung Bahasa for Goenawan was a labor of love. His command of the arts goes beyond literature to visual arts, music, design and other fields,” he said. “As a talent, he is one of a kind, even once in a lifetime.” 

Hermawan’s observation is seen in Goenawan’s use of verse and impromptu sketches in the poem “Perjalanan Malam” (Night Journey), which recounts how one goes on a journey to fulfil one’s destiny.

“The phantom [destiny] did not wait long/ [As the child] let go [of their father’s shackling] love/ The child flew to fair weather/ ‘Father, I might find contentment there.”

Of man and beasts

The launch of Di Ujung Bahasa was simultaneously held with the opening of Kitab Hewan: Book of Beasts, an exhibition of prints made by Goenawan during his artist-in-residence program with the DEVFTO Printmaking Institute in Ubud, Bali, from 2022 to the beginning of 2023. The literary stalwart asserted that nostalgia was an element that got him into the art form, as they “reminded him of illustrations from old books.”

Kitab Hewan: A Book of Beasts curator Srie Malela Mahargasari noted that the 35 intaglios and lithographs of animals showed Goenawan’s “spontaneity and urge to play is the energy that brings [Goenawan’s] works to life. That is why his graphics are untidy, even chaotic”. Marlela added that the lithographs and intaglios “reflects his love for drawing [there] he can play freely in an imaginative playground without any burdens or pretensions. For Goenawan, beauty is found in the unpredictable.”

In-depth conversation: Di Ujung Bahasa graphic designer Hermawan Tanzil talks to a guest (JP/Tunggul Wirajuda) (JP/Tunggul Wirajuda)

His lithographs “Sang Ilmuwan” (The Scientist) and “Orang Suci dan Burung-Burung” (The Saint and the Birds) reflect this premise, with their subtle influences of 19th century French illustrator Gustave Dore’s engravings of literary works like Dante’s Divine Comedy and Milton’s Paradise Lost. The former seems to be a cautionary tale when learning and logic overtake the scientist’s humanity. The enigmatic figure of the latter perhaps reflected how his high spiritual awareness enabled a closer connection with birds, or nature in general, rather than his fellow humans.  

Marlela also said that Goenawan’s works, as well as etchings like “Kuda” (Horse) and “Kera” (Ape), were “drawn spontaneously. His hands were not moved by ideas, but impulses within himself.” 

Hermawan agreed, as he noted Goenawan’s knack of finding beauty in the ugly and grotesque in Book of Beasts. He added that Goenawan’s work as a visual artist had gone full circle.

“Goenawan started off his career as a visual artist six years ago, when he held an exhibition of etchings titled Kata dan Bahasa [Words and Language] in dia.lo.gue on February 2017. Since then, he has exhibited his works six times, including a solo exhibition at the National Gallery,” Hermawan said. 

Goenawan’s work made an indelible impression on visitors, not least Indonesian entertainment stalwart Jay Subiyakto.

“Goenawan’s lithographs are marked by a natural touch, as is his poetry [in Di Ujung Bahasa.] His ability to combine art with poetry is also impressive, as it epitomizes his belief that ‘painting is silent poetry, and poetry is painting that speaks.’”

For Goenawan, he hoped that the exhibition would renew interest in lithographs, intaglios and other forms of illustrations among the public, as they have tangible value as collectible items. Most of all, he thought in the longer term, namely that his art “will continue to be exhibited long after he’s gone.”

Di Ujung Bahasa: Antologi Puisi 1961-2022

By Goenawan Mohamad

Tempo Publishing 2023

In Indonesian 

Kitab Hewan: A Book of Beasts

To 16 March 2023

Dia.Lo.Gue Artspace 

Jl. Kemang Selatan 99 A 

Jakarta 12730 

Opening hours: 11 am to 8 pm

Instagram: @dialogue_arts

Twitter: @dialogue_arts