248:, and no longer accept colonial rule. In addition, the narrator's father is murdered, and he suspects his old friend Oeroeg, who has joined the Indonesian nationalist movement, of avenging his own father's death. At the end of the novel, the narrator has lost his friend, his identity, and his home country.
329:; 1967), Haasse described Oeroeg as "the dark side of herself living in the shadows she does not know". Nieuwenhuys finds this patently obvious, based on Haasse's background. Born and raised in a Dutch complex in the Indies, Haasse ("a white girl brought up in Dutch surroundings") had little contact with
414:
On the other hand, Ario
Sasongko from the Jakarta Arts Institute argues that Pattynama's analysis of the film can be doubted through the editing and cinematography, which "portrayed the burning villages merely as Johan's nightmare" and the characterization of Depoh, an Indonesian character, as having
172:
over the future of their colony in the East; after the end of World War II it became clear quickly that
Indonesia would be independent one way or another, and that the Netherlands would have to reconsider their status as a colonizing nation and, thus, the attendant claims of intellectual and cultural
402:
The 1993 film version of the same name differs in some important details from the original; these changes, postcolonial scholars such as Pamela
Pattynama argue, indicate important changes that occurred between the 1940s and the 1990s in Dutch attitudes toward their former colony and themselves. For
345:
Initially, the novel was not wholly uncontroversial; according to Maier, its publication was a painful experience for a number of Dutch readers, especially those wedded to the idea of the
Netherlands as a colonial power and those who had lost friends, family, and possessions during World War II and
354:
which followed, one which prompted military intervention from the Dutch army and eventually led to the independence of
Indonesia. Criticism also came from the side of the colonized subject: Robinson criticized the novel and its author for pretending that the white, privileged colonizer could ever
403:
example, the novel's interaction with natives are seen from the colonialists' perspective, and speaks in generally negative terms about Indo-Europeans. The movie, on the contrary, portrays the colonizer as tortured by guilt, and contains imagery of burned-down native villages reminiscent of the
362:
The novel has proven to be a mainstay of Dutch literature: generations of Dutch schoolchildren have read it, and at the time of Haasse's death in 2011, it had been reprinted more than fifty times. The novel was the centerpiece of a 2009 reading campaign organized by the
240:, with Oeroeg, a native young man; as high-school students, they live together in a boarding house. One crucial event is the death of Oeroeg's father, who was saving the narrator from drowning. During World War II, the narrator joins the Dutch army, and on returning to
306:("With full sails", 1936), both novels "in which the relationship between the main protagonists, growing up in the colonial world, dissolves in conflict and death as often as it ends in a happy marriage". As a first-person narrative told retrospectively,
153:, his childhood friend is a native boy of the same age. As the narrator grows up, he finds himself becoming estranged from his friend, as a result of the political and racial circumstances of colonial life. After having served in the army during
29:
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viewpoint and
Western superiority over the East, and tries to neutralize negative opinions on the military aggression into a postcolonial framework that is contextual for the era of the film's release.
383:
In 1993, the novel was adapted into a film of the same name, in a collaboration between the
Netherlands, Indonesia, and Belgium. Directed by Hans Hylkema and with a screenplay by
645:
514:
364:
314:; moreover, for Dutch readers it was clearly a novel set in a remote and exotic location, albeit one with which the Dutch felt an important kinship, and is thus a
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on the incorrect assumptions and generalities present in the novel, he writes that Haasse should have "really gotten to know Urug before even starting to write".
209:
216:, "Like to write"); her name wasn't announced to the general public until after the novel was published, selected by a panel of 19 anonymous judges. With
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185:
232:, "Oeroeg was my friend", and in reverse chronological order tells how the narrator came to that conclusion. The narrator grows up as the child of a
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writes that post-revolution Indies literature was often called a "literature of longing and homesickness", with childhood memories a common theme.
245:
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375:; 1969), which detailed a trip to an independent Indonesia—particularly Java. The archipelago also featured in her autobiographical works.
310:, in which memory and experience are played off against each other, can be said to lack in the objective realism so often typical of the
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367:, a Dutch organization of booksellers and publishers. Haasse went on to write another book focused on the Indonesian archipelago,
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395:, Martin Schwab, Ivon Pelasula, and Jose Rizal Manua. This adaptation was also released internationally under the title
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220:, her first publication in prose (she had already published a number of poems), her reputation was established at once.
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192:, who had grown up in the Dutch East Indies, and at this time was working in the cabaret and theater business in
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473:
Maier, Henk M. J. (2004). "Escape from the Green and Gloss of Java: Hella S. Haasse and Indies
Literature".
157:, he returns to his native land, only to be told that it is not where he belongs, and that he must leave.
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437:
411:. By association, according to Pattynama, the film brought "long-silenced Dutch war crimes to the fore".
282:(1936). At the same time, as Henk Maier points out, the novel can also be read against the background of
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come to understand the humiliation and the desire for freedom on the part of the repressed
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novels and a staple of literary education for many Dutch schoolchildren. The novel, a
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415:"servant attitudes". Sasongko concluded that the film is a form of "defense" from an
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Migrant
Cartographies: New Cultural and Literary Spaces in Post-colonial Europe
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135:. First published anonymously in 1948, it has become one of the best-known
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149:: the anonymous narrator grows up on a plantation in the Dutch colony of
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the novel partakes of the Dutch tradition of similar novels, such as
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Post-Colonial
Immigrants and Identity Formations in the Netherlands
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Mirror on the Indies: A History of Dutch Colonial Literature
785:"Ideologi Representasi Identitas dalam Adaptasi Film Oeroeg"
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Nieuwenhuys, Rob; van Rosevelt, Frans (translator) (1999).
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Vereeniging ter Bevordering van de Belangen des Boekhandels
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finds the world has changed: Indonesian nationalists have
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was published in 1948, at a time of great anxiety in the
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The immediate impetus for the publication was the 1948
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127:(translated into English as "The Black Lake") is the
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333:residents of the archipelago. Agreeing with author
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594:. In Ponzanesi, Sandra; Merolla, Daniela (eds.).
724:(in Indonesian). Jakarta: Konfiden Foundation.
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560:An Encyclopedia of Continental Women Writers
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728:from the original on 14 October 2016
678:"Schrijfster Hella Haasse overleden"
676:Bockma, Harmen (30 September 2011).
705:Nieuwenhuys & van Rosevelt 1999
632:Nieuwenhuys & van Rosevelt 1999
620:Nieuwenhuys & van Rosevelt 1999
542:Nieuwenhuys & van Rosevelt 1999
502:Nieuwenhuys & van Rosevelt 1999
436:The manuscript is now held in the
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755:. Amsterdam UP. pp. 175–92.
825:. Singapore: Periplus Editions.
558:. In Katharina M. Wilson (ed.).
296:("Wrong upbringing", 1928), and
94:Print (hardback & paperback)
901:Dutch novels adapted into films
196:, submitted the manuscript for
598:. Lexington. pp. 239–52.
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562:. Garland. pp. 516–18.
268:("Return to Ina Damman") by
906:Fictional Indonesian people
789:Jurnal Seni Nasional Cikini
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747:Pattynama, Pamela (2012).
590:Pattynama, Pamela (2005).
523:(in Dutch). 4 October 2011
161:Background and publication
16:1948 novel by Hella Haasse
554:Hoof, Dianne van (1991).
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751:. In Bosma, Ulbe (ed.).
298:Sutan Takdir Alisjahbana
896:Novels set in the 1940s
891:Novels set in the 1930s
886:Novels set in Indonesia
881:Dutch historical novels
399:, with an English dub.
228:The book starts in the
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321:In her autobiography
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265:Terug tot Ina Damman
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272:(1934) and
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170:Netherlands
129:first novel
86:Netherlands
865:Categories
686:(in Dutch)
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618:Quoted in
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397:Going Home
236:family on
214:Suka tulis
202:Indonesian
200:under the
182:Boekenweek
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795:: 45–57.
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194:Amsterdam
151:West Java
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732:5 August
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256:As a
137:Dutch
99:Pages
60:Novel
57:Genre
52:Dutch
853:help
827:ISBN
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379:Film
350:and
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