[Event] Secret Santa 2014: List Peserta


Selamat sore!

Seperti yang sudah disebutkan sebelumnya, periode pendaftaran event SS 2014 sudah resmi ditutup. Tiap Santa juga sudah diinformasikan siapa targetnya tahun ini.

Wishlist sudah bertebaran. Dan tiap dari kita tidak sabar untuk mengirim dan menerima kado, bukan?

Sabar, ya. Update wishlist masih boleh dilakukan sampai dengan tanggal 22 Nov. 2014

Karena, kalian tentu ingat, bahwa per 23 Nov. 2014 , kalian sudah boleh mengirim kado. Paling lambat tanggal 23 Des. 2014, sudah diterima, ya!

Berikut ini list peserta dari event Secret Santa 2014. Silahkan langsung klik nama peserta untuk meluncur ke blog buku mereka:

  1. Jo Virginia Natalia – BBI 1310192
  2. Martina Sugondo – BBI 1301024
  3. Oky Septya – BBI 1301011
  4. Zelie Petronella – BBI 1303112
  5. Helvry Sinaga - BBI 1301041
  6. Yovano Nalande – BBI 1301010
  7. Pauline Destinugrainy – BBI 1301001
  8. Yoeliana Angelina Anatasia (Inge) - BBI 1301053
  9. Angela – BBI 1301002
  10. Prasasti Purbo – BBI 1302098
  11. Sandra Cattelya – BBI 1309179
  12. Dini Novita Sari – BBI 1304129
  13. Arif Nurwidyantoro / Fadhilatul Muharam (Kilas Buku) – BBI 1301009
  14. Hanifah Dien Fitriyanti – BBI 1301027
  15. Hanum Puspa – BBI 1309176
  16. Andrea Ika Hapsari – BBI 1303111
  17. Anggun Pramuda Wardhani – BBI 1409245
  18. Asy-syifaa Halimatu Sa’diah – BBI 1305135
  19. Althesia Silvia – BBI 1301079
  20. Sri Sulistyowati – BBI 1301036
  21. Peni Astiti – BBI 1301051
  22. Alluna Maharani – BBI 1301049
  23. Atria Dewi Sartika – BBI 1307160
  24. Busyra - BBI 1301044
  25. Hanifah Mahdiyanti – BBI 1308173
  26. Siti Robiah A’dawiyah – BBI 1302089
  27. Aisyah Sari Dewi – BBI 1301016
  28. Yuliana Permata Sari – BBI 1305133
  29. Tezar Ari Yulianto – BBI 1301040
  30. Ira Mustika – BBI 1304127
  31. Ferina Permatasari - 1301052
  32. Dion Yulianto – BBI 1301042
  33. Cynthia Damayanti – BBI 1310181
  34. Lina Riyanty – BBI 1303113
  35. Istiningdyah Saptarini – BBI 1307163
  36. Eka Fatimah Ade Putri – BBI 1410250
  37. Melisa Mariani - BBI 1301021
  38. Hilda Widya Kemala – BBI 1408234
  39. Perdani Budiarti Hayuningtyas – BBI 1301032
  40. Selviana Rahayu - BBI 1301070
  41. Sabrina Tedja - BBI 1301018
  42. Putri Utama – BBI 1301028
  43. Renanda Puspita - BBI 1301008
  44. Astrid Lim – BBI 1301004
  45. Orinthia Lee – BBI 1301059
  46. Antonia Glory – BBI 1409240
  47. Nur Ramadhani Anwar – BBI 1306148
  48. Anastasia Cynthia – BBI 1409243
  49. Zahra Salsabila – BBI 1305140
  50. Wirda Adila Ridyananda (Nina) – BBI 1301065
  51. Lila Podungge – BBI 1301031
  52. Alvina Ayuningtyas – BBI 1301022
  53. Ika Kartika – BBI 1301014
  54. Jenny Thalia Faurine – BBI 1308172
  55. Yuska Vonita – BBI 1304119
  56. Rendria Sari K. – BBI 1307157
  57. Afifah Mazaya – BBI 1311198
  58. Fatma Mu’az – BBI 1405203
  59. Dianita Rizkiani – BBI 1306144
  60. Asriani Purnama – BBI 1301023
  61. Fanda Amnesiana – BBI 1301003
  62. Meliana Januaria – BBI 1310186
  63. Erta Salim – BBI 1301034
  64. Fransisca Susanti – BBI 1410261
  65. Muthiah - BBI 1301029

Nah, itu dia list dari para peserta SS 2014. Jika ada link blog, nama atau no. member yang ngawur, silahkan tinggalkan komentar atau kontak Div. Event, ya.

Sekarang, Div. Event mau persiapan beli kado sama bikin riddle dulu setelah keleyengan ngundi.

Have fun, friends!


Salam baca,

Div. Event

The 100 best novels: #38 – The Wind in the Willows by Kenneth Grahame (1908)

The Wind in the Willows, known to many readers through theatrical adaptations such as Toad of Toad Hall, belongs to a select group of English classics whose characters (Rat, Mole, Badger and Mr Toad) and their catchphrases (“messing about in boats”; “poop, poop!”) require no introduction. Endlessly recycled, in print, cartoon and cinema, the ideas and images of Kenneth Grahame’s masterpiece recur in the most unlikely places. Chapter seven, “The Piper at the Gates of Dawn”, is also the name of Pink Floyd’s first album in 1967.

A sentimental British favourite, The Wind in the Willows is a far more interesting book than its popular and often juvenile audience might suggest. First, it is the work of a writer who had known considerable success in the 1890s as a young contemporary of Oscar Wilde, and who was also an admired contributor to the literary quarterly The Yellow Book. At that point, Grahame was employed by the Bank of England but, still in his 20s, was publishing stories in literary magazines, work that became collected in Dream Days (1895) and an even more successful publication, The Golden Age(1898).

The text of The Wind in the Willows also encrypts a family tragedy. In 1899, Grahame married and had one child, a boy named Alastair who was troubled with health problems and a difficult personality, culminating in the boy’s eventual suicide, the cause of much parental anguish. When Grahame finally retired from the Bank (as secretary) in 1908, he could concentrate on the stories he had been telling his son, the stories of the Thames riverbank on which Grahame himself had grown up. So The Wind in the Willows is a tale steeped in nostalgia, and inspired by a father’s obsessive love for his only son.

Within the text, the reader discovers two tales, interwoven. There are, famously, the adventures of Mole, Ratty, Badger and Toad with the canary-coloured caravan, the succession of motor cars, and the climactic battle for Toad Hall. At the same time, there are Grahame’s lyrical explorations of home life (“Dulce Domum”), river life (“Wayfarers All”) and childhood itself (“The Piper at the Gates of Dawn”). In most theatrical adaptations of Grahame’s book, these lyrical elements are ruthlessly subordinated to the demands of the plot.

Above all, The Wind in the Willows makes a powerful contribution to the mythology of Edwardian England not only through its evocation of the turning seasons of the English countryside, from the riverbank in summer to the rolling open road, but also through its hints of an imminent class struggle from the inhabitants (stoats and weasels) of the Wild Wood.

Like the other books for children selected for this series – notably Alice’s Adventures in Wonderland (no 18) and Kim (no 34) The Wind in the Willows deserves recognition as a novel in which adult readers will find wisdom, humour, entertainment and meaning, as well as many passages of great literary power, together with characters who live on in the English literary unconscious.

A note on the text

The Wind in the Willows began as bedtime stories and letters addressed to Grahame’s troubled son, a sickly boy known as “Mouse” who possibly inspired the wilful character of Mr Toad and who eventually committed suicide, aged 20, while at Oxford. Indeed, so personal were these stories that Grahame never intended to publish his material. The manuscript was first given to an American publisher, who rejected it. After the publication of The Wind in the Willows by Methuen in 1908, it found an unlikely transatlantic fan in US president Theodore Roosevelt who, in 1909, wrote to Grahame to tell him that he had “read it and reread it, and have come to accept the characters as old friends”. Elsewhere, the critical response was more mixed, and it was not until AA Milne adapted parts of the book into a popular stage version, Toad of Toad Hall, in 1929, that it became established as the evergreen children’s classic it is known as today.

Three more from Kenneth Grahame

Pagan Papers (1893); The Golden Age (1895); Dream Days (1898), a volume that includes another children’s story, The Reluctant Dragon.


The 100 best novels: #37 – Hadrian the Seventh by Frederick Rolfe

Frederick Rolfe, who also styled himself “Baron Corvo” (and sometimes gave his full name as Frederick William Serafino Austin Lewis Mary Rolfe), is one of the strangest fish in the exotic aquarium of Edwardian literature. His masterpiece, Hadrian the Seventh, is both a book of its epoch – orchidaceous, eccentric and weirdly obsessive, some would say mad – as well as being, in DH Lawrence’s summary, “the book of a man-demon”.

Rolfe (pronounced “roaf”) was born in London in 1860, the son of a piano manufacturer. He grew up, a homosexual with paedophile instincts, in the hot-house cultural climate that nurtured many late-Victorian literary men, notably Oscar Wilde and the Aubrey Beardsley of The Yellow Book, as well as Edwardians such as HH Munro (“Saki”) and Max Beerbohm.

For 10 years, Rolfe was a provincial schoolmaster and would-be Roman Catholic priest. His conversion to Rome in 1886 proved abortive and frustrating. His awkward personality and angry tongue blighted his adult life and led to his dismissal from the priesthood not once but twice. Thereafter, he drifted into a hand-to-mouth career as journalist, painter and photographer.

At the age of 40 he began to write seriously, living in near-penury for years while sustaining an eccentric lifestyle, wearing silver spectacles and glycerine gloves (in bed), while writing with a “magic” glass egg on his desk, and chain-smoking like a devil. Quarrelling with almost everyone, Rolfe ended up, in extremis, living on an open gondola in Venice, as he put it, “homeless and often starving… only keeping alive from fear of crabs and rats”.

Hadrian the Seventh, Rolfe’s first novel (sometimes attributed to the pseudonym Baron Corvo), is a “romance” that reflects its author’s life and work. It tells the story of George Arthur Rose, a hack writer and minor priest, who, through bizarre but semi-plausible ecclesiastical vicissitudes, becomes elected Pope. “The previous English pontiff,” he declares, “was Hadrian the Fourth. The present English pontiff is Hadrian the Seventh. It pleases us; and so, by Our own impulse, We command.”

The new pope embarks on a programme of reform, but Hadrian’s one-year reign comes to an end when he is assassinated by a pope-hating Scot, prefiguring the 1981 attempt on the life of Pope John Paul II.

The air of contrivance that permeates this entertaining fantasy extends to Rolfe’s highly artificial vocabulary, which reminds me of Will Self’s vivid verbal extravagance, in its use of words such as “snarp”, “diaphotick”, “noluntary”, “tolutiloquent”, “purrothrixine”, “xanthine”, and on the opening page “prooimion”.

Rolfe’s pope is as cussed, rococo and autodidactic as his author, praying in Greek, dabbling in astrology and smoking in office. He’s described, at his death, as “an incomprehensible creature”, and Rolfe concludes with a line that might be his own epitaph: “Pray for the repose of His soul. He was so tired.”

Frederick Rolfe died suddenly in Venice on 25 October 1913.

A note on the text

Hadrian the Seventh was published in London by Chatto & Windus in 1904. (The first American edition appeared from Knopf in 1925.) The title page declared the book to be written by Fr. Rolfe, an abbreviation of the author’s name that suggested he was a Roman Catholic priest.

This strange novel and even stranger author might have been forgotten but for the brilliant intervention of AJA Symons, whose “experiment in biography”, Quest For Corvo (1934), helped to secure Rolfe’s reputation. Corvo/Rolfe’s severe creative paranoia was subsequently portrayed in The Unspeakable Skipton (1959), a novel by Pamela Hansford Johnson, and in 1968 in Peter Luke’s hit stage play Hadrian VII, starring Alec McCowen. The theme of the starving writer finding authenticity in the forced asceticism of the garret is a sub-theme in this series. It also recurs in the work of George Orwell, notably in Keep the Aspidistra Flying, whose hero, Gordon Comstock, could have stepped from the pages of Rolfe’s fiction, no questions asked.

Three more from Frederick Rolfe

Don Tarquinio (1905); The Weird of the Wanderer (1912); The Desire and Pursuit of the Whole (published posthumously, 1934).

The 100 best novels: #36 – The Golden Bowl by Henry James (1904)

There’s an old joke (which only makes complete sense in Britain) that there are three, not one, manifestations of Henry James: James the First (The Portrait of a Lady); James the Second (The Turn of the Screw); and the Old Pretender (The Wings of the Dove; The Golden Bowl).

As we approach another giant in this series – for some, the only American writer of greater significance than Mark Twain or F Scott Fitzgerald – I’ve chosen to skip James I and II, and settle on late James, the Old Pretender, and his masterpiece, The Golden Bowl, a novel that takes its title from Ecclesiastes 12:6-7 (“Or ever the silver cord be loosed, or the golden bowl be broken, or the pitcher be broken at the fountain, or the wheel broken at the cistern… then shall the dust return to the earth as it was…”).

I’ve made this choice for three reasons. First, because it addresses James’s essential theme, the meeting of two great cultures, English and American, and mixes it with the sinister menace of his middle period. Second, because the novel is so intensely (maddeningly, some would say) Jamesian, often hovering between the difficult and the incomprehensible. And finally, because his last novel places him where he belongs, at the very beginning of the 20th century.

The Golden Bowl opens with Prince Amerigo, a charming Italian nobleman of reduced means, coming to London for his marriage to Maggie Verver, the only child of the wealthy widower Adam Verver, an American financier and art connoisseur.

The plot then reprises a Henry James short story of 1891 (The Marriages), in which a father and daughter become hopelessly caught up in “a mutual passion, an intrigue”, a complex tale of treachery and betrayal made more complex by the fact that James, who suffered acutely from writer’s cramp, dictated it to a typist every morning over a period of 13 months. Not since the blind John Milton dictated chunks ofParadise Lost to his daughters has a prominent writer expressed so much of his vision through the medium of the spoken word.

Each reader will take something different from this amazing, labyrinthine, terrifying and often claustrophobic narrative. For me, the dominant theme – very close to James’s heart – is the story of Maggie Verver’s education, both literal and emotional, and her subtle resolution of an impossible and perhaps dreadful situation. At the end, Maggie has saved her marriage, and her father prepares to return to America, leaving his daughter older, wiser and (apparently) reconciled to her husband. American literature contains nothing else quite like The Golden Bowl.

A note on the text

The Golden Bowl is one of the first truly 20th-century novels: it was never serialised, but first published in New York in December 1904 by Charles Scribner’s Sons in two volumes, and then in London in February 1905 by Methuen in a one-volume edition. In 1909, a revised text appeared as volumes 23 and 24 of the New York edition, together with one of James’s magisterial prefaces in which, with sometimes tortuous circumlocution, he reflected on the art of fiction as he understood it. Many years before, in The Art of Fiction, a brilliant, almost polemical declaration on behalf of the novel as an art form, he had written “A novel is a living thing, all one and continuous, like every other organism, and in proportion as it lives will it be found, I think, that in each of the parts there is something of each of the other parts.” The Golden Bowlsupremely exemplifies this claim, providing a literary texture of staggering complexity and richness.

Three more from Henry James

The Portrait of a Lady (1881); The Turn of the Screw (1898); The Wings of the Dove (1902).


The 100 best novels: #35 – The Call of the Wild by Jack London (1903)

The Call of the Wild, a short adventure novel about a sled dog named Buck (a cross between a St Bernard and a Scotch collie) will be one of the strangest, and most strangely potent, narratives in this series.

Its author was a one-off, too. Jack London was a maverick, macho young man, the son of an itinerant astrologer and a spiritualist mother. As a boy, he led a criminal life, specialising in the piracy of oysters in San Francisco Bay. As a writer, he blazed briefly, lived hard and dangerously, and died from drink and drugs aged just 40, having written more than 50 books in 20 years.

London is the archetype of the American writer as primeval hero, the forerunner ofHemingway, Dos Passos, Kerouac and possibly Hunter S Thompson. To George Orwell, he was “an adventurer and a man of action as few writers have ever been”. A devotee of Kipling’s Jungle Book, London found his literary voice writing about a dog that learns to live at the limit of civilisation. He was inspired to embark on his dog story as a means to explore what he saw as the essence of human nature in response to a wave of calls to American youth urging a new start for the turn-of-the-century generation. London’s mythical creature became his answer to the complex challenges of modernity.

The reader discovers Buck, a domesticated prize dog, as the effete pet of a Californian judge. When he is stolen by his master’s gardener to settle some gambling debts, Buck passes through a sequence of owners representing the highs and lows of humanity. Sold into a kind of canine slavery as an Alaskan sled dog, Buck ends up in the Yukon of the 1890s Klondike gold rush, a milieu familiar to the writer. Eventually, he becomes the property of a salt-of-the-earth outdoorsman named John Thornton who recognises Buck’s qualities and with whom the dog enjoys a deep, and affecting rapport.

Among many adventures, in extremis, Buck saves Thornton from drowning, but when his master is killed by Yeehat Indians, he gives in to his true nature, answers the call of the wild and joins a wolf pack: “Man, and the claims of man, no longer bound him.” Here, London is not just writing about dogs. He is expressing his belief, which owes something to Rousseau, that humanity is always in a state of conflict, and that the struggles of existence strengthen man’s nature.

London’s chapter titles – “Into the Primitive”, “The Law of Club and Fang” and “The Dominant Primordial Beast” – might appear to set London’s literary agenda. But what projects The Call of the Wild towards immortality is London’s urgent and vivid style, and his astonishing identification with the world he’s describing. His capacity to involve his readers in his story, regardless of literary subtlety, is what many generations of American writers became inspired by. For this alone, he deserves to be remembered.

A Note on the Text

The Call of the Wild was first serialised in the Saturday Evening Post in the summer of 1903 and was an instant hit. Jack London had already sold the rights to the novel outright for $2,000 because he wanted to buy an old sloop for sailing. Accordingly, the story was first published as a volume in America by Macmillan and Company whose editor, George Brett, played a crucial role in London’s success as a writer.

London achieved overnight acclaim. Inevitably, there was envy. A forgotten writer named Egerton Ryerson Young claimed that London had plagiarised his 1902 book, My Dogs in the Northland. London acknowledged the influence and deflected the charge, saying he had already corresponded with Young on the subject.

HL Mencken, a most perceptive critic, wrote: “No other popular writer of his time did any better writing than you will find in The Call of the Wild… Here, indeed, are all the elements of sound fiction: clear thinking, a sense of character, the dramatic instinct, and, above all, the adept putting together of words – words charming and slyly significant, words arranged, in a French phrase, for the respiration and the ear.”

Three more from Jack London

The People of the Abyss (1903); White Fang (1906); The Road (1907).


The 100 best novels: #34 – Kim by Rudyard Kipling (1901)

Kim, Kipling’s extraordinarily topical masterpiece, has one of the most brilliant openings in this series: “He sat, in defiance of municipal orders, astride the gun Zam-Zammah on her brick platform opposite the old Ajaib-Ghar – the Wonder Horse, as the natives call the Lahore museum. Who hold Zam-Zammah, that ‘fire-breathing dragon’, hold the Punjab, for the great green-bronze piece is always first of the conqueror’s loot.”

“He” is Kimball O’Hara (“Kim”), an imperial orphan scavenging a hand-to-mouth existence in the India of the British Raj at the end of the 19th century. The “Great Game” (Anglo-Russian rivalry in central Asia, including the territory now known as AfPak), is afoot, with memories of the second Anglo-Afghan war (1878-81) still vivid. Some passages of the novel, indeed, could almost have been written last year. Kipling’s Kim is so untamed and sunburned that very few see him as white, or even know that his father was a sergeant in the Mavericks and that his mother was a poor Irish girl carried off by cholera. So Kim represents the meeting of east and west, one of Kipling’s obsessions, whose ethnic duality will be exploited in the covert war between Britain andRussia that provides the backdrop to this novel.

Kim, therefore, engages the reader at three contrasting levels. It fictionalises Kipling’s own Indian childhood (his father, John Lockwood Kipling, was actually the curator of the Lahore museum, already described). Second, it tells an adventure story of the kind that became especially popular in the heyday of the British Empire (see also the popular works of GA Henty, not selected for this series). Finally, and most importantly, it unfolds a boy’s own story in which, through the trials of the Great Game, Kim will be given greater insight into his divided east-west inheritance. The key to this strand of the novel, which shadows a thrillerish spy story, is Kim’s friendship with an ancient Tibetan lama who is on a quest to find the sacred and fabled “River of the Arrow”. Kim becomes his guru’s “chela” or disciple, and joins him on his journey while at the same time pursuing a public-school education sponsored by the lama. In the end, Kim must make his choice. “I am not a Sahib,” he tells his guru, “I am thy chela.” He might play “King of the Castle” on a great British cannon, but he knows where his loyalties lie.

A Note on the Text

Coming at the very end of Queen Victoria’s reign, Kim marks the last gasp of a publishing tradition that was on the point of extinction. It appeared first in serial form in McClure’s Magazine from December 1900 to October 1901, and also – because Kipling was so hugely popular and famous – in Cassell’s Magazine from January to November 1901. Then it was published in single volume form by Macmillan & Co, with illustrations by HR Millar. Kim regularly appears on lists of classicfiction: in 1998, appearing as No 78 in the Modern Library list of the 100 best English-language novels of the 20th century; in 2003 it featured in the BBC’s Big Read poll.

Three more from Rudyard Kipling

The Light that Failed (1890); Stalky & Co. (1899); Something of Myself(1937).


The 100 best novels: #33 – Sister Carrie by Theodore Dreiser (1900)

Sister Carrie is one of several novels in this series that address the American dream, and it does so in a radical spirit of naturalism that rejected the Victorian emphasis on morality. In some ways it’s crude and heavy-handed, blazing with coarse indignation, but in its day it was, creatively speaking, a game-changer. Later, America’s first Nobel laureate, Sinclair Lewis, said that Dreiser’s powerful first novel “came to housebound and airless America like a great free Western wind, and to our stuffy domesticity gave us the first fresh air since Mark Twain and Whitman”.

I will be the first to concede that Dreiser does not now look anything like their equal. He is no stylist, and yet the raw power of his narrative trumps the sometimes excruciating clunk of his prose. Saul Bellow, for instance, advised readers to take Sister Carrie at a gallop. There’s no question Dreiser paints an intensely detailed, compelling and closely observed portrait of urban America at the turn of the 20th century – a century in which the US would play such a decisive part.

The novel opens with Caroline – Sister Carrie – Meeber moving from the country to the city, taking the train to Chicago to realise her hopes for a better, more glamorous future. En route, she meets a travelling salesman, Charles Drouet, who soon releases her from the drudgery of machine-work in the heartless city by making her his mistress. This is the first in a succession of Carrie’s fruitless attempts to find happiness. Henceforth, she becomes the victim of increasingly desperate relationships which, combined with a starstruck fascination with the stage, take her to New York and the life of a Broadway chorus girl. The novel ends with Carrie changing her name to Carrie Madenda and becoming a star just as her estranged husband, George Hurstwood, gasses himself in rented lodgings. The closing chapters of the book, in which Hurstwood is ruined and then disgraced, are among the most powerful pages in a novel of merciless momentum, whose unsentimental depiction of big-city life sets it apart. Contemporary readers were baffled, however, and Sister Carrie did not sell well.

“The critics have not really understood what I was trying to do,” Dreiser said later. “Here is a book that is close to life. It is intended not as a piece of literary craftsmanship, but as a picture of conditions done as simply and effectively as the English language will permit … It makes one feel that American criticism is the joke which English literary authorities maintain it to be. When [the novel] gets to the people, they will understand, because it is a story of real life, of their lives.”

A note on the text

Until the 1980s, the text of Sister Carrie was invariably based on the first Doubleday, Page edition of 1900 – a text that Dreiser himself amended only once, in 1907. But in 1981, the so-called “Pennsylvania edition” (Philadelphia: University of Pennsylvania Press) reverted to Dreiser’s handwritten first draft, now held in the New York Public Library, and substituted his uncut holograph version as the scholarly text of the novel. This decision was challenged by a number of reviewers, introducing another level of controversy to a book whose publication history was dogged by trouble from the start. For this series, I have based my reading on the paperback Norton Critical edition (edited by Donald Pizer), which seems now to be accepted as the most reliable text – not least because it addresses in fascinating detail the furore surrounding the first printing of Sister Carrie, as well as illustrating the variations between Dreiser’s first draft and the 1900 edition. This, for newcomers to Dreiser, is possibly the most interesting aspect of the novel’s history, and runs (in summary) as follows:

Dreiser began Sister Carrie (occasionally titled “The Flesh and the Spirit” during its composition) at the suggestion of his friend Arthur Henry in 1899. Although he finished it on 29 March 1900, he was always dissatisfied with his work, and began to make revisions even as it was being submitted to New York publishers. At first, he offered it to Harper & Brothers (who “rejected it with a sharp slap”), and then to Doubleday, Page. This was a new imprint whose in-house reader, Frank Norris, was a published novelist whom Dreiser admired. Initially, it was Norris’s enthusiasm that persuaded Doubleday to accept Sister Carrie. Then, possibly because Frank Doubleday’s wife found the story repugnant and the text too sexually explicit, the firm turned it down. A row ensued in which Dreiser – who was always a combative character, at odds with the world – insisted on publication, standing on his legal rights, egged on by Arthur Henry. At one extraordinary moment, trying to get out of the contract, Frank Doubleday actually volunteered to offer the book to some of his rivals, including Macmillan and Lippincott. But Dreiser was adamant. He had a contract, and he would not be dissuaded.

Like any publisher bullied by one of their authors, Doubleday, Page did not launch Sister Carrie with much enthusiasm. It finally appeared on 8 November 1900 in an edition of 1,008 copies, of which 129 were sent out for review and 465 were actually sold. The balance of 423 copies was later turned over to a remainder house. Dreiser, mythologising his debut, subsequently claimed that Doubleday had effectively suppressed his first novel. The record shows, however, that it was well and widely reviewed, and appeared in Britain in 1901 from William Heinemann. In London, the Daily Express wrote of Sister Carrie: “It is a cruel, merciless story, intensely clever in its realism, and one that will remain impressed in the memory of the reader for many a long day.” In America, the great critic HL Mencken referred to Dreiser as “a man of large originality, of profound feeling, and of unshakable courage”.

Three more from Theodore Dreiser

Jennie Gerhardt (1911); Free and Other Stories (1918); An American Tragedy (1925).



[Event] Secret Santa 2014


Hi semuanya!

2014 sudah hampir berakhir. Rasanya kebanyakan dari kita sudah menunggu event akhir tahun BBI, yaitu Secret Santa.

(Yaah…selain ada IRF juga ya ^^)

Buat kalian yang belum tahu tentang Secret Santa, Secret Santa adalah event tukar kado antar member BBI di mana masing-masing member BBI yang mendaftar sebagai peserta Secret

Santa akan mengirimkan kado secara anonim kepada peserta yang lain (disebut Santa) dan peserta yang menerima kado (disebut Target/X) harus menebak pengirimnya berdasarkan riddle yang diberikan si Santa dan juga membuat review buku kado.

Kado berupa buku, diberikan sesuai dengan wishlist Target yang sudah dipos di blog Target sebelumnya.

Okay, selanjutnya, kita ke aturan main.

Sebelumnya, perlu diinformasikan bahwa Divisi Event membuat aturan main Secret Santa berdasarkan evaluasi pelaksanaan Secret Santa tahun sebelumnya dengan harapan seluruh peserta dapat bersenang-senang dan saling berbagi melalui event ini. Kepatuhan terhadap aturan main sangat diperlukan demi kenyamanan seluruh peserta.


1. Peserta mendaftarkan diri di form yang sudah disediakan.

2. Peserta adalah member BBI dan berdomisili di Indonesia.

3. Peserta sudah meng-update data anggota (alamat lengkap) di grup FB, untuk memudahkan Santa menemukan alamat dan juga untuk memudahkan panitia menghubungi Peserta terkait pelaksanaan Secret Santa ini.

4. Dalam hal peserta memiliki 2 blog atau lebih, hanya dapat mendaftarkan 1 blog.

5. Berkomitmen penuh untuk mengikuti event ini, termasuk mengikuti setiap ketentuan yang telah disepakati.


Divisi Event mengharapkan ketaatan setiap peserta terhadap jadwal, karena setiap pelanggaran terhadap jadwal akan membawa dampak merugikan bagi peserta lainnya.

1. Periode pendaftaran Secret Santa: 10-17 Nov. 2014 pukul 23.59 WIB

2. Periode pengundian dan penginformasian siapa targetmu dan juga update wishlist di blog: 18-22 Nov. 2014. Setelah tanggal 22 November 2014, wishlist tidak boleh berubah lagi.

3. Periode pengiriman kado: 23 Nov. – 23 Des. 2014. Maksimal 25 Desember 2014 hadiah sudah diterima Target.

4. Posting bareng riddle (foto riddle dan kado yang diterima) di blog peserta. Link posting riddle akan digunakan sebagai voting riddle terbaik oleh Divisi Event: 28 Des. 2014 pukul 09.00 WIB.

5. Posting bareng review buku dan tebak Santa: 30 Jan. 2015 pukul 09.00 WIB. Dalam hal peserta menerima lebih dari 1 buku, cukup review 1 buku saja. Tentu kalau bisa semuanya lebih baik.

6. Santa membuka identitasnya di komentar posting review buku Secret Santa: 31 Jan. 2015

7. Pengumuman pemenang riddle terbaik oleh Divisi Event. Pemenang akan mendapatkan hadiah paket buku dari panitia (akan diumumkan isi paketnya kemudian): 9 Februari 2015.

Silahkan menggunakan banner Secret Santa 2014 untuk setiap posting terkait event ini, sesuai dengan petunjuk di atas.


  1. Peserta diwajibkan membuat wishlist di blog berisi buku-buku yang diinginkan dengan informasi terkait buku (misalnya bisa dibeli di mana, yang covernya apa, terbitan mana, harus buku baru atau boleh second, dsb). Judul pos: “Wishlist SS 2014”, link ke pos wishlist tersebut harus diletakkan di sidebar/page blog agar mudah ditemukan.
  2. Range harga untuk buku yang dimasukkan ke wishlist: Rp 50.000-Rp 100.000, belum termasuk ongkos kirim (ongkos kirim ditanggung Santa).
  3. Buku dapat berupa buku lokal maupun import, dengan jumlah minimal buku lokal adalah setengah dari jumlah buku di wishlist. Hal ini guna mengantisipasi adanya Santa yang tidak memiliki akses/budget membeli buku import. Ingat! Inti event ini adalah bersenang-senang, bukan membuat peserta lain jadi stress karena beli hadiahnya ;)
  4. Divisi Event menghargai Santa yang baik hati, namun untuk mencegah kesenjangan hadiah yang diterima para peserta, Divisi Event membatasi MAKSIMAL hadiah adalah 2 buku. Penambahan hadiah berupa merchandise dipersilakan.
  5. Buku yang dikirimkan ke Target adalah buku baru. Sebisa mungkin tersegel dan dalam kondisi selayaknya buku baru, kecuali apabila Target menyatakan lain (misalnya: buku yang diinginkan adalah buku langka dan yang tersedia hanya buku second-nya saja; atau jika membelikan buku import yang terkadang memang tidak disegel plastik).
  6. Pengiriman kado HARUS disertakan dengan riddle agar target bisa menebak-nebak, siapa sang Santa baik hati. Bentuk riddle dibebaskan, apakah berupa puisi, puzzle, teka-teki, dsb.
  7. Apabila Santa merasa bingung dengan permintaan Target, maka Santa dapat menghubungi Divisi Event untuk disambungkan kepada Target.


Event Secret Santa adalah event yang membutuhkan komitmen dari peserta, karena setiap ketidaktaatan terhadap ketentuan, baik berupa keterlambatan dari jadwal maupun tidak dikirimnya hadiah kepada Target, dapat merugikan peserta lainnya. Oleh karena itu, sanksi terhadap peraturan Secret Santa adalah sebagai berikut:

1. Bagi Santa yang tidak mengirimkan buku kepada target, maka diberi sanksi tidak boleh mengikuti event Secret Santa seterusnya dan tidak diperkenankan menerima buntelan buku dari BBI selama satu tahun.

2. Jika ada yang tidak tepat waktu sesuai jadwal dan tidak memberi kabar ke Divisi Event sama sekali, akan dilarang untuk ikut event Secret Santa 2015.

Berikut ini adalah daftar peserta yang tidak bisa mengikuti event Secret Santa 2014 karena pelanggaran di Secret Santa 2013:

1. Gea Harovansi *

2. Sekar Wulandari

3. Fitria Mayrani

4. Yuniar Widiastuti

5. Asrina Maharani

Setiap member yang terkena sanksi di atas, tidak bisa mengikuti event SS 2014. Kecuali Gea Harovansi yang tidak boleh mengikuti event Secret Santa untuk seterusnya.

Apabila member yang namanya tercantum di atas merasa ada kesalahpahaman, silahkan menghubungi Divisi Event agar dapat dikomunikasikan dan ditinjau ulang.

Divisi Event sangat terbuka untuk memberikan toleransi selama komunikasi terus terjalin dengan baik. Meski demikian, harap diperhatikan juga bahwa setiap peraturan perlu diikuti demi kenyamanan bersama.

Nah, semoga semuanya sudah cukup jelas. Kalau ada pertanyaan lebih lanjut, silahkan tulis komentar atau kontak ke diveventbbi@gmail.com dengan subyek “Secret Santa 2014”.

Ditunggu partisipasinya dan selamat bersenang-senang!


Salam baca,
Div. Event

P.S: berhubung sepertinya ada masalah dengan Google Form yang digunakan, silahkan coba lewat tautan berikut ini untuk pengisian data: http://goo.gl/forms/ILc7HhWjmD

The 100 best novels: #32 – Heart of Darkness by Joseph Conrad (1899)

So far, on this list, with the possible exception of Alice in Wonderland (No 18 in this series), Heart of Darkness is probably the title that has aroused, and continues to arouse, most literary critical debate, not to say polemic. This is partly because the story it tells has the visceral simplicity of great myth, and also because the book takes its narrator (Charles Marlow), and the reader, on a journey into the heart of Africa.

Our encounter with Marlow’s life-changing journey begins on the Thames in London, the great imperial capital, with his recollection of “the uttermost ends of the Earth”. With brilliant economy, Conrad transports him to Congo on a quest that the writer himself undertook as a young man. There, working for the shadowy, but all-powerful “Company”, Marlow hears of Mr Kurtz, who is described as a first-class Company servant. Once in the dark continent, Marlow is sent upriver to make contact with Kurtz, who is said to be very ill, and also to safeguard the security of the Inner Station. What he finds, after a gruelling journey to the interior, is a fellow European, who may or may not have gone mad, and who is worshipped as a god by the natives of the primitive interior. Kurtz, however, has paid a terrible price for his mastery. When Marlow finds him on his deathbed, he utters the famous and enigmatic last words: “The horror! The horror!”

This line is often said to refer to the atrocities Conrad himself witnessed in Congo as it suffered under the colonial administration of the Belgians. He himself is said to have remarked that his story was based on “experience, pushed a little (and only very little) beyond the actual facts of the case”. The metaphorical force of the story and the indifferent contempt of the African who announces “Mistah Kurtz – He dead” (brilliantly expropriated by TS Eliot) gives Heart of Darknessthe most modern air of all the books that make up the movement called Modernism. Welcome to the 20th century, possibly English and American fiction‘s golden age.

A note on the text

Conrad’s first and second languages were Polish and French, with his third language, English, not acquired until he was 20. English, however, was the medium he adopted to explore his youthful experience as a riverboat captain in Belgian Congo. Part of the work’s strange hallucinatory atmosphere comes from the writer’s struggle with a language that was not his mother tongue. He sometimes said he would have preferred to be a French novelist, and that English was a language without “clean edges”. He once complained that “all English words are instruments for exciting blurred emotions”. This, paradoxically, is perhaps what gives the book its famously enigmatic, and ambiguous, atmosphere.

Conrad finished writing Heart of Darkness on 9 February 1899. It was originally published as a three-part serialisation in Blackwood’s Magazine from February to April 1899 (a commission for the 1,000th issue of the magazine), where it was promoted as a nautical tale by a writer whose work was at first (mistakenly) associated with the sea.

Heart of Darkness comes down to us in three other primary texts: a manuscript, a typescript and the final, revised version published in 1902. Not exactly a long story, and certainly not a novella, at barely 38,000 words long, it first appeared in volume form as part of a collection of stories that included Youth: A Narrative and The End of the Tether. It has become Conrad’s most famous, controversial and influential work. The English and American writers who fell under its spell include TS Eliot (The Waste Land), Graham Greene (A Burnt-out Case), George Orwell (Nineteen-Eighty-Four) and William Golding (The Inheritors). It also inspired the Francis Ford Coppola 1979 film Apocalypse Now, a work of homage that continues to renew the contemporary fascination with the text.

None of Conrad’s other books have inspired such veneration, especially in America, though some (including me) might want to place Nostromo(1904) higher up the pantheon. Critics have endlessly debated it. Chinua Achebe denounced it, in a famous 1975 lecture, as the work of “a bloody racist”. Among the novels in this series, few novels occupy such an unassailable place on the list. It is a haunting, hypnotic masterpiece by a great writer who towers over the literature of the 20th century.

Three more from Joseph Conrad

Nostromo (1904); The Secret Agent (1907); Under Western Eyes(1911).


The 100 best novels: #31 – Dracula by Bram Stoker (1897)

At the far end of the 19th century, in the age of Jack the Ripper, and 80 years after Frankenstein (No 8 in this series), Dracula is a classic of Gothic horror by an Irish contemporary of Oscar Wilde who wrote popular fiction to boost his income. Like Mary Shelley’s tale of the supernatural, the vampire tale of Dracula – partly derived from John Polidori’s The Vampyre (1819) and Sheridan Le Fanu’s Carmilla (1871), about a lesbian vampire – may also have begun with a bad dream. Just as Mary was partly motivated by Byron and her husband, the poet Shelley, so Bram Stoker, the business manager for the Lyceum theatre, was inspired by his devoted service to the great Shakespearean actor Henry Irving. The idea of the vampire as a silver-tongued aristocrat, like Count Dracula, is mirrored in Irving’s thespian mannerisms, and his fascination with theatrical villains.

Stoker was very much of his time. He was writing in a sultry fin-de-siècle literary culture obsessed with crime, ghost, and horror stories, all steeped in exotic sensation and jeopardy, from Rider Haggard’s She (1886) to Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde (also 1886) to Wilde’s The Picture of Dorian Gray (No 27 in this series), and possibly including the Yellow Book of Aubrey Beardsley. Among the contemporary anxieties reflected in Stoker’s tale was a fear about the future. While Victorians celebrated the empire on which the sun would never set with successive jubilees (golden, 1887, and diamond, 1897), many readers fretted over foreign (increasingly German) threats to the harmony of English life. A few years later, this would develop into the vogue for invasion-threat thrillers, notably HG Wells’s The War of the Worlds (1897) and Erskine Childers’s classic, The Riddle of the Sands (1903), both of which I have reluctantly had to exclude from a deeper consideration in this series.

Dracula marries many genre archetypes; Stoker followed the example ofFrankenstein (and also the work of Wilkie Collins), to narrate his story through a collage of diary entries, letters, newspaper cuttings etc. He also placed the story of Jonathan Harker’s visit to Transylvania in the present – 1893. The property transaction that Harker is supposed to be negotiating is quickly forgotten once the count has taken his lawyer prisoner. When Harker falls under the spell of the “sisters” (the Brides of Dracula) it seems impossible that he can escape with his life. What, the reader wonders, can happen now ?

In fact, this powerful opening is only the prelude to some increasingly bizarre twists: Dracula’s arrival in Britain hidden in a coffin; his sinister pursuit of Harker’s fiancee, Mina, and her friend Lucy; the intervention of the celebrated vampire-hunter Professor Abraham van Helsing, and his climactic battle with the count outside Dracula’s castle, leading up to the moment when the noble vampire turns to dust. The plot is creaky and Stoker’s prose is lurid – often homoerotic – but Dracula endures as a classic of popular culture.

Stoker certainly drew on earlier vampire literature, but he was also deeply original, relying on more than seven years’ research to complete his story. Thereafter, Transylvania and the Balkans would become the go-to destination for English thriller writers from Ambler to Fleming. Meanwhile, partly thanks to cinema, Dracula still retains its hold, though many have scorned it. The critic Maurice Richardson described it as “a kind of incestuous, necrophilious, oral-anal-sadistic all-in wrestling match”. What’s not to like ?

A note on the text

The first edition of Dracula appeared in bookshops on 26 May 1897, price six shillings, in a print run (from the publishers Archibald Constable and Co) of some 3,000 copies bound in plain yellow cloth with the one-word title in simple red lettering. This, in fact, was a last-minute amendment. Stoker’s working title for the novel in manuscript, until a very few weeks before publication, had been The Un-Dead.

The first reviews of Dracula were generally good, though with few hints of the novel’s subsequent notoriety. The Athenaeum, indeed, declared that “It reads at times like a mere series of grotesquely incredible events.” Elsewhere, in the Daily Mail, Bram Stoker was rated above both Mary Shelley and Edgar Allan Poe (No 10 in this series). Arthur Conan Doyle wrote to Stoker to tell him “how very much I have enjoyed reading Dracula. I think it is the very best story of diablerie which I have read for many years.” Dracula now boasts a vast and wide-ranging bibliography which identifies it with many themes – vampire literature, gothic and horror fiction, Victorian sexuality, colonialism and the homoerotic. Bram Stoker’s masterpiece has become a mirror in which later generations of readers can explore any number of secret fantasies.

Possibly the most gratifying comment reached the author from his mother in Ireland. Charlotte Stoker told her son that “No book since Mrs Shelley’s Frankenstein or indeed any other at all has come near yours in originality, or terror…” It was not until much later, when this vampire novel became raw material for successive Hollywood versions (notably the 1931 movie starring Bela Lugosi) that it acquired its reputation as the supreme example of horror fiction.

Three more from Bram Stoker

The Shoulder of Shasta (1895); The Mystery of the Sea (1902); The Lair of the White Worm (1911).