| Title of the Novel/Novella/Play | Author’s Name | Water Body Name | Water Body Type | Publication Details | Year of Publiction | Genre | Theme | English Translation | Translator |
|---|---|---|---|---|---|---|---|---|---|
| Harvesting the Storm | John Waromi | ||||||||
| Penerosan di Bawah Laut | Motinggo Busye | Sea | Wilendra | 1964 | Novel | As a popular novel of its time, the book likely features a character-driven plot set against the backdrop of the underwater world. Given the author’s focus on interpersonal drama and social commentary, the story probably uses the sea to frame a narrative about human relationships and emotional complexities. | No | ||
| Pulau | Aspar Paturusi | Sea | Bhakti Baru. | 1979 | Novel | The novel Pulau (meaning “island”) tells the story of Suno Lompoyang, a Buginese man from Tanjung Bira in South Sulawesi. He feels lonely and isolated, and the narrative explores the “patronage system of punggawa-sawi,” a Bugis-Makassar cultural aspect. This system describes the relationship between the chief (punggawa) and the servant (sawi), a key social structure of the Buginese-Makassarese community. The novel contrasts the traditional values of the Buginese-Makassarese people in the 1970s, such as courage, honor, and tenacity, with the social changes and modernization that were beginning to occur at the time | No | ||
| Gadis Pantai | Pramoedia Ananta Toer | Sea | Hasta Mitra | 1987 | Novel | The story follows a young girl from a fishing village on the coast of Java who is taken as the “practice wife” of a Javanese aristocrat. The sea represents the character’s humble origins and the life she was stripped of in this novel, which critiques the injustices of the Dutch colonial era and the Javanese feudal system. | Yes (The Girl from the Coast) | William Samuels | |
| Mata dan Manusia Laut | Okky Mdasari | Ocean | Gramedia Pustaka Utama | 2019 | Novel | Mata dan Manusia Laut follows 12-year-old city girl Matara on a trip to the Wakatobi islands, where she meets Bambulo, a boy from the nomadic Bajau sea people who possesses extraordinary diving abilities. Intrigued by each other’s worlds, they embark on an ocean adventure. However, they soon face danger when Bambulo disregards the ancient rules and rhythms of the sea. | No | ||
| Sang Nyai | Budi Sardjono | Indian Ocean | Diva Press | 2018 | Novel | The novel retells the myth of Ratu Kidul, or the Queen of the Southern Sea, by presenting her not just as the mistress of kings but as one who has a relationship with an ordinary man. The story incorporates supernatural and cultural elements, demonstrating a modern perspective on the enduring myth. The narrative showcases the dynamic evolution of traditional folklore within contemporary Indonesian literature. | No | ||
| Laskar Pelangi | Andrea Hivata | Sea | Bentang Pustaka | 2005 | Novel | semi-autobiographical novel, The Rainbow Troops follows a group of 10 students (the “Rainbow Troops”) at the Muhammadiyah Elementary School on the Indonesian island of Belitong. Facing constant threats of closure due to poverty and government apathy, the students and their two devoted teachers battle against overwhelming odds to keep their school open. | Yes (The Rainbow Troops) | Angie Kilbane | |
| Lelaki Harimau | Eka Kurniawan | sea | Gramedia Pustaka Utama. | 2004 | Novel | Set in a small coastal town, this wry and affecting tale uses the proximity to the sea to explore family sagas and local myths. A central character conceals a supernatural female white tiger within himself, weaving together realistic coastal life with magical realism. | Yes (Man Tiger) | Labodalih Sembiring | |
| Jamangilak Tak Pernah Menangis | Martin Aleida | Asahan River and Lake Toba i | Gramedia Pustaka Utama | 2004 | Novel | Set in Sumatra near Lake Toba, the story follows a mother, Molek, and her daughter as they confront the environmental destruction caused by a powerful rayon factory polluting the Asahan River. The novel details the devastation inflicted on the river and the surrounding community, examining how political and economic interests collide with the lives of ordinary people. Through the women’s struggle, the narrative explores the heavy burden of history and the ongoing fight for justice in Indonesia. | No | ||
| Laut Bercevita | Leila S. Chudori | Sea | Kepustakaan Populer Gramedia (KPG) | October 19, 2017 | Novel | Set in the late 1990s, this celebrated novel tells the story of a group of student activists through the eyes of Biru Laut, who disappears during the final years of the Soeharto regime. The sea and marine life serve as both a backdrop and a powerful metaphor for resistance against the government’s attempts to silence dissent. | Yes(The Sea Speaks His Name) | John McGlynn | |
| Saman | Ayu Utami | Indian Ocean | Kepustakaan Populer Gramedia | 1998 | Novel | The narrative weaves together the stories of four female friends—Laila, Cok, Shakuntala, and Yasmin as they navigate their relationships and identities in 1990s Indonesia. Their story is linked to a former Catholic priest, Saman, who, under a different name, became involved in a political struggle to defend villagers against a government-backed palm oil company in South Sumatra. The novel unfolds through various timeframes and perspectives, critically examining the social and political changes that marked the end of the authoritarian Suharto regime | Yes | Pamela Allen | |
| Amba | Lakshmi Pamuatjale | Banda Sea | Gramedia Pustaka Utama | 2016 | Novel | The novel follows Amba, who, in 2006, journeys to Buru Island to find her lover, Bhisma. The narrative flashes back to the 1960s, a time of immense political turmoil in Indonesia, detailing the love story between Amba and Bhisma. Their tale is paralleled with the story of Amba from the Mahabharata, giving the novel a mythic dimension. The two are separated during the violent anti-Communist purges of 1965–1968, and Bhisma is sent to the infamous penal colony on Buru. The novel confronts the long-suppressed history of state-sanctioned violence and gives voice to the victims of this dark period. | Yes (The Question of Red) | Lakshmi Pamuatjale | |
| Ronggeng Dukuh Paruk (trilogy) | Ahmad Tohari | Gramedia Pustaka Utama | 1982 | Novel | Set in the impoverished Javanese hamlet of Dukuh Paruk, the novel follows the life of Srintil, a young girl who becomes the village’s traditional ronggeng dancer. In the isolated village, the ronggeng is a revered figure, representing the community’s spirit. Srintil quickly rises to become a local celebrity, but her life is shattered by the political purges of 1965. The brutal crackdown on suspected communists devastates her village and her family. Srintil and her fellow musicians are imprisoned due to their association with a banned political group. The novel traces her harrowing journey through political persecution and her struggle to reclaim her dignity and rebuild her life after her release. | Yes (The Dancer) | Rene T. A. Lysloff | ||
| Oceans of Longing: Nine Stories | Sitor Situmorang | Lake Toba | Silkworm Books | 1956 | Short Stories(Collection) | The collection serves as a literary window into the world of Situmorang, a Dutch-educated Indonesian nationalist who experienced the profound transition from the Dutch East Indies to modern Indonesia | Yes | Harry Aveling, Keith Foulcher, and Brian Russell Roberts | |
| Aruna dan Lidahaya | Laksmi Pamuntjak | Java Sea | Gramedia Pustaka Utama | 2014 | Novel | The novel follows Aruna, an epidemiologist, as she travels across Indonesia to investigate a suspected bird flu outbreak. She is joined by her friends, a food critic and a professional chef, and their work trip soon becomes a culinary adventure. As they travel from one city to another, they explore local delicacies, all while navigating their complicated personal lives and an unexpected love triangle. The novel was later adapted into a film titled Aruna & Her Palate. | Yes(The Birdwoman’s Palate) | Tiffany Tsao | |
| Cala Ibi | Nukila Amal | coastal waters and ocean. | Gramedia Pustaka Utama | 2003 | Novel | The novel follows the story of Maya, an independent Indonesian woman and aspiring writer. The narrative constantly shifts between Maya’s waking life and her vivid dreams, which are often filled with shamans, flying dragons, and other mythical elements. Guided by these dream visions and her own family’s history, Maya attempts to break free from social and cultural conventions. Her journey involves exploring her own history, heritage, and the myths that influence her creative work, as she navigates her perceptions of reality and her relationship with her family. | Yes(The Original Dream) | Linda Owens. | |
| I Found You In Natuna | Agusta K. | Natuna Sea, South China Sea | Elex Media Komputindo. | 2014 | Novel | The novel tells the story of two teenagers, Alvin Narendra and Freya Geraldi. Their relationship is complicated by a long-distance separation, with Alvin declaring his love for her “in his own way”. Freya, in turn, finds herself falling for Alvin more than her initial love for the sea, an emotional turn inspired by their time together in Natuna. | |||
| Tenggelamnya Kapal Van der Wijck | Abdul Malik Karim Amrullah | Java Sea | Pedoman Masjarakat | 1938 | Novel | A mixed-heritage man named Zainuddin falls in love with Hayati, a pure Minang woman. Their love is forbidden by Minang traditions because Zainuddin is not of a pure-blooded lineage. Hayati’s family forces her to marry a wealthy man of pure Minang descent named Aziz. A heartbroken Zainuddin becomes a successful writer in Java, and later encounters the now-destitute Hayati and Aziz. When Aziz dies, Zainuddin spurns a repentant Hayati, sending her back to Sumatra. She tragically dies when her ship, the Van der Wijck, sinks. Zainuddin dies shortly after, and the two are buried side-by-side. | Yes(The Sinking of the Van der Wijck) | ||
| Gadis Kretek | Ratih Kumala | Sea | Gramedia Pustaka Utama | 2012 | Novel | The story follows two timelines. In the present, the dying owner of a large kretek (clove cigarette) factory, Soeraja, calls for his lost love, Jeng Yah. His three sons must find her to fulfill their father’s dying wish. The search leads them on a journey to uncover the hidden past of their father, revealing his love story with Jeng Yah in the 1960s. At that time, Jeng Yah, the ambitious daughter of a rival kretek factory owner, breaks societal rules by mastering the art of cigarette blending, a skill reserved for men. The novel unfolds the secrets of the past, connecting the rivalry between the two cigarette companies with Jeng Yah and Soeraja’s doomed romance. | Yes(The Cigerrate Girl) | Annie Tucker | |
| Keluarga Manusia dan Laut | Okky Madasari | Sea | Gramedia Pustaka Utama | 2019 | Novel | Set in a coastal community, the story follows the lives of two main characters, one from the “land people” and one from the Orang Laut. Through their intertwined stories, the novel explores the contrasting worldviews, prejudices, and misconceptions that exist between the two groups. It sheds light on the struggles of the Orang Laut to preserve their cultural identity and traditions in the face of encroaching modernization and land-based civilization. The book contrasts the land-based society’s perception of the Orang Laut as backward and uncivilized with the deep, intimate knowledge of the sea that defines their way of life | No | ||
| Ikan Terbang Kufah | Triyanto Triwikromo | Sea | Kompas | November 7, 2010. | Short Story | The story is set in a coastal village and follows a character involved in a capitalist’s plan to build a seaside resort. The narrative blends reality and myth, featuring supernatural elements like flying fish alongside the tangible economic struggles of the villagers. It includes references to historical and religious figures, such as communist remnants and Kiai figures, to explore the complexities of development and its impact on a traditional community | No | ||
| Pedang Hijau dari Laut | Kiki Sulistyo | Sea | Suara Merdeka | May 5, 2019 | Short Story | The narrative of the story is centered around a conflict related to capitalist interests in a seaside village. It depicts a struggle that unfolds in the coastal setting, reflecting broader tensions between economic development and the traditional community | No | ||
| Nelayan Itu Masih Melaut | Muhammad Khambali | Media Indonesia | 22.11.2022 | Short Story | The narrative follows a fisherman named Aru Labok who hears a commotion from the beach and rushes to see what is happening. The story is set in a coastal environment and details his life, focusing on the ongoing struggles and unwavering commitment to his profession despite the hardships. | No | |||
| Pengelana Laut | Linda Christanty | Sea | Kompas | January 5, 2020 | Short Story | The story is set around the sea and explores the lives of those connected to it. Using an ecocritical approach, the narrative focuses on the urgent issue of protecting dolphins. It examines the human impact on marine life and advocates for greater environmental awareness. As with much of Christanty’s work, it carries a moral and ethical message, in this case, about the responsibility humans have towards the natural world. | No | ||
| Belukar Pantai Sanur | Gde Aryantha | sea off Sanur Beach, Bali. | Kompas | November 15, 2020. | Short Story | The narrative of Belukar Pantai Sanur involves drug trafficking on the coast of Sanur, Bali. The plot revolves around a conflict that arises between two pecalang (traditional village security guards) and a corrupt, “careless” police officer. This confrontation unfolds against the backdrop of the sea, which serves as an arena for the illegal activity and the subsequent struggle. The story uses the familiar location of Sanur Beach to expose its less-than-picturesque underbelly and criticise the erosion of traditional values in the face of modern crime and corruption | No | ||
| Pelepah Ikan | Ragdii R. Daye | sea and the shoreline | Kompas | 20.12.2020 | Short Story | The narrative centers on the harsh realities of the poor living along the coast, portraying their struggle to make a living. The story implicitly critiques the socio-economic conditions that force individuals into desperate measures, with the sea representing both a source of life and a harsh, unforgiving backdrop for their struggles. The title, which translates to “The Frond of the Fish,” likely refers to a small, insignificant part of a larger natural resource, symbolizing the meager existence of the characters. | No | ||
| Dari Laut | Dadang Ari Mustono | Sea | Kompas | 2021 | Short Story | The narrative, a monologue by a fisherman, takes a critical look at the negative impact of tourism on a coastal community. The fisherman laments the changes to the sea, which he has known and loved his entire life. The pristine waters have been replaced by the detritus of tourism, leading to a decline in the marine ecosystem. The story is a poignant reflection on the human cost of environmental neglect, portraying the loss of the sea as both a personal tragedy for the fisherman and a broader crisis for the community. | No | ||
| Ketika Laut Marah | Widya Suwarna | Sea | Bobo.ID | 2025 | Short Story | During a storm that makes fishing impossible, a kind-hearted fisherman named Pak Yus and his wife use their limited savings to cook and feed the hungry children in their coastal village. The sea calms after Pak Yus prays, allowing all the fishermen to return to work and feed their families, rewarding his compassion and faith. | No | ||
| Lautan Tanpa Cahaya | L. Darmawan | Ocean | Indonesiana.id | 08.12.2021 | Short Story | The narrative follows a character who has been observing the nomadic Suku Laut (Sea Tribe) for two months in the waters of the Riau Islands. The observer’s task is a three-month assignment to study the tribe, and the story focuses on the narrator’s experience as they seek a “blue light” on the coast during a cold night. The plot likely delves into the narrator’s perceptions of the traditional community and the changes brought about by external forces, all set against the powerful backdrop of the sea. The title “Ocean Without Light” could be a metaphor for the loss of a way of life or a traditional understanding of the ocean’s mysteries. | No | ||
| Cantik Itu Luka | Eka Kurniawan | Indian Ocean | AKYPress | 2002 | Novel | The novel opens with the fantastical premise of the beautiful Indo prostitute Dewi Ayu rising from her grave after being dead for twenty-one years. Through the multi-generational story of Dewi Ayu, her four daughters, and her grandchildren in the fictional coastal town of Halimunda, the narrative is a sweeping and often grotesque epic that chronicles the tumultuous modern history of Indonesia. The novel weaves together historical events—from Dutch colonialism and the Japanese invasion to the fight for independence and the violent anti-communist purges of 1965—with local folklore, magical realism, and black humor. The “wound” of the title refers to the lasting trauma of the nation’s violent past, which is mirrored in the personal tragedies and curses that befall the family. | Yes(Beauty is a Wound) | Annie Tucker | |
| Sihir Perempuan | Intan Paramaditha | The Southern Sea is mentioned, in reference to Nyi Roro Kidul, the mythical Queen of the South Sea, a figure in one of the stories | Gramedia Pustaka Utama | 2005 | Short Stoty Collection | Apple and Knife is a collection of thirteen short stories that subverts traditional fairy tales, myths, and horror tropes to explore the complexities and dangers of occupying a female body in contemporary Indonesia. The stories blend the everyday life in Indonesian settings (corporate boardrooms, shanty towns) with a “soupy otherworld” of the supernatural, featuring characters like a menstruation-eating hag, a vampiric dancer, and the Queen of the South Sea. Rather than helpless victims, the female characters in these tales are often fierce and “disobedient,” seeking justice or enacting vengeance in a world shaped by misogyny and violence. The collection uses horror as a feminist tool, blurring the lines between human prejudice and supernatural monstrosity to provide sharp, often unsettling critiques of societal norms and expectations. | Yes(Apple and Knife) | Stephen J. Epstein |
