Indonesian exile literature

Indonesian exile literature refers to works of Indonesian literature produced by writers living in exile after the 30 September Movement (Gerakan 30 September, or G30S) led an abortive coup d'état in 1965. This applies especially those living in Western Europe, with a focus on the Netherlands. Exile literature is not a literary school, but rather a literary incarnation of a unique political situation.
Although writings by Indonesian exiles, including Tan Malaka, Sukarno, Sutan Sjahrir, and Mohammad Hatta, were evident from the 1920s, the most commonly studied form of Indonesian exile literature is of that which resulted from the 30 September Movement coup and its aftermath. Literary tensions between leftist groups such as the Institute of People's Culture (Lekra) and humanist writers were evident from the 1950s; in 1963, the humanists signed the Cultural Manifesto, which sparked great outcry among Lekra and its supporters and led many humanists to emigrate to foreign countries.
After the G30S coup attempt, rumored to have been sponsored by the Communist Party of Indonesia (PKI), and the resulting anti-Communist pogroms which killed hundreds of thousands, the political situation in Indonesia changed dramatically; the authoritarian civil government of President Sukarno was replaced by the military dictatorship of Lieutenant General Suharto, which immediately banned the PKI and "Communism/Marxism-Leninism" (sic; official terminology); and thus the country's political allegiances, previously supporting the East Bloc, became more friendly to the West. All these political changes happened in the first quarter of 1966. As a result, several hundred or thousand Indonesian leftists travelling abroad were unable to return to their homeland. This caught numerous writers as well, numbering at least 24, with the average age of 30; many of them were unable to return owing to their perceived Communist sympathies.
The majority of exiles ended up in Paris and the Netherlands. These writers were forced to adapt to their adopted countries, including changing their names; writers caught in China took up Chinese names, while those caught in France took up French names. Rendered stateless by the New Order government's refusal to issue passports abroad, many became foreign citizens. These changes resulted in a new writing style. Most writers self-published in their early days of exile.
These exiled writers, unlike many foreign exiles, at first did not understand that their exile would be long lasting. When G30S happened, many assumed that they would return to the country shortly. However, ultimately they spent several decades overseas and only became aware of their status as exiles in the 1990s, when they attempted to collect pensions from the Indonesian government. After the advent of the internet, publication was possible online, thus allowing works to be read in Indonesia. After the fall of Suharto, several returned to Indonesia. Since then, several anthologies of exile literature have been published in Indonesia.
The writer's works were influenced by the trauma they felt after the political events, and was full of nostalgia and illusions about Indonesia, as well as anger about what had happened. Much of this was expressed through poetry, written by poets, writers known for prose, and painters. Other works included autobiographies, dramas, essays, and short story collections. Most of the poems expressed the writer's hatred for the new government in simple language and easily understandable sentences, indicating that they were meant to be read by the general public and not literary experts. The writers often wrote using pseudonyms, with some using more than thirty.
The following journals were published by and for Indonesian exiles. They often contained literary works.
Among Indonesian writers noted as having lived in exile are:
Aside from exile overseas, there were also writers exiled domestically to remote areas. Among those exiled in such a manner are: