Shadow of Rubber Plantation

Her words were successfully stolen by two hot spears that pierced her husband's head and chest.

29 Jun 2025 08:15 WIB · English

By Yulizar Lubay

This article has been translated using AI. See original.

Amid the national news broadcast about the dangers of a total solar eclipse, the residents of Kebun Karet Village were shocked by the discovery of a man's body lying on the side of a quiet road. Fear spread rapidly. In coffee shops, residents began discussing someone or several individuals known as the Shadows.

In a coffee shop, the men sit in a circle with hushed voices, sometimes stirring their cold coffee with their hands, and at other times turning up the volume of the radio playing Rhoma Irama's dangdut songs.

Two days later, on a cold morning with drizzle continuing until noon, Ismaria's heart felt as if it were being stabbed by a kitchen knife. One tall resident with a hunched back said to her, "Now it's your husband's turn. He is at the rubber plantation near the yellow bridge."

That morning, Ismaria was not interested in asking further questions. She walked quickly on the muddy and sticky ground. She was very familiar with the rubber plantation, as familiar as she was with the veins on the back of her own hand.

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Now it's your husband's turn. He is in the rubber plantation near the yellow bridge.

The rubber trees stand silently and damp, as if regretting their late recitation of the prayer to ward off disaster. Ismaria pushes aside the bushes. There is something beneath the pile of fallen leaves: a sandal, a foot, and a body lying on its back. A pair of bulging eyes stares wide, yet cannot look there. Her mouth is open, as if about to call a name, but something more terrifying has already held her back.

Ismaria sat for a long time on the wet grass. She was unable to touch anything, unable to make a sound. The wind carried a fishy smell to her slightly pointed nose. She closed her eyes, then struggled to stand up. Ismaria could not bear to take that body home. She walked with a wilted demeanor, entered the house, and lay restlessly on the bed.

That night, Ismaria boiled water. The fire in the stove hissed softly.

After boiling, Ismaria poured the water into a small green and white tin cup. She brewed sweet tea. She walked over, took a wooden chair, and sat down near the window. The yellow bulb's light was insufficient to illuminate her sorrowful face.

Children are starting to be prohibited from playing after dusk. Mothers close doors and windows before the evening prayer. Husbands stop gathering at the coffee shop. Some burn identification cards. Some leave home without a message. Everyone knows, but no one dares to speak. Everyone sees, but no one dares to testify.

Ismaria also did not dare to report to anyone. Including to Lurah Hasan, let alone to the police.

However, unexpectedly, the village head Hasan came to offer assistance to Ismaria. He stood at the door as if he were a close relative. His eyes never met Ismaria's; instead, they gazed directly at the widow's chest. He spoke in a low voice full of cunning, with his arms crossed. "If you need anything, just let me know."

Ismaria did not answer. She knew that Lurah Hasan really hated Sarman, her husband.

"That's destiny," the village head said briefly.

Ismaria let out a heavy sigh. She only knew that Sarman was brave, and that bravery was a great enemy of Lurah Hasan. Ismaria also knew for certain that hatred could spread as quickly as fire.

After Sarman was found dead in the rubber plantation, the village head Hasan increasingly visited Ismaria's house. Sometimes he brought fruit, other times he merely inquired about her well-being. However, Ismaria remained silent. Village head Hasan felt as if he were speaking to a rubber tree.

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Boys must learn to live independently.

Several months after Sarman's death, Jati, the only son of Ismaria and Sarman, was sent by Village Head Hasan to the capital. The Village Head took care of everything: the bus fare, accommodation, and Jati's job as a construction laborer. "Boys must learn to live independently," said Village Head Hasan after handing several banknotes in an envelope to Ismaria.

Ismaria had no strong reason to refuse. Everything had been arranged by Lurah Hasan. The woman was only given news when all the preparations had been completed by the Lurah. Meanwhile, Jati, after wandering for some time, only returned once. After that, there was no more news, except that some time later his body was found floating on the edge of the river. "Jati had a picture on his right hand. People who have pictures on their bodies, their lives are definitely not safe. Just like Sarman," said Lurah Hasan to Ismaria on a cold night.

During his lifetime, Sarman was indeed a market and terminal lion. His subordinates even became extortionists when films were frequently screened in the fields. In addition, secretly, Sarman also trained all his subordinates to learn martial arts in the midst of the rubber plantation. They built a wooden hut there. Likewise, the village head Hasan once secretly witnessed their training. However, not many people knew about the tattoos on Sarman's body except for his subordinates, village head Hasan, Taji, and Ismaria.

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Jati has a picture on his right hand. People who have pictures on their bodies, their lives are definitely not safe. Just like Sarman.

After the death of Sarman, which occurred a day after the total solar eclipse, a foreign guest arrived from the city dressed neatly in black shoes. His face was cold and stiff. The guest visited Ismaria's house and inquired about the discovery of the body in the Rubber Garden Village. Ismaria could not speak, only staring blankly at her guest's face.

After that meeting, the guest never returned, or perhaps Ismaria was unaware and indifferent to the fact that the guest had not left the village and was staying at the house of Lurah Hasan.

Days pass slowly and oppressively, especially at night. Ismaria is no longer in mourning, but she still often feels empty. She has become more diligent in sitting and daydreaming while gazing into the darkness through the window.

As Ismaria gazed into the darkness one night, an owl suddenly perched on her window. The bird remained still for quite some time before flying away to an unknown destination. Ismaria was not afraid; instead, she felt drowsy and fell asleep until morning, dreaming of seeing Jati's corpse floating in the river.

One afternoon, Ismaria inadvertently saw a strange man standing on the porch of Lurah Hasan's house. He had a sturdy build, dressed entirely in white, with white shoes as well. His eyes shone like the gaze of a hungry tiger.

The man glanced at Ismaria for a moment, smiled faintly, and then entered the house of the village head, Hasan. Ismaria felt as though she had met the man before. Her brow furrowed as she tried to recall. She took a quick breath before turning around and walking home.

After that brief meeting, Ismaria began to frequently see the shadow of a person she had once seen at the house of Lurah Hasan flitting about everywhere; in the rubber plantation, in the middle of the market, at the terminal, and on the bridge. Ismaria offered as many prayers as she could to ward off misfortune.

Over time, the residents of Kampung Kebun Karet have become accustomed to referring to the foreigner as Bayang-bayang. No one knows his real name, and no one knows his origins.

On nights unknown to Ismaria and the villagers, the person called Bayang-bayang often held secret conversations with Village Head Hasan. In these discussions, the names and addresses of several individuals were mentioned. After the conversation concluded, Bayang-bayang swiftly darted out while pocketing a list of targeted names. The next morning, news of mourning quickly spread everywhere, silently, coldly, and suffocatingly.

The villagers knew what was happening, but they could only remain silent.

The days continued to pass, until all the lives of Sarman's crew were reported to have perished, and the Shadows no longer flitted about and roamed diligently.

In the Rubber Garden village, there has never been a burial site for Sarman and his friends. However, as can be seen, several dozen rubber trees in the garden are tied with yellow cloth, which serves as a sign of mourning. It is unclear who did this. Perhaps it was the villagers. It could also have been Ismaria. No one can confirm it.

Not a single resident dared to touch the yellow cloth tied to the trunks of those trees. No one was brave enough to tap their sap. For the time being, the trees were left standing as witnesses, until they grew old and nearly died, until they were cut down years later to make way for a housing complex.

Meanwhile, the village head Hasan, on an odd night, suddenly appeared in front of Ismaria's house. His eyes were wild and his breath was hurried, driven by desire.

The villagers knew what happened to Ismaria, but they could do nothing.

With all her might, Ismaria then decided to grow old with a firm resolve to commit suicide if Lurah Hasan dared to assault her again. However, for reasons unknown, after that disgusting night, Lurah Hasan never returned to Ismaria's house. A rumor circulated that Lurah Hasan and his family had moved to the capital city along with Bayang-bayang. They are living comfortably and securely with a high salary.

Meanwhile, one night, several years later, as national news diligently reported that poverty had been eradicated, the elderly Ismaria sat drinking warm sweet tea and opened the window. Bitter memories suddenly surged forth, and then she stuck out her tongue.

Ismaria sighed, trying to let go of all her belongings that had been taken away.

Lampung, 2025

Yulizar Lubay, born in Lampung, 1986. Writing short stories since 2010. His short story entitled "Good News" is collected in the book Short Stories Selected by Kompas 2022. Daily active in the Berkat Yakin Lampung Community as a theater actor.

Krishnamurti Suparka, was born and settled in Bandung. He has lived in Australia since the early 1990s, returning to his hometown in 2018. Some of the group exhibitions he has participated in include Hitam at Grey Gallery Bandung (2023), ICAD and Mogus Studio (2022), and Grammars Posters Exhibition (2020). His work has been collected by a number of galleries and private collections in Australia, Indonesia, Germany, Canada, and the United States.


Credits

Writer:

Yulizar Lubay
 | 

Editor:

Moh. Hilmi Faiq
 | 

Language Editor:

Rosdiana Sitompul