Food, Cultural Identity, and Emotional Release in Home Novel by Leila S

Home , Ayam pop, Brenebon, Dendeng, History of Indonesia, Rijsttafel

FOOD, CULTURAL IDENTITY, AND EMOTIONAL RELEASE IN HOME NOVEL BY LEILA S. CHUDORI

A Bachelor Degree Thesis Submitted to Faculty of Adab and Humanities In Partial Fulfillment of the Requirements for the Degree of Strata One

LALA ARYANI FARAH FAWZIAH 1113026000102

DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ADAB AND HUMANITIES UIN SYARIF HIDAYATULLAH JAKARTA 2020

ABSTRACT

Lala Aryani Farah Fawziah. Food, Cultural Identity, and Emotional Release in Home Novel by Leila S. Chudori. An Undergraduate Thesis: Department of English Literature, Faculty of Adab and Humanities, State Islamic University of Syarif Hidayatullah Jakarta, 2020. This research aims to show how food described in Leila S. Chudori‘s Home novel. The writer chooses the study of food in the novel to enrich the analysis of Home, which generally focuses on the intrinsic elements of the novel. This research uses food studies as the concept. In Leila S. Chudori‘s Home, food carries more complex ideas than just a substance that humans should consume every day, which is reflected through the life of the characters as Indonesian political exiles (and family of) that live in Paris, France. The result of this research shows that food, eating and the practice of cooking in the novel described having functions as cultural identity and as emotional release. In conclusion, within the food studies concept, food in the Home novel described to have some functions such as cultural identity, as well as affirmation, familiarization, and preservation of Indonesian culture, and as emotional release. Keywords: Food Studies, Home, Cultural Identity, Emotional Release

APPROVEMENT

FOOD, CULTURAL IDENTITY, AND EMOTIONAL RELEASE IN HOME NOVEL BY LEILA S. CHUDORI

A Thesis Submitted to faculty of Adab and Humanities in Partial Fulfillment of the Requirements for the Degree of Strata One

LALA ARYANI FARAH FAWZIAH NIM: 1113026000102

Approved by: Advisor,

Ida Rosida, M.Hum.

(Day/Date: May 16, 2020)

DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ADAB AND HUMANITIES UIN SYARIF HIDAYATULLAH JAKARTA 2020

LEGALIZATION

30/07/2020

06/08/2020

30/07/2020

04 / 08 /2020

iii

DECLARATION

I hereby declare that this submission is my own word and that, to the best of my knowledge and belief. It contains no material previously or written by another person nor material which to substantial extent has been accepted for the award of any other degree or diploma of university or other institute for the higher learning, except where due acknowledgment has been in text.

Jakarta, July 17th 2020

Lala Aryani Farah Fawziah

ACKNOWLEDGEMENT

In the name of Allah Subhanahu Wa Taala, the Almighty, the Most Merciful, the Lord of the universe, all praises to Him for the help, guidance, and blessings for the writer, so the hard work of doing this research could finally be accomplished. The salutation is also deliver to the prophet Muhammad Sallallahu alaihi wassalam. May peace be upon him and all of his family, companions, and followers. First and foremost, the writer‘s deepest and highest gratitude goes to her beloved parents, her late father, Lalu Manawari Madah, and her mother, Lala Nur Mulyati, for the love and the unstoppable prayers for the writer‘s blessing. The gratitude also belongs to her five older siblings; Lala Mira Indrastuti Dewi, Lalu Lemba Dwi Sabdono, Lala Astri Woro Andriani, Lalu Rahmad Vierdi Aryanto, and Lala Aryati Ayu Wulandari. No words can describe the writer‘s gratefulness for their love, support, patience, and advice. The writer surely would not be able to finish her study without help from each one of them. The writer also gives her sincere gratitude to her thesis advisor, Mrs. Ida Rosida, M.Hum., for the uncountable guidance, advice, support, patience, and immense knowledge to ease the writer in writing this research, so this research could finally accomplish. The writer‘s greatest gratitude also dedicated to Mr. Saiful Umam, PhD., the Dean of Letters and Humanities Faculty; Mrs. Hasnul Insani Djohar, PhD., the Head of English Letters Department; Mr. M. Agus Suriadi, S.Pd., M.Hum., the Secretary of English Letters Department; and all the lecturers of English Letters Department who had taught her during her study at UIN Syarif Hidayatullah Jakarta, especially her thesis examiners, Mrs. Hasnul Insani, Ph.D. and Mrs. Inayatul Chusna, M.Hum. The writer also loved to give her soulful thanks to her beloved friends, namely Dian Lestari, Diah Ayuningtyas (don‘t know what I‘d do without you), Fariz Rahman Hakim, Risya Maya Hestiani, Hasna Afifa Zhafira, Nita Mawadah Nur, Zwyna Rafika, Ratih Clarasanti, Nurrahman Hakim, Rita Maesaroh, Ahmad Abdul Fathir A.B., Asep Prasetyo, Rosyid Septiardi, Fadli M. Zen, and Luqman Noor Hakim. Thank you for the laughter, joy, happiness, and all the help to ease

the writer during her though time. For her long-distance soul mates since junior high school, namely Meidy Gumi Chalika, Assifa Dwi Lestari, and Yurisma Aulia Putri Aswari, thank you for keeping this friendship always feels very heartwarming in any condition even after more than ten years. Uncountable thanks also dedicated to Eko Sakti Oktavianto, (please listen to Thank You by Led Zeppelin). On the last part of this acknowledgment, the writer prays for all of the virtues of the people who have been mentioned above. May Allah Subhanahu Wa Taala return their kindness into the form of happiness and wonderful life ever after. Aamiin. Finally, the writer hopes this thesis could be useful for the people who read it, even though it has many weaknesses and imperfections. Therefore, criticisms and suggestions for the improvement of this thesis are pleased to be accepted.

Lala Aryani Farah Fawziah

TABLE OF CONTENTS

ABSTRACT ...... i APPROVEMENT ...... ii LEGALIZATION ...... iii DECLARATION ...... iv ACKNOWLEDGEMENT ...... v TABLE OF CONTENTS ...... vii CHAPTER I: INTRODUCTION ...... 1 A. Background of The Study ...... 1 B. Focus of The Study ...... 4 C. Research Question ...... 4 D. Objective of The Research ...... 4 E. Significance of The Research...... 4 F. Research Methodology...... 4 1. The Method of The Research ...... 4 2. The Technique of Data Analysis ...... 5 3. Instrument of the Research ...... 5 4. The Unit of Analysis ...... 5 CHAPTER II: THEORETICAL FRAMEWORK ...... 6 A. Previous Research ...... 6 B. Food Studies ...... 9 1. Food in Literature ...... 11 2. Food and Cultural Identity ...... 12 3. Food and Emotion ...... 14 CHAPTER III: RESEARCH FINDINGS ...... 16 A. Food as Cultural Identity ...... 17 B. Food as an Emotional Release ...... 33 CHAPTER IV: CONCLUSION AND SUGGESTION ...... 39 A. Conclusion ...... 39 B. Suggestion ...... 40

vii

WORK CITED ...... 41 APPENDIX ...... 44

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CHAPTER I

INTRODUCTION

A. Background of The Study

Food is known to have usability as a daily intake for any human being. It is an essential part of people‘s life, biologically speaking. However, food has more meaning than just a substance that humans should consume every day to energize their body and to maintain health. It also contains other various significations. Apart from the composition that it contains, food can also be seen through other distinctive perspectives. In Everyone Eats: Understanding Food and Culture, it is stated that human needs go far beyond nutrition. Inevitably, people use food to satisfy many needs beyond those for simple nutrients. Food is used to communicate, to reassure, to affirm religious faith‖ (Anderson 62). In addition, according to Nevana Stajcic, beyond merely nourishing the body, what we eat and with whom we eat can inspire and strengthen the bonds between individuals, communities, and even countries (5). The way food is processed, how it cooked and with whom food is eaten can define one‘s culture. There is an emerging interdisciplinary field of study that looks more about the relation between food, culture, society, history, and other disciplines, distinct from other food-related areas of study such as nutrition, gastronomy, agriculture, and culinary arts, namely food studies. In her journal, Gina Almerico states: ―it is the study of food and its relationship to the human experience that is examined from a variety of perspectives lending a multidisciplinary aspect to this field encompassing areas such as art, sociology, education, economics, health, social justice, literature, anthropology and history‖ (Almerico 2-3).

As explained in the statement above, one of the fields that can be examined through food studies about its relation to food is literature. Food has been a topic of poetry for many centuries and in many cultures […] (Berg et al.

16). Furthermore, besides poetry, the topic of food and its relation to the human experience can also occur in other forms of literary works, such as a novel.

Hence, the purpose of this research is to examine a novel entitled Home written by Leila S. Chudori, which has an issue about how food is described having other functions besides the basic utilities people know all this time, such as to energize the body and to maintain health. In this novel, the relationship between food, cooking, and eating practice to human experience is portrayed to have symbolic functions.

Home describes the life of an Indonesian man named Dimas Suryo, who is one of the political exiles during the reign of Suharto from 1965 to Suharto‘s overthrow in 1998. Dimas and three of his friends namely Risjaf, Nugroho Dewantoro and Tjahjadi Sukarna (Tjai Sin Soe) escaped from Indonesia to Santiago, Havana, Peking and end up in Paris since they are suspected of being immediate with Lekra, Lembaga Kebudayaan Rakyat (Institute for the People‘s Culture) which is affiliated with PKI, Partai Komunis Indonesia (Indonesian Communist Party). Their passports are revoked, so they are unable to return to Indonesia and end up living in Paris.

In Paris, Dimas married a European woman named Vivienne Deveraux and has a daughter whose name is Lintang Utara. In 1988, Dimas and Vivienne divorced after Lintang found a letter from Surti Anandari (Dimas‘ former lover when he was a college student). Lintang then gave the letter to Vivienne, and from that letter, Vivienne eventually knew that cloves and turmeric Dimas always put in an apothecary jar and display it in his living room is the symbol of his past love with Surti. The relationship between Dimas himself and the conflicts of his life that is symbolized by the relationship between himself and food increases while living in Paris. In Paris, Dimas, Risjaf, Nugroho, and Tjai built a restaurant which they named Tanah Air Restaurant then refers themselves as ‗Empat Pilar Tanah Air‘ (The Four Pillars of Tanah Air). Besides by reason of Dimas is a great cook whose ability is inherited from his mother, they also built Tanah Air Restaurant to cure their longing of Indonesia. Consequently, Tanah Air Restaurant serves

Indonesian cuisine such as Padang-styled rendang, fried beef lung, shrimp with chili sauce, nasi kuning with its side dishes of crispy tempeh, yellow fried chicken, and urap (spiced vegetables with grated coconut), gulai anam (Lampung-style curried chicken dish), gulai pakis (fiddlestick ferns simmered in coconut sauce), and ikan pindang serani (sour milkfish soup) as the restaurant‘s signature dishes. Not only food, but Tanah Air Restaurant also serves Indonesian beverage; es cendol (made from coconut milk, jelly noodles, shaved ice, and palm sugar). Moreover, in serving Indonesian cuisine, Tanah Air Restaurant uses authentic Indonesian spices and ingredients to cook the dishes, as well as Indonesian traditional cooking utensils to cook the food.

Being a man who loves food and also a political exile who lives far away from his hometown and haunted by his past memories of Indonesia makes Dimas values food not only as substances he has to consume every day for his nutrition needs. However, Dimas is not the only character who has those symbolic relations to food. In addition, for instance, Lintang‘s life experience that has a relationship with food also portrayed to contain other significant functions. Although Lintang is a Eurasian who lives in Paris since born, she still manages to inherit Indonesian culture, which she gets from her father, such as using the fingers of her right hand to eat food. Therefore, this research is not only focused on analyzing food in its relation with Dimas and the other member of the four pillars of Tanah Air Restaurant but also with other supporting characters.

In consequence, this research intends to show that food which has the basic utility can also contain other significant function. This research has an intention to indicate the functions of food to the characters of Home using the perspective of food studies to help the writer examine the data.

Food studies is an interdisciplinary field of study of food that examines the relationship between food, culture, social sciences, and sciences. Through the perspective of food studies, food can be seen to be more complex than just a daily intake. Therefore, in this research, the writer uses food studies as the concept to examine the other functions of food that are described in Home.

B. Focus of The Study

This research focuses on analyzing the relationship between food and the life of the characters in Home, which have functions as cultural identity and as the emotional release through the perspective of food studies.

C. Research Question

Based on the background of the study and the focus of the study that has been explained above, the writer specifies the research question as: ―How food in the Home novel by Leila S. Chudori described?‖

D. Objective of The Research

Based on the research question, the objective of this research is to reveal the functions of food that are described in the Home novel.

E. Significance of The Research

The writer hopes that this research gives many contributions to the reader, especially a literature student. Moreover, the writer hopes that the result of this research can enrich the information about the analysis of food in the novel. Also, the writer hopes that this research can help other researchers who want to undertake a study about the issue of food that has symbolic functions to human experience, particularly in its relation to cultural identity and human emotion.

F. Research Methodology 1. The Method of The Research

In this research, the writer uses a qualitative method by describing and analyzing words from the collected data from the novel. Qualitative method can refer to research about person‘s lives, lived experience, behaviors, emotions, and feelings as well as about organizational functioning, social movements, cultural phenomena, and interactions between nations (Strauss and Corbin 11). Qualitative research, however, is more holistic and often involves a rich collection of data from various sources to gain a deeper understanding of

individual participants, including their opinions, perspectives, and attitudes (Nassaji 129).

2. The Technique of Data Analysis

The writer analyzes the data by using close textual analysis or close reading techniques. After reading the object of this research, which is Home novel by Leila S. Chudori, the writer rereads it carefully, highlights the critical parts, and pays close attention to the words and ideas of the passages that have been gathered to be the evidence of the analysis. Close reading investigates the relationship between the internal workings of discourse in order to discover what makes a particular text function persuasively (Allen). ―As a way of enriching a reader‘s experience of a given text, close reading is obviously fruitful; a scholar‘s interpretation of a text may help another reader to ―see‖ or observe in the text elements that might have otherwise remained latent (Jockers 6). In essence, by using close textual analysis or close reading, the writer concentrates on reading the text, gathering the passages, and observing it.

3. Instrument of the Research

The instrument of the research is the writer herself as the subject to read the Home novel as the unit of analysis, re-reading it, collects and classifies the data, and then analyzing the data to answer the research question.

4. The Unit of Analysis

The unit of analysis in this research is a novel entitled Home, written by Leila S. Chudori. It is the translated version of Pulang, published in 2012. Home is translated to English by John H. Mcglynn and published by Deep Vellum Publishing in 2015 in Dallas, Texas, U.S.

CHAPTER II

THEORETICAL FRAMEWORK

A. Previous Research

Before conducting the research findings, the writer tries to study some previous researches regarding the unit of analysis and the related topic. The writer finds three previous types of research related to the discussion of the novel and the analysis of food in the novel. Although there are only some articles and reviews of Home, however, the writer finds several theses that discuss Pulang, the original version of this novel, and chooses two of them. The first research entitled Nilai Moral dalam Novel Pulang Karya Leila S. Chudori which conducted by Fajar Briyanto Nugraha at Yogyakarta State University in 2014. The second research is Analisis Tokoh Lintang dalam Novel Pulang Karya Leila S. Chudori dan Implikasinya Terhadap Pembelajaran Sastra di SMA, conducted by Holida Hoirunisa that is published in 2015 at Syarif Hidayatullah State Islamic University of Jakarta. The other previous research which discusses food in a novel is entitled Symbolic Function of Food in Contemporary Women’s Literature, conducted by Zuzana Polišenská at Masaryk University, Brno, Czech Republic in 2011. The first previous research is an undergraduate thesis written by Fajar Briyanto Nugraha at Yogyakarta State University in 2014. This study entitled Nilai Moral Dalam Novel Pulang Karya Leila S. Chudori. Although Nugraha‘s study uses different theories as this research, however, the unit of analysis that is used is the same. In this study, Nugraha uses descriptive qualitative methods with the steps of categorization, tabulation, and interpretation of the text. This study aims to reveal the form of moral value, the elements of the story that is used to convey the moral value, and the delivery technique of the moral value of the novel. The conclusion of this study is that moral value of the story is manifested as the relationship between human and God which dominantly appears in the form of gratefulness, the relation between human and himself which dominantly appear

in the form of regret, and the relation between human and other humans in the social aspect which dominantly appear in the form of the act of caring to others. Furthermore, the element of the story that is used as a means to convey the moral value is characterization. The characterization of the story consists of two types; the teachings of the characters which dominantly appear in the form of honesty and the behavior of the characters which appear in the form of gratefulness. The delivery technique of the moral value of the story is divided into two types, which are direct and indirect. The direct technique is delivering moral value through the character, while the indirect technique is delivering moral value through the event of the story. Similarly, this study uses the same novel to be the object of analysis. Although the theory that is applied is different with this food analysis which the writer intends to undertake, however, this study helps the writer to figure out the characters‘ conflicts which affect how the characters see their identities which can also have an effect on how they use food in their everyday life. In consequence, Nugraha‘s study is considered to give insight for the writer to understand more about the Home. The second previous research is an undergraduate thesis conducted by Holida Hoirunisa entitled Analisis Tokoh Lintang Dalam Novel Pulang Karya Leila S. Chudori dan Implikasinya Terhadap Pembelajaran Sastra di SMA, published in 2015 at Syarif Hidayatullah State Islamic University of Jakarta. This study uses a descriptive qualitative method. The purpose of this study is to identify the characterization of Lintang as one of the characters of the novel and how the characterization of Lintang can be implicated as a literary lesson in high school. In this study, Hoirunisa examines the characterization of Lintang. Lintang is known as the daughter of Dimas Suryo, the main character of this novel, from the marriage of Dimas with a European woman named Vivienne Deveraux. Although Lintang is born as a Eurasian who is potentially feeling the restlessness about her race and identity, Lintang still depicted as a smart, brave, idealist person who always has the will to become the superior one. Besides, by reason of examining the characterization of Lintang, this study is also competent to be the

object of a literary lesson in high school since it examines the analysis of the text in verbal and nonverbal by explaining the intrinsic elements of the novel. Similarly, Hoirunnisa‘s study uses the same novel with this research to be the unit of analysis. Although the theory that is used is different, however, Hoirunisa‘s research helps the writer to understand more about one of the notable characters of Home, which is the main character‘s daughter, Lintang Utara. In this study, the characterization of Lintang clearly defined as well as Lintang‘s identity issue which can help the writer to get depictions of Lintang‘s cultural identity in order to link Lintang‘s cultural identity to food through food studies. The third previous research is a diploma thesis entitled Symbolic Function of Food in Contemporary Women‘s Literature, which is conducted by Zuzana Polišenská at Masaryk University, Brno, Czech Republic in 2011. This study aims to understand the contemporary socio-cultural phenomena of eating and its symbolic function in contemporary women‘s fiction. Therefore, this study attempts to look at the relationship between female characters and nourishment. The novels that are used are Virginia Woolf‘s Mrs. Dollaway, Margaret Atwood‘s The Edible Woman, Helen Fielding‘s Bridget Jones‘s Diary, Joanne Harris‘s Chocolate, and Elizabeth Gilbert‘s Eat Pray Love. This study intended to analyze the selected novels to indicate food as a social force, social occasion, as an example of individuality, a substitute, or secret guilt. Those aspects also examined with the emphasis on embodiment, sexuality, and death. In the end, Polišenská states that the theme of food in literary work has gone through certain development in terms of point of view and style. In older literature, the theme of food used as a manifestation of togetherness and overeating together, whereas in contemporary literature, the issue of food is more private as it symbolizes the embodiment of a private relationship. The similarity of Polišenská‘s study with this research is that it has the same issue, which is the discussion of food in a novel and its classification of how food is functioned. On the other hand, the distinction is the classification of how food is functioned in Polišenská‘s research is divided into food as a social force,

social occasion, an example of individuality, a substitute or secret guilt, embodiment, and sexuality or death. According to the explanation of three previous research above, each research has its own importance in helping the writer to understand more about Home and the analysis of food in the novel. The writer concludes that the analysis of Home by Leila S. Chudori (the first and the second previous research) which discuss the topic that related to both intrinsic and extrinsic elements of the novel such as characterization and moral value of the novel gives insight to the writer about the characters, values, and other specific issues such as identity issue in Home. Therefore, the writer intends to enrich the analysis of Home by examining the function of food as a cultural and emotional signifier in this novel. The third previous research helps the writer to see the border of which classification of food functioning is considered to be examined in Home. Thus, the writer conducts this research to complete those three previous research besides knowing how the functions of food in Home are described, using the interdisciplinary study of food, namely food studies.

B. Food Studies

To sustain this research, the writer uses an interdisciplinary field of study of food, namely food studies. This critical examination will be used to examine how food in Home by Leila S. Chudori described. Moreover, the writer uses food studies to analyze the links between food and cultural identity or food and emotion that is depicted in Home.

Many scholars, including anthropologists, folklorists, sociologists, and any other theorists, have examined the relationships of humans to their food from many years ago. In 1957, Roland Barthes, as one of the first theorists who explore the semiotics of food and culture in Toward a Psychosociology of Contemporary Food Consumption states ―For what is food? It is not only a collection of products that can be used for statistical or nutritional studies. It is also, and at the same time, a system of communication, a body of images, a protocol of usages, situations, and behavior (qtd. in Williams 6). The field of food studies emerged

around the time of publication of Barthes‘ essay in 1961, and was established in the 1970s, attracting scholars from the fields of sociology and anthropology (Williams 7). Still, the investigation of food as food studies is a modern development. Scholars across disciplines have studied food for a long time, most notably anthropologists and folklorists, but it is only in the last ten to fifteen years or so that food as a focus for scholarly study has gained real acceptance (qtd. in Whitt 5). In Encyclopedia of Food and Culture vol. 2 in the explanation of ―Food Studies‖ it is stated that Department of Nutrition and Food Studies at New York University only began admitting students to undergraduate, master‘s and doctoral programs in food studies, thereby formalizing this emerging field as a state- accredited academic entity in 1996 (Berg et al. 16). Therefore, the interest in food research began to increase rapidly.

A professor of Education Department in The University of Tampa, Florida, United States who interests in the study of food and identity, Gina M. Almerico, states that ―food studies is an emerging interdisciplinary field of study that examines the complex relationship among food, culture, social sciences, and sciences.‖ She then added, ―food studies is not the study of food itself; it is different from more traditional food-related areas of study such as agricultural science, nutrition, culinary arts, and gastronomy in that it deals with more than the simple production, consumption, and aesthetic appreciation of food‖ (Almerico 2). This statement appears in her journal of Food and Identity: Food Studies, Cultural, and Personal Identities. In addition, she suggests more definition of food studies as:

―It is the study of food and its relationship to the human experience. This relationship is examined from a variety of perspectives lending a multidisciplinary aspect to this field encompassing areas such as, art, sociology, education, economics, health, social justice, literature, anthropology, and history‖ (Almerico 2-3). This explanation is similar with the definition of food studies in Food Studies, An Introduction to Research Methods: ―food studies is the interdisciplinary field of study of food and culture, investigating the relationship

between food and the human experience from a range of humanities and social science perspectives, often times in combination‖ (Miller and Deutsch 3). Food may be an ordinary things but it is essential to the life of all mankind because it is not only used as nutritional needs but also as cultural signifier. (Almerico 5). Thus, the occurrences of food in everyday practice, which able to define one‘s culture or identity, can be examined through the perspective of food studies.

Food studies grew out of the social sciences fields (primarily anthropology, sociology, and history) and cultural studies, to embrace the arts and humanities, including foodways, literature, gastronomy, and culinary history (Whitt 5). In her thesis entitled An Appetite for Metaphor: Food Imagery and Cultural Identity in Indian Fiction, Jennifer Burcham Whitt mentioned the founding of two of journals which important to food studies in humanities, Gastronomica: The Journal of Food and Culture and Alimentum: The Literature of Food, both are ―evidence of the growth of food studies and show how the discipline has expanded to include the study of food in literature‖ (7).

1. Food in Literature

The use of food imagery in literature has been featured since ages. Even Shakespeare uses many of the representations of food and feeding in his works, particularly his plays. Still, the significant study of food and eating has just already begun years ago. However, as food studies grows, as well as cultural studies in general, literary theorists are increasingly seeing the value of studying literature for food usage for various reasons, as food serves several different purposes in literature (Whitt 8). Since food is an integral part of people‘s lives and is always occur in everyday practice to assert one‘s culture or identity, food is used in many contexts in literature. In a journal entitled ―Let There Be Food‖: Evolving Paradigms in Food Studies, Prof. Thahiya Afzal states: ―Food plays a consistent role in how issues of race, class, gender, ethnicity, and national identity are imagined or perceived. It helps define and characterize as well as show how notions of belonging are affirmed or resisted. Food, then is a central part of the cultural

imagination. It interpolates the dynamics of metaphor, symbolism and is a constant point of reference in literature. Almost every study in culture cannot but draw its inferences from how food is seen in literature‖ (Afzal 7)

From Virginia Woolf‘s Mrs. Dalloway, Margaret Atwood‘s The Edible Woman, to children‘s novel Roald Dahl‘s Charlie and The Chocolate Factory, those fictions are rich with food and food-related images. In Encyclopedia of Food and Culture, Jennifer Berg et al. state ―scholars trained in literature or languages examine how novels, poems, and essays are enriched with food imagery or the ways in which travel writing and memoirs use food themes to express ideas or points of view‖ (Berg et al. 17). In this view, food-related images in literary work may be used to help the author to convey the idea, express emotion, or give visual images to the readers. Furthermore, food in literature often helps the readers to understand the characters‘ problem, emotion, identity, or social status. Moreover, Kessler states that the most important purpose of food in literature is as a cultural signifier as he describes the food as: ―freighted with meaning. Just as in life, food in fiction signifies. It means more than itself. It is symbolic. It opens doors to double and triple meaning‖ (Kessler 156). In fiction, the usage of food is more than just a literary detail that provides readers with a realistic visual image. By questioning what, how, and how much a character eats, as well as how food is prepared, shared, served, avoided, or even bottled and preserved, literary scholars can gain a deeper perspective into a character‘s ethnicity, status, gender, and all parts of their cultural and personal identity (Whitt 11-12).

2. Food and Cultural Identity

What people eat and what people don‘t eat defines who they are and who they are not, culturally speaking. For example, the one who eats pork is probably a Buddha or Hindu, not a Muslim or Jewish (pork is prohibited Islam and Judaism). American family usually cooks turkey while celebrating Thanks-giving. Samosa is one of the common Indian snacks around the

celebration when Indian families celebrating Diwali or Deepavali (Hindu festival of lights). The food habits of each cultural group are often linked to religious beliefs or ethnic behaviors. Eating is a daily reaffirmation of cultural identity‖ (Kittler and Sucher 4). In this ways, a scholar in food studies named Massimo Montanari in his book entitled Food is Culture (translated from the Italian by Albert Sonnenfeld) explain about food practice and culture as: ―Food is culture when it is eaten because man, while able to eat anything, or precisely for this reason, does not in fact eat everything but rather chooses his own food, according to criteria linked either to the economic and nutritional dimensions of the gesture or to the symbolic values with which food itself is invested. Through such pathways food takes shape as a decisive element of human identity and as one of the most effective means of expressing and communicating that identity‖ (Montanari)

However, eating specific foods is not the only way to symbolized one‘s culture. The etiquette or the appropriate use of food and behavior when eating is another expression of group identity. Different manners are used when lunch with a business colleague, when breakfast with family, when dining with a date, or when drinking with friends. The consequence of being shunned will happen if she or he who unfamiliar with the rule breaks it. Nevana Stajcic in her journal Understanding Culture: Food as a Means of Communication states: ―Beyond merely nourishing the body, what we eat and with whom we eat can inspire and strengthen the bonds between individuals, communities, and even countries. There is no closer relationship than the one with the family, and food plays a large part in defining family roles, rules, and traditions. It helps us to discover attitudes, practices, and rituals surrounding food, it sheds light on our most basic beliefs about ourselves and others.‖ (Stajcic 5)

In literature, ―food imagery helps readers to understand their characters‘ true identities, because in many ways, food defines people and cultures‖ (Whitt 12). In a novel, particularly, the way the characters choosing, processing, preparing, serving, and eating food oftentimes means something. How the characters eat, who companion they have when they eat, or the role of food in character‘s life can define the character‘s cultural identity.

3. Food and Emotion

Because food always occurs in everyday human practice, food and eating often symbolized cultural issues of recognition or preservation, as well as a symbol of consumption, memory, relationship, or emotion. Food is essential to humans as a means of survival, yet there are some foods people only eat in specific circumstances, in this way, specific emotions. It is common that people eat chocolate when they are feeling sad or unsettled. Deborah Lupton, in her book entitled Food, The Body and The Self states that food stirs the emotions, both because of its sensual properties and its social meanings (31). In this view, the feeling inspired by and associated with the consumption of food cannot easily be separated from its symbolic nature (Lupton 31). Another similar example is alcohol. Lupton states: ―Alcohol, taken in enough quantities, is assumed to have a directly physiological effect upon the body, inspiring exhilaration, relaxation, dulled senses. Yet these effects are inextricably interlinked with the cultural expectations around alcohol consumption‖ (31). Alcohol is deeply connected with mood-setting, as a substance that divides the everyday working world from times of enjoyment and festiveness (qtd. in Lupton 31). In her thesis, Zuzana Polišenská states: ―The theme of food is not reflected only as necessary nourishment anymore. Far too much food now is a means to satisfy our needs for emotional or sexual fulfillment (41). She also assesses: ―food can serve as a substitute to compensate our emotional, psychical, psychological and also social desires, imperfections and ambitions (36). Therefore, beyond merely nourishing the body, food can be used as an emotional release, which the writer will give an explanation of it in the next chapter of this thesis. In brief, according to the explanation above, the writer conducts this research in order to analyze the use of food in Home by Leila S. Chudori toward the characters, using an interdisciplinary study of food, namely food studies, which definition is explained by Gina M. Almerico. From the

explanation of food studies that she states, the writer knows that food does not merely functions as nourishment needs, but far from it, food can be used as cultural identity and as an emotional expression or emotional release. In consequence, the writer will examine the functions of food as well as cooking and eating practice as cultural identity and as emotional release in the next chapter.

CHAPTER III

RESEARCH FINDINGS

In this chapter, the writer will describe and analyzes the research data in Home by Leila S. Chudori in order to answer the research question about the functions of food with the support of food studies as the concept. With the aid of the food studies perspective, this analysis will be focused on how the functions of food are described in the novel and the relation between food and human experience that is reflected through the story of the novel. The functions of food that the writer intends to convey encompassing food as a means of asserting cultural identity, as well as affirming, familiarizing, and preserving Indonesian culture and as an emotional release.

Home tells about the story of four Indonesian political exiles namely Dimas Suryo, Nugroho Dewantoro, Risjaf, and Tjai Sin Soe or which they called themselves as ‗Empat Pilar Tanah Air‘ (the four pillars of Tanah Air Restaurant) who become political exiles since they are alleged of being close to Lekra, Lembaga Kebudayaan Rakyat (Institute for People‘s Culture) which is affiliated with PKI, Partai Komunis Indonesia (Indonesian Communist Party). Their passports are revoked by the government, so they are unable to return to Indonesia and end up living in Paris, France. In Paris, Dimas, Nugroho, Risjaf and Tjai build a restaurant called Tanah Air Restaurant, an Indonesian restaurant that serves Indonesian cuisines and beverages, a place to join and celebrate their longing and homesickness of Indonesia.

Essentially, Home describes the practice of food and eating explicitly, like the variety of food served in the restaurant, the process of cooking, and how the characters treat food. Home depicts food as something extraordinary, not only a mere nutritious substance, throughout the journey of the political exiles‘ lives both in France and Indonesia. Thus, the writer assumes that Leila S. Chudori, the author of the novel, intends to emphasize the other function of food besides its fundamental (or biological) purposes. Therefore, to prove that statement, the

writer has collects some passages or excerpts from the novel that considered being the evidence to support this analysis. In the next part, the writer will confine the analysis of food functions in the novel to have two purposes; cultural identity and an emotional release.

A. Food as Cultural Identity

In this subchapter, the writer focuses on food to have functioned as a cultural identity to the characters as Indonesian, as well as the cultural issues of affirmation, familiarization, and preservation of Indonesian culture. In the novel, the characters who live in Paris, France, attempt to assert their cultural identity as Indonesians since they cannot return to Indonesia. Therefore, besides to cure their longing of their hometown, they open an Indonesian restaurant that serves Indonesian cuisine and beverage to indicate their identity as Indonesian. Their attempt to use food as cultural identity showed through, for instance, how the owners of Tanah Air Restaurant choose to serve Indonesian cuisine in the restaurant. Also, the main character familiarizes Indonesian cuisine with his wife (who is French) and his daughter, preserving the Indonesian practice of eating and cooking. That is to say, food in the novel is used to indicate the character‘s identity as Indonesian. In order to actually describe food as a means of indicating the cultural identity of the characters, it is necessary to understand the definition of cultural identity in advance. In Stuart Hall‘s Cultural Identity and Diaspora, he presents two definitions of cultural identity. One of the definitions of cultural identity he presents is ―a sort of collective ‗one true self‘, […] which people with a shared history and ancestry hold in common‖ (223). In this view, cultural identity is a feeling or a sense of belonging to a group and is associated with ethnicity, nationality, religion or belief, social class, or other kinds of social group that has its own cultural diversity. Culture, however, becomes a crucial mean to identity (Rosida and Molalita 55). In the novel, Dimas, Nugroho, Risjaf and Tjai or which they called themselves as ‗the four pillars of Tanah Air Restaurant‘, are part of a group that

shares the same entities (nationality in particular), referring to the definition of cultural identity above. They equally share the same cultural identity as they are Indonesians, which, unfortunately, they eventually become political exiles who live in a foreign country. However, they have their way both to cure the yearning of their homeland and to point their cultural identity, in which this analysis would examine, through food. Food, eating, or even cooking process and other thing related to human experience with food is used to describe their cultural identity, because ―food is central to our sense of identity‖ (Fischler 275). Consequently, in this subchapter, the writer would evidence the use of food and eating in this novel to symbolize the cultural issue of affirmation, familiarization, and preservation of Indonesian culture. Initially, the four pillars of Tanah Air Restaurant use food as their means of asserting their cultural identity as Indonesian while living in Paris, France. It begins in 1982 when Dimas, Nugroho, Risjaf, and Tjai, finally gathered in Paris, France, after each of them has crossed the globe to find a place for living. As political exiles, Dimas, Nugroho, Risjaf and Tjai have wandering around from one country to another. At first, four of them were separated. While Dimas arrived in Paris in January 1968, Nugroho was in Switzerland, Risjaf in the Netherlands, and Tjai in Singapore. But in the end, they chose to gather in Paris because Paris seems to be more ‗political exile friendly‘, as to how Dimas explains on the text below: Dimas Suryo: ―But, in the end, we had chosen to gather in France because of the country‘s long history of providing a warm embrace to political exiles like ourselves. France was the terre d’asile, the land of asylum for exiles like us—the land of human rights: le plays des droits de l’homme.‖ (Chudori 77) From the quotation above, it shows that Paris seems to be a good place to end up living for them as political exiles. There is also a French government agency that provides them temporary financial assistance. However, the living cost in Paris still makes it hard to survive. Therefore, they begin to look for jobs and part-time work to earn an income. Nugroho, who studied acupuncture in

Peking, and Tjai, who got his degrees in economics is easier to find time for steady jobs, but not for Dimas and Risjaf, who studied literature when they were in Indonesia. Considering that they live in France where it is a birthplace of writers and intellectuals, it is hard for both of them to compete with French people and to find a steady job like the two others. So, the four of them begin to think of a new plan. In August 1982, when they gather at Dimas‘ apartment to discuss their plan, Dimas, who loves to cooks since young, happen to serve three of his friends some Indonesian fried noodles. While Risjaf is enjoying the delicacy of Dimas‘ fried noodles, the idea of building a restaurant came up to his mind. Below is the evidence:

Dimas Suryo: ―Risjaf went on, ―how nice it would be if, whenever we pleased, we could eat fried noodles as good as Dimas makes. Or his fried rice smelling of shrimp paste. God, my mouth is beginning to water just thinking about it. Or his nasi kuning, like the kind he made for Lintang‘s birthday, with nice crispy slices of tempeh.‖ Suddenly, as if struck by what he was saying, Risjaf shrieked like a scientist who had just solved some kind of formula: ―That‘s it, Dimas! I know what business we can do! I‘ve got it!‖‖ (Chudori 103-104) As seen from the quotation above, foods that are mentioned, such as Dimas' signature fried noodles, 'fried rice smelling as shrimp paste,' and 'nasi kuning with nice slices of crispy tempeh' show Indonesian dishes that Risjaf long for to eat. Growing up in Indonesia, Risjaf's eating habits have been formed by eating foods common in Indonesia. Thus, when living abroad, Risjaf misses those foods. One of the dishes that come to Risjaf's mind is nasi kuning with slices of crispy tempeh. In Indonesia, it is common to have nasi kuning with a side dish of crispy tempeh. It is also common in Indonesian households to see crispy tempeh and other tempeh forms that are fried, steamed, or baked as a daily side dish to accompany rice. Tempeh is originally developed in Java since the 1700s and made through a controlled fermentation process that binds soybean into a cake form (Wijaya 7). Because tempeh can easily be found everywhere from traditional to modern market in Indonesia, let alone, it contains protein and dietary fiber, which

is good for the body. That is why tempeh becomes one of the favorite Indonesian ingredients to cook as the rice's side dish for an everyday meal. Thus, opening a restaurant that serves Indonesian food like nasi kuning with crispy tempeh is one of their attempts to assert their Indonesian eating habit.

Since then, the idea of opening a restaurant approved by Nugroho, Tjai, and of course, Dimas. As the one who is an expert in cooking, Dimas is automatically chosen to be the cook of the restaurant. It can be seen through the excerpt below. In addition, they seem enthusiastically agree with the idea.

Dimas Suryo: ――That‘s it, Dimas. I think we‘ve discovered our destiny. As a cook, you know, you are second to none.‖ I had never heard Tjai speak with such enthusiasm before. His eyes flashed. Mas Nug put his hands on my shoulders and called out to the heavens: ―Dimas! We are going to open an Indonesian restaurant in Paris!‖‖ (Chudori 104) Afterward, they begin to actualize the idea of opening an Indonesian restaurant. After dividing each other‘s duty on handling the restaurant, Dimas as the head chef and the one who choose the menu, Tjai on the financial model, Nugroho on making proposal, and Risjaf who will undertake a survey of other restaurants, they start to think a name for the restaurant. Dimas Suryo: ―We looked at each other. ―What should we call it?‖ Risjaf said to mas Nug. Mas Nug turned his head towards me. ―Let‘s ask our resident poet!‖ […] I took a deep breath and exhaled. ―We, the four of us, are the pillars of Tanah Air Restaurant.‖ We again clinked to our glasses together. Tanah Air. Homeland. The name immediately stole my heart.‖ (Chudori 107)

With the establishment of Tanah Air Restaurant, the topic of food begins to arise in the story of this novel. Considering that Dimas, Nugroho, Tjai and Risjaf are political exiles, facing the diaspora world they live in and longing for their homeland, the practice of eating, cooking and serving means something remarkable. In editors Thomas J. Schoenberg and Lawrence J. Trudeau‘s

collection in Twentieth-Century Literary Criticism, an article entitled Food in Literature—Introduction states that eating practices are essential to self-identity and are instrumental in defining family, class, and even ethnic identity (qtd. in Whitt 12).

The first attempt they do to define their identity is, as is explained in the previous passage, by opening an Indonesian restaurant and naming their restaurant as ‗Tanah Air‘ Restaurant.

Dimas Suryo: ―Tanah Air Restaurant—―Tanah Air‖ meaning ―Homeland‖ in Indonesia—serves authentic Indonesian food, meticulously prepared with ingredients and spices from Indonesia: shallots, turmeric, cloves, ginger, lemon grass, and galingale. (Chudori 45)

In the quotation above, Dimas mentions a little explanation of the restaurant and the meaning of the restaurant‘s name also the food it serves. They use the name ‗Tanah Air‘, the Indonesian language of ‗homeland‘, which is their heritage language over France language one as the landmark of their restaurant. That is to say, the choice of using their native language to name the restaurant is to mark their real identity. Heritage, whether it be an object, monument, inherited skill or symbolic representation, must be considered as an identity marker and distinguishing feature of social group (Bessiere 26). The use of their native language to name a place (which located in a foreign country) is also to link them to their faraway origin nation since Dimas, Risjaf, Tjai and Nugroho are immigrants who are far away from their native land. According to Mucherah, in her journal ‗Immigrants' Perceptions of their Native Language: Challenges to Actual Use and Maintenance’, one‘s native language is one of the crucial aspects of staying connected to one‘s cultural heritage. It is almost the only link between immigrants and their native land (Mucherah 189). Moreover, as seen in the quotation above, the use of ingredients and spices from Indonesia to serve and prepare the food such as shallots, turmeric, cloves, ginger, lemongrass, and galingale strengthens the taste of Indonesian cuisine. Situngkir et al. show the use of onion, garlic, chili, lime, ginger, pepper, coconut,

and turmeric is most likely among those more than half of Indonesian recipes (4). It becomes the characteristic of the taste of Indonesian cuisine. Therefore, the unique flavor that emerges by using Indonesian ingredients and spices can show Indonesian culture. Subsequently, the way the four pillars of Tanah Air Restaurant assert their cultural identity through food is by choosing Indonesian cuisine to be served in the restaurant‘s menu. One of the dishes that often mentioned by Dimas is nasi kuning (yellow rice). He loves to cook nasi kuning that happens to be one of the restaurant‘s favorite dishes. Below is the evidence of how both nasi kuning is explained and by chance is one of Tanah Air Restaurant‘s favorite dishes and the most ordered dish: Dimas Suryo: ―I liked my cooking better, especially my nasi kuning or yellow rice with its side dish of crispy tempeh, yellow fried chicken, and urap, spiced vegetables with grated coconut. And to make everything taste better was my friend hot pepper sauce, sambal bajak. I knew that my nasi kuning, along with Padang-style beef rendang, gulai pakis, fiddlestick ferns simmered in coconut sauce, and a Lampung-style chicken dish called gulai anam, were the most popular dishes on Tanah Air‘s menu, at least in terms of number of orders.‖ (Chudori 95)

Nasi kuning is a traditional Indonesian food made from rice, turmeric powder, and coconut milk, also some herbs like pandan leaves, lemongrass, bay leaves, and kaffir lime leaves. In Southeast Asia, particularly Indonesia, Malaysia and the Philippines, rice becomes the main meal among other sources of food. ―Meals in all three countries assume the presence of rice, without which the repast is not a meal but a snack […]‖ (Fernandez 309). Besides nasi kuning, another rice-based Indonesian food that is served in Tanah Air Restaurant is nasi Padang; steamed rice served with various dishes originated from West Sumatra. Nasi Padang (Padang-style rice) is named after Padang city, the capital of West Sumatra province, where this food is originated. It mainly composed of steamed white rice and side dishes like beef rendang (Padang-style dried-stewed beef in coconut milk and spice paste), grilled chicken, dendeng balado or dendeng batokok (thinly sliced dried meat with chilies), ayam pop (Minang-style boiled-

later-fried chicken), gulai ayam (chicken gulai), daun singkong (boiled cassava leaf), and sambal ijo (green chili paste). It is public knowledge that nasi Padang (literally translates to Padang rice, but meaning Padang food) has become the country‘s most famous contribution to Indonesian cuisine (Syofyan). Moreover, lists of another Indonesian food that are served in the restaurants also mentioned in the quotation below: Dimas Suryo: ―The hits of the evening were grilled chicken; goat satay; gulai anam or Lampung-style chicken curry; soto ayam, spicy yellow chicken soup; and nasi Padang, with a medley of dishes special to Padang, West Sumatra. The waiters delivered hand-written notes from customers full of praise for their meals. I tacked them to the wall of the kitchen so that they would one day serve as a reminder of my first day as a poet in the world of Indonesian cuisine. […] The most popular was es cendol, made from coconut milk, jelly noodles, shaved ice, and palm sugar, to which I added jackfruit (though, unfortunately, jackfruit from the can). Almost half of all the visitors that evening ordered an extra serving.‖ (Chudori 124-125)

From the two of the previous quotation above, the kind of food that is served in Tanah Air Restaurant, for the most part, are Indonesian cuisine, from nasi kuning, nasi padang and their side dishes, also some other traditional dishes like soto ayam and gulai to a traditional beverage as es cendol. It shows that Dimas and the rest of the four pillars of Tanah Air Restaurant‘s member attempt to use food to understand their true identities in the eyes of foreigners (that is to say local French people), ―because in many ways, food defines people and culture‖ (Whitt 12). As Indonesians live in France, the four pillars of Tanah Air Restaurant show their true identities by alluring people there because of their restaurant's ethnicity. Food as an expression of identity is apparent in the experience of going out to eat (Almerico 4). Being an ethnic restaurant, Tanah Air Restaurant appeals to French people (the native people) because of its offer of familiarity and authenticity of the food served in the restaurant. For those who do not share the ethnicity of a dining establishment, the experience allows them to explore the novelty of a different and maybe even unfamiliar culinary adventure

(Almerico 4). Thus, their true identities signified by the ethnicity of food and attempt to serve food in the restaurant. In addition, Narottama and Sudarmawan in their journal of The Indonesian Diaspora in Europe: Culinary as Cultural Identity and Tourism Promotion in Paris, France state: ―Indonesian culinary often become a reference, because it is able to represent the local cultural richness of the Indonesian archipelago in the eyes of foreigners. The richness of Indonesian culinary reflects the cultural wealth of the Indonesian nation. It is an attempt by the Indonesian diaspora to continue building an Indonesia's national cultural identity in other countries, while enhancing a sense of nationalism and pride in their cultural roots of their respective regions‖ (51).

As seen from the variety of food that is served in Tanah Air Restaurant, Dimas subsequently affirms that the method they imitate on serving the food is called rijsttafel, literally translated to English as ‗rice table‘, although the western manner that the dishes served into several courses from starters to dessert also still applied. It can be seen through the quotation below: Dimas Suryo: ―The four Pillars of Tanah Air Restaurant decided to imitate the formula of the Dutch-Indonesian rijsttafel, with dishes on the menu from not just one but a variety of regions, each with its own culinary speciality—Padang, Palembang, Lampung, Solo, Yogya, Sunda, East Java, Makassar, Bali— combining the selections in packets based on the customer‘s desire and taste. In the Western manner—knowing very well that our European costumers would demand it—we also arranged the menu so that the dishes could be served in three to five courses, from starters to dessert.‖ (Chudori 116)

The quotation above shows that another way to assert their cultural identity is through the method of food presentation they practice in Tanah Air Restaurant, which came from Indonesia, the rijsttafel. The word rijsttafel is taken from Dutch, which means ‗rice table‘ or rice served in the table together with its side dishes put on small plates. It is an elaborate Indonesian meal and serving ritual introduced by the Dutch during their colony in Indonesia in the early of the nineteenth century (Wijaya 5). The rijsttafel represented a historical continuation of European interaction with native culture in the Indies, in that the dishes served

were more or less derived from Indonesian cooking practices (Protschky 350). Although rijsttafel is introduced by the Dutch colony, which lives in Indonesia in the colonial era, rijsttafel is basically an Indonesian serving method that is inspired by the way Indonesian serve nasi padang. Consisting of many plates of small dishes and rice elaborated on the table, the concept of rijsttafel applies as a signature of the Indonesian culture of Tanah Air Restaurant.

Moreover, by serving Indonesian dishes, the four pillars of Tanah Air Restaurant also uses Indonesian traditional spices and herbs in cooking the dishes. Traditional spices and herbs such as shallots, turmeric, galangal, ginger, nutmeg, lemongrass, red chili, are kinds of spices that Dimas, as the cook, often use in cooking, not only in Tanah Air Restaurant but also when he cooks for himself and his family at home. Although in Paris, it is rather difficult to find Asian spices, Dimas attempted to constantly get the traditional spices. Dimas Suryo: ―Mas Nug comes into the kitchen carrying a few bags of cooking ingredients and other supplies I had ordered. I guessed that he had just come from shopping from Belleville, where it was possible to buy Asian spices, because the day before I had been rumbling about how low we were on many of the basic Indonesian spices: turmeric, ginger, red chilies, shallots, Javanese bay leaf, and citrus leaf. In Paris, some of the spices we needed were available in dried form; but, in Indonesian cuisine, there is no replacing fresh red chilies, shallots, and garlic, whose prices at the market were always higher than we thought they should be.‖ (Chudori 93)

Dimas, the head chef of Tanah Air Restaurant who loves to cook since he was young, insist on keeping the authenticity of the taste of his cooking by using traditional Indonesian spices, managing not to replace the basic spices such as red chilies, shallots, garlic, and turmeric, although the prices of those spices are somewhat high in France. As seen in the quotation above, he says that in Indonesian cuisine, there is no replacement for traditional spices to maintain the richness of Indonesian cuisine flavor. Some Indonesian authentic cooking ingredients like the famous kecap Bango (Bango soy sauce) and terasi udang cap Jempol (Jempol shrimp paste) are also included in the lists of cooking ingredients Dimas always choose to buy. It can be seen through the conversation of Dimas

and Tjai below: Dimas Suryo: ――Do you really have to use Bango soy sauce? Can‘t you just use another brand?‖ ―No,‖ I insisted. ―Bango has a different sweetness.‖ ―Well, OK,‖ he said, but then turned to Mas Nug who was seated beside me. ―If you‘re going to Amsterdam, pick up a bulk order there. It‘s much cheaper there.‖ ―And while you‘re at it,‖ I added, ―you might pick up a bulk order of Jempol shrimp paste. And tempeh, too. And kretek cigarettes. Oh, and don‘t forget the turmeric, both powdered and fresh…‖ ―Yeah, yeah, yeah… You and your fresh turmeric. That‘s what‘s so expensive!‖ Mas Nug grumbled even as he wrote down all my orders. ―Up to you, but if you don‘t want the pindang serani tasting strange…‖‖ (Chudori 126) In The Food of Indonesia: Delicious Recipes from Bali, Java and The Spice Islands, it is mentioned and explained that the authentic Indonesian ingredients including the following spices and herbs:

 Banana leaves  Cinnamon  Galangal (laos)  Bean sprouts  Coconut milk  Garlic chives (kucai)  Candlenuts (kemiri)  Coriander seed  Jicama (bangkuang)  Carambola (belimbing (ketumbar)  Kaffir lime leaves wuluh  Cumin seeds (daun jeruk purut)  Cardamom pods (jinten)  Krupuk (kapulaga)  Curry powder  Kencur  Celery (seledri)  Dried shrimp (ebi)  Lemongrass (serai)  Chayote  Dried shrimp paste  Chilies (terasi) From the previous quotation, it can be seen that Dimas is strict about using Indonesian authentic spice and ingredients (as seen on the list above) because he wants to keep his food heritage. As quoted in Ramli et al.‘s journal, ―in the

context of food, Matta (2013) define food heritage as set of material and immaterial elements of food cultures that are considered as shared legacy or a common good. Food heritage includes agricultural products, ingredients, dishes, techniques, recipes and food traditions‖ (qtd. in Ramli et al. 2). Spices, ingredients, cooking techniques, and other food habits are included in the shared food heritage. In the novel, it is described that the ability to cook Dimas has is inherited from his mother. It is shown from this excerpt: ―After a day spent preparing meals––cooking was something Mother also enjoyed, for which she passed down to me–– […]‖ (Chudori 80). Accordingly, Dimas keeps his food heritage as he is strict in using authentic Indonesian spices.

In addition, besides using food and its ingredients to symbolize the cultural issue of affirmation, the four pillars of Tanah Air Restaurant (especially Dimas) also use the authenticity of Indonesian cooking practice as a preservation of culture. His attempt to preserve the authenticity of Indonesian cuisine reflected in the way he uses the traditional way to cook. He prefers to use traditional equipment like stone mortar and pestle instead of other streamlined equipment, although it takes much more of his time. Below is the evidence from the point of view of Lintang Utara, the only daughter of Dimas.

Lintang Utara:

―Ayah, on the other hand, loved ritual. He was both obsessive about and possessive of his stone mortar, which an aunt of his had sent him from Yogyakarta. With his faithful mortar in hand, Ayah kept the blender at a distance. He ground his spices slowly and carefully, mixing in the coconut milk, little by little, while complaining occasionally about having been forced to use coconut milk from the can. […] But that meant that Ayah had had lock himself inside the kitchen for much of the day in order to prepare his spices in the traditional way.‖ (Chudori 146)

The text above shows that when Dimas is cooking some foods and makes the spice mixture, he keeps the blender at distance, although using stone mortar to grind spices takes much more of his time than using a blender. However, he still prefers to use stone mortar, the traditional kitchen equipment he gets from

Yogyakarta, Indonesia. In Indonesia, it is common for the majority of the households to use mortar and pestle to grind, crush, or pound spices to make certain food like sambal or spice mixture. Indonesian mortar and pestle both made of volcanic stone, although there are also mortar and pestle that is made from wood. Unlike neighboring Malaysia and Thailand, where ingredients are pounded with a pestle inside a deep mortar, the Indonesian cook rubs or grinds ingredients with a backwards and forwards motion across the stone, which is broad and slightly rounded but almost flat (Holzen et al. 17). For some Indonesian, using mortar and pestle to ground spices makes the food more ‗tasty‘ rather than using modern food processors. Moreover, according to Lilyk Eka Suranny in her journal entitled Peralatan Dapur Tradisional sebagai Warisan Kekayaan Budaya Bangsa Indonesia (Traditional of Kitchen Equipment as Cultural Heritage Richness of Indonesia Nation), mortar and pestle—or cobek and ulekan in Indonesian—is one of the kitchen equipment which considered to be included in Indonesian cultural heritage preservation along with tungku (furnace), dandang (boiler), belanga (pot), wajan (pan), kendi (jug), parutan kelapa (coconut grater), tempayan (crock), and centong (rice ladle). ―A charm from the mortar and pestle as a historical heritage which is usually only used in the kitchen turned out to have cultural value as one of the nation's wealth.‖ (Suranny 57). In essence, the use of traditional Indonesian cooking utensils to cook refers to the characteristic of the Indonesian conventional cooking method. ―Indonesian food is prepared according to a variety of ways, being shallow or deep fried, grilled over hot coals, simmered, steamed and baked, and relatively speaking, does not require complex kitchen utensils‖ (qtd. in Wijaya 6). The cooking utensils considered the most characteristics are the wok and mortar pestle, among the other appliances such as ladle, cleaver, steamer, etc. That is why Dimas prefers to use mortar and pestle to grind spices as necessary Indonesian utensils instead of using a blender, although it is sometimes troublesome in the way of taking much more of his time. In the same way, Dimas complains about having been forced to use coconut milk from the can. He prefers to use the Indonesian cooking method of using basic utensils

(a grater) to make coconut milk fresh from coconut, to preserve Indonesian cooking method.

Nevertheless, the preservation of Indonesian cultural identity is not only reflected through the lists of Indonesian dishes on the menu of Tanah Air Restaurant but Indonesian spices and ingredients used in making the dishes or traditional cooking equipment Dimas prefers to use. It is also portrayed through how the characters, specifically Dimas, undertake the familiarization of Indonesian food culture to his family; his wife Vivienne and his daughter Lintang.

Vivienne Deveraux is a Frenchwoman whom Dimas met in the midst of students and workers demonstration against De Gaulle government in Paris, May 1968. After some little talks about the situation there at that time, Vivienne invites Dimas to join her at an outdoor café nearby where Vivienne immediately ordered coffee for both of them without asking Dimas first which coffee he prefers to order. In Dimas‘ opinion, most coffee that is served in Paris tastes so strong and thick and oily and makes him wonder if it been put with a bucket of sugar and a gallon of cream. Noticing his reaction, Vivienne wonders if Dimas does not like the coffee. Subsequently, Dimas introduce to Vivienne varieties of Indonesian coffee.

Dimas Suryo: ―You should try Indonesian coffee,‖ I said hurriedly, trying to cover my social faux pas. ―We have hundreds, even thousands of kinds,‖ I exaggerated, hoping to impress her with my country of origin. I was sure that she, like most other French people I‘d met, knew very little about l’Indonesie. I mentioned some of the kinds of coffee that Indonesia produced—Toraja, Mandailing, luwak, and so on—and explained how in Indonesia coffee was usually prepared using an infusion method, with boiling hot water poured on finely powdered coffee.‖ (Chudori 7)

In the quotation above, it is shown that Dimas tries to introduce Vivienne with the richness of his origin country‘s choice of coffee. Toraja, Mandailing, and luwak coffee are some kinds of Indonesian coffee that Dimas mentioned in his conversation with Vivienne. Serli Wijaya on her journal states that Indonesia

which has a striving agriculture industry with sugar as the largest commercial crop improves agricultural techniques during the 1980s and the 1990s and have made it possible for the country to grow enough rice to meet its local demands, and considered as the world‘s third largest producer of coffee after Colombia and Brazil (3). With the tropic area, Indonesia is not only an appropriate place of coffee cultivation but also produce various types of coffee with unique flavor character (Wahyudi and Jati 3). Therefore, there are many kinds of coffee across the archipelago with its own characteristic of taste. Kinds of Indonesian coffee such as Java, Mandailing, Gayo, Toraja, Kintamani and luwak coffee has its own flavor specificity. The characteristic of taste of each coffee comes from cultivation techniques, post-harvest, or the process.

The next method Dimas performs to familiarize his family with Indonesian eating culture is shown on the next quotation. Dimas is known not only to be a great cook for Tanah Air Restaurant, but also a great cook for his family. Almost every morning, he prepares breakfast for Vivienne and Lintang. From the quotation below, it can be seen that Dimas always tries to familiarize his wife and daughter with the culture of Indonesian people to have breakfast with nasi goreng or fried rice.

Lintang Utara:

―Almost every morning, before Maman left home to teach, Ayah would prepare a breakfast of fried rice for us—―special fried rice,‖ he called it, because of the shredded omelet he always put on top. Maman always grumbled at the sight because, like most of French people, she thought fried rice was much too heavy a morning meal. But Ayah always ignored her. […] No matter how hard she tried to maintain the scowl on her face, Maman would finally break into laughter and then join us in eating a plate of Ayah‘s fried rice: hot and tasty to the tongue and rich from the oil he‘d use to fry the rice. Ayah always like to make his fried rice with minyak jelantah, oil which had already been used to fry something else, shallots and onions, for instance, so that their taste, too, was imparted in the rice.‖ (Chudori 194)

Familiarizing his family with Indonesian food also means familiarizing them with Indonesian culture. For example, from the excerpt above, Dimas likes

to use minyak jelantah for cooking nasi goreng. The use of minyak jelantah that has been used for cooking or frying something else is a common culture in Indonesia. It has also become a culture for Dimas in cooking a dish, so he continues to do it. In addition, as an Indonesian, Dimas is get used having breakfast of heavy meals such as fried rice that contains many carbohydrates in it. Unlike Dimas, Vivienne, as a French woman, seems to not get used to it. In France, breakfast is the least important meal of the day (Salzberg). However, Dimas ignores her and keeps making that one of the common Indonesian meals almost every morning. With its enormous geographic and cultural diversity, it is evident that Indonesian cuisine is rich in variety and taste (Wijaya 7). Still, traditional fried rice is one of the favorite Indonesian meals to eat on breakfast since Indonesian people love to eat rice and mostly cannot go through a day without eating rice first. Rice is the staple food of most Indonesians, although the staple food of Indonesians living in East Nusa Tenggara is maize and that of Indonesians living in Maluku and West Papua is roots (sweet potato, cassava) and sago palm (Metroxylon saqu) (Hartini et al. 200). Therefore, cooking and eating fried rice is one the way for Dimas to introduce to his family the culture of Indonesian eating practice. In addition, it seems to be successful for Lintang since she claims that another Indonesian food, which is fried noodles, is more appealing than French food:

―I passed that Saturday morning with feigned cheer. I put on a happy face but was anxious, nonetheless. Around midday, after Ayah had prepared fried noodles for us to take along to eat on the day‘s exploration tour— Ayah‘s fried noodles was another one of my favorite foods and more appealing to me than any normal French food […]‖ (Chudori 202)

Another preservation of Indonesian culture Dimas undertakes that is reflected through food images and practice of eating is teaching Lintang to use fingers of the right hand to eat food. It is described in the story when Lintang goes to Indonesia. After years of longing to go to the birthplace of her father and find more about the history of her father‘s journey, Lintang finally has the opportunity to go to Jakarta, Indonesia. She goes to Indonesia after Monsieur Dupont, her

lecturer in college, suggests she do a thesis about the history of Indonesia. In Indonesia, she visits Surti Anandari (Dimas‘ former love) and the wife of Hananto Prawiro, who is Dimas‘ friend that become the victim of Indonesia‘s September 30, 1965, anti-communist massacre. Lintang intends to do an interview with Tante Surti about her life as the family of the political violence victim for her final assignment. In Tante Sutri‘s house, Lintang is offered to join Tante Surti and Kenanga (Surti and Hananto‘s oldest daughter) to have lunch together. Below is the evidence.

Lintang Utara:

―The three of us conversed while enjoying our plates of steamed white rice surrounded by tempeh cubes grilled in chili sauce, and stir-fried green beans with shrimp, and portion of milkfish from the soup that Kenanga prepared.

Kenanga seemed surprised to witness my dexterity in using the fingers of my right hand to eat the food she had prepared. When she pushed the bowl of rice towards me, a signal to help myself to a second serving, she asked, ―Who taught you to eat with your fingers?‖

―My father, of course,‖ I answered.‖ (Chudori 404)

Although Lintang lives and has been raised in France, she still depicted having the dexterity to eat with the fingers of her right hand, which is not a common culture in France. Still, Dimas tries to familiarize and teach this habit to Lintang as he is Indonesian who habitually practices the culture of eating with the fingers of the right hand, because ―culture is not inherited; it is learned‖ (Almerico 5). Using the fingers of the right hand to eat is one of the Indonesian cultures that has existed since ages ago until the European traders bring spoon and fork to Southeast Asia (particularly Indonesia). Southeast Asia historian Anthony Reid in his book says that in earlier times, pribumi (Indonesian indigenous) generally sit on the floor and use a banana leaf or wooden plate as dining mat, and before and after eating they wash their hand with water so that the rice would not get sticky on their hand also to ease the process of eating. It is an important manner to wash hands and eat using right hand (qtd. in Rahman 29).

In conclusion, after defining and describing the food topics that relate to the issue of culture, the writer found that food can be a means to assert, indicate, affirm, familiarize the cultural identity of the four pillars of Tanah Air Restaurant, Dimas, Risjaf, Tjai, and Nugroho as well as Vivienne and Lintang, also to preserve Indonesian culture and habit. The cultural issue that is depicted in the novel encompassing the establishment of Indonesian Restaurant in Paris, the uses of Indonesian traditional spices and utensils to cook food, and the familiarization that Dimas undertakes to his family to food and eating practices of Indonesian culture. However, the writer found that the function of food as cultural identity is not the only one that is depicted in this novel. Therefore, the next subchapter will discuss another function of food in the novel, which is as an emotional release.

B. Food as an Emotional Release

In Home, cooking, eating practices, the choice of food, and any other food- related topics depicted to have another purpose besides as cultural identity that the writer has described in the previous subchapter, which is as emotional release. In the definition of food studies that Gina M. Almerico states in her journal, she suggests that food studies looks at people‘s relationships with food and reveals an abundance of information about them (3). Thus, the practice of cooking and the choice of food that people choose to eat that is reflected through the characters of Home can also be examined through the perspective of food studies. This examination is including the explanation of food and its relation to emotion. Hauck-Lawson, on the introduction of food voice, suggested that what one eats or chooses not to eat communicates aspects of a person‘s identity or emotion in a manner that words alone cannot (qtd. in Almerico 3). Moreover, food-related images may be used to create a specific mood, offer a visual for readers, help convey an idea, express an emotion, dramatize a situation, or increase the realism in a specific text (Whitt 9).

In the novel, there are several scenes that depict food to be functioned as an emotional release. Food as emotional release also reflected through the way characters eat and the food they choose to eat. The excerpt below shows that the

character releases their emotion by choosing their comfort food when feeling down. Comfort food provides individuals with a sense of security during troubling times by evoking emotions associated with safer and happier times (Locher 443). In the novel, there are some scenes where the characters eat certain comfort food to release certain emotions, such as anger. Below is one of the evidence.

Segara Alam:

―The only times I fell from their good graces were when my temper got the best of me—which is what happened whenever kids like Denny and his ilk, in all their myriad shapes and forms, made me lose control of my will not to get angry and lash out. And whenever that happened, it usually ended up with a lecture from Om Aji and a bowl of my mother‘s kidney- bean soup.

Brenebon soup was my special comfort food, capable of soothing my soul, which Ibu always served whenever I got into a fight at school.‖ (Chudori 311)

The quotation above is narrated through the point of view of Segara Alam, the youngest son of Surti, with her marriage with Hananto. One day when Alam was in school, Denny, one of his friends who like to bully, gets Alam angry. Later, when Alam goes home, his mother made him his comfort food, which is brenebon soup (East Indonesian kidney-bean soup). Brenebon soup is made of kidney-bean and vegetable served in broth. The taste that Alam tastes while eating the soup stimulates the emotion he feels. Expectations about how we think a food will taste, how it will make us feel, or how much we think we will like it are another aspect of psychological associations that will affect our emotional response to foods (Osdoba 23). Thus, the savory taste and the warmth of brenebon soup are believed to comfort him and affect his emotion from feeling sad and angry to be calm. Some researchers have emphasized the social dimensions of comfort food, noting that comfort foods are those familiar to the individual, are associated with feelings of nostalgia, are usually convenient to prepare and consume, are often indulgent, and typically provide a sense of physical as well as emotional comfort (Locher 442). Alam then manages to calm himself down and

release his emotion of anger over his friend Denny after eating his kind of comfort food, which is brenebon soup.

Moreover, the emotion of sadness and anger that is released through consuming certain intake is also portrayed in the story when Nugroho is being betrayed by his wife, Rukmini. While Mas Nug is living in Paris as a political exile along with the other member of the four pillars of Tanah Air Restaurant, Rukmini refuses to move to Paris with Nugroho. It turns out she has an affair with a military officer named Lieutenant-Colonel Prakosa, the one who protects Rukmini during the hunt of communists in 1966 and 1967. One night when Dimas and Vivienne are having a conversation on their apartment, they suddenly get interrupted by a rapping sound. It turns out it is Mas Nug who knocks on the door with forlorn face and sweating body. Vivienne then quickly pull him inside the apartment and ask him what happen as his hand shaking while holding an envelope. When Vivienne takes the envelope and gives it to Dimas, he immediately opens it and reads the document inside that turns out to be a divorce request from Rukmini. As Mas Nug explains his assumption of why Rukmini refuses to move with him, he takes the glass of wine that Vivienne offered.

Dimas Suryo:

―Mas Nug lifted the wine glass to his lips and downed its contents in one gulp. He asked for his empty glass to be filled. Vivienne obediently granted his request.

Between tears and with the smell of wine on his breath, he ranted. ―Tell Risjaf he was lucky never o have married her. Inside that orchid was a worm,‖ Mas Nug spat with anger and hurt.

After emptying the rest of the bottle of cabernet sauvignon, Mas Nug picked up the letter of request for a divorce and flattened it on the dining table.‖ (Chudori 89)

Based on the text above, Mas Nug is described to release his emotion of anger by drinking the wine in just one gulp and then finish the rest of wine in the bottle. He transfers his emotion to the gulp of the wine. Because the emotional

process is complex and can be interpreted from many viewpoints, such as behavior or physiology related change, it is very difficult to achieve a comprehensive and precise definition of emotion (Jiang et al. 4)

First is when the four pillars of Tanah Air Restaurant, Dimas, Risjaf, Nugroho, and Tjai were college students and live in a boarding house in Jalan Solo. Dimas, Tjai and Risjaf, who are junior classmen of Faculty of Letters and Philosophy at the University of Indonesia, discover that there are three young women who are the members of the freshman class in the same faculty of theirs. Three young women named Rukmini, Surti, and Ningsih, rent rooms at a boarding house on Jalan Cik di Tiro, just a few hundred meters away from Jalan Solo. Risjaf, although he is the best-looking man among them, is the most inexperienced and naïve when it comes to women. Therefore, when he is attracted to Rukmini until he often talks about her in his sleep, he can do nothing when he knows that Nugroho also attracted to her. One day, when Risjaf goes to Rukmini‘s place, she is not there. She turns out to have gone with Nugroho. Knowing about this, Dimas as his friend and the one who always stand by him, tell the situation to Surti (Rukmini‘s friend, who is happened to be Dimas lover at that time). Dimas Suryo: ―One Sunday, I finally spoke about the situation to Surti, who gave me a look of complete surprise. ―What? Risjaf likes Rukmini?‖ ―Yes. Didn‘t you know?‖ in the mortar, I used my pestle to attack the sliced shallots and garlic and chunk of peeled turmeric root, as if they were to blame for keeping Rukmini and Risjaf apart.‖ (Chudori 55)

When Dimas knows the situation, he feels annoyed. Dimas thinks that Nugroho is completely insensitive to Risjaf‘s feelings and that Nugroho does not seem to realize that Risjaf suffers from a broken heart. On the quotation above, it shows that when Dimas is preparing the spices mixture to cook ikan pindang serani, he releases his emotion to the spices he is about to grind on the mortar with a pestle. Ekman states that it has been acknowledged that humans possess six basic emotions, which are happiness, surprise, fear, sadness, anger, and disgust combined with contempt, although the list has been expanded later (qtd. in Jiang

et al. 7). He uses the word ‗attack‘ instead of ‗grind‘ to show that he is slightly angry and figuratively blame the spices for keeping Rukmini and Risjaf apart. Then, to soothe Risjaf‘s heart, Dimas also uses food as he cooks him a pot of ikan pindang serani. Below is the evidence. Dimas Suryo: ―Risjaf was still in the throes of misery, and I had promised myself that on Sunday I would cook up a pot of ikan pindang serani as a means to soothe his heart. Originally an Indo-Portuguese dish, the recipe for this spicy and sour milkfish soup was from my mother, and the taste of the fish which had been simmered slowly in turmeric sauce never failed to cheer me or my brother Aji when my father, who often had to travel for work, was not at home. I hoped that the dish would turn its magic on Risjaf, permitting him to recover and cast his attention on another woman.‖ (Chudori 55)

Dimas‘ attempt to cheer Risjaf with a pot of ikan pindang serani was regarding to his experience when he was a kid. In the olden days, Dimas frequently left by her father to travel for work. His mother then cooks the milkfish soup to cheer him and his brother for the absence of her father. Therefore, Dimas hopes that the effect of the milkfish‘s soup delicacy to soothe his heart also works for Risjaf.

Another quotation also shows that food, in this view, is cooking, becomes the medium for emotional release. Despite the fact that Dimas feels annoyed with the situation about Risjaf, he also feels blithesome because he recently gets in a relationship with Surti.

Dimas Suryo:

―During the first few months of my relationship with Surti, things went along pretty much the way they usually did among young men and women at that time: politely, guilelessly, and chastely.‖ (Chudori 50)

Quoting Aristotle‘s On the Soul, ―it seems that all the affections of soul involve a body –passion, gentleness, fear, pity, courage, joy, loving and hating: in all these there is a concurrent affection of the body‖ (qtd. in Yazici 910). Regarding this statement, the feeling of love they both feel affected Surti‘s body that is reflected through how Surti takes over the pestle when Dimas stops

torturing the spice mixture for ikan pinang serani to cook for Risjaf. Different from how Dimas ‗attacks‘ the spices when he is feeling slightly angry, in the novel, it is described that Surti crushed the turmeric‘s root gently and coaxing the spices to surrender. According to Jiang et al., people‘s attitude towards food changes correspondingly in different emotional states (3).

Dimas Suryo:

―Adding another slice of turmeric to the paste, she began to move the pestle. By the way she crushed the root—gently, wordlessly—she seemed to be coaxing the spices to surrender themselves to their individual destruction in order to create a more perfect union of taste, one more pleasing to the tongue. I stared, fixating on her as she slowly turned the wooden pestle in the mortar as if massaging the spicy mixture. I swallowed. My body tensed. I hardly knew what was happening and I was unable to comprehend why her actions excited me so.‖ (Chudori 56)

Food, besides having a biological and nutritional function as a daily intake for humans to keep alive and maintain health, also has another purpose and has been studied and examined in the scope of food studies. Many theorists and scholars have questioned this study, including anthropologists and sociologists. Food studies as one of the interdisciplinary fields of studies that examine food and its relationship to human experience describe that people can look at the link of people with food and reveal much information about it. Food studies determine the multiple functions performed by food other than supplementing vitamins and minerals in the body (Shreeleksmi and Mynavathi 559). In Home, the depiction of food, cooking, and eating practice that appears in the narration is described to have symbolic meaning, including the aspect of culture, identity, and emotion that is reflected through the life of the characters. Within the story, food images no longer just to be another daily intake that human has to consume every day. This shows that food-related images can also be seen from other distinct perspectives.

CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusion

Home is a novel written by Leila S. Chudori and translated from Indonesian by John H. McGlynn, published in 2015 by Deep Vellum Publishing in Texas. Home tells the story about four Indonesian political exiles because they are suspected to affiliate with the Indonesian Communist Party. The four Indonesian political exiles name Dimas Suryo, Risjaf, Nugroho Dewantoro, and Tjahjadi Sukarna (Tjai Sin Soe) have wandering around from one country to another to find a place for living and end up in Paris, France. In Paris, they open an Indonesian restaurant to cure their homesickness of Indonesia since they are unable to return to Indonesia since the government revokes their passport during the reign of Suharto (Indonesian President from 1967-1998). This study employs qualitative method and close textual analysis or close reading to analyze the texts and find how food is described in the novel using the perspective of an interdisciplinary field of study, namely food studies. Food studies is an interdisciplinary field of study of food that questions the relationship between food and human experience in human and social sciences. Food in this novel is described to have another function besides its fundamental purposes. In conducting this research, the writer proposes two functions of food described in the story; cultural identity and an emotional release. With the aid of the perspective of food studies, the writer discovers that food has a deeper meaning. The result of the analysis shows that food, cooking, and eating practices in the novel indicate the cultural identity of the characters, as well as familiarization, and preservation of culture. According to the result of the analysis of food as cultural identity, it shows that the affirmation, familiarization, and preservation of culture are delivered through several attempts. Those attempts are by opening an Indonesian restaurant in Paris and naming it the 'Tanah Air' Restaurant, serving Indonesian food and drinks, using traditional Indonesian spices and cooking utensils for cooking the dish. Another way is by inheriting

Indonesian culture and habit, eating with the fingers of the right hand. Another function of food that is discovered in this analysis is as an emotional release. The use of food to release the characters' emotions is reflected through the way the characters treat food when cooking and choose a particular meal to eat in a specific emotion such as anger and happiness.

B. Suggestion

Since food is one of the crucial aspects that always occur in any occasion in daily life, whether it is for individual, social or cultural matters, so it is essential to see food not only as a nutritional substance to be consumed every day. The writer believes that food images can also be seen and examined through other perspectives. To any further scholars who want to undertake an examination of food and its relation to culture, identity and human experience, the writer suggests to explore additional reading on foodways, and gastronomy, and culinary history as the fields under food studies‘ umbrella to enrich the knowledge of the study of food. In addition, a further researcher who wants to analyze a literary work, particularly novel that presents food-related images, can use the concept of food studies as the approach. Finally, the writer does hope that this research can reference a future researcher who wants to examine the same topic.

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