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"Dasawarsa tahun 1950-an bagi Malaysia merupakan tahun yang amat panting mengingat pada dasawarsa itulah gerakan ke­ bangsaan Malaysia dalam usaha bangsa itu memperoleh kemerdeka­ annya, makin memperoleh bentuk yang lebih jelas. Berbeda de­ ngan dengan Indonesia yang kemerdekaannya diraih melalui pe­ rebut kekuasaan dan kontak senjata, di Malaysia perjuangan ke­merdekaannya dilakukan dengan kekuatan 1 pena. Dalam hal ini peranan wartawan dan sastrawan dalam menumbuhkan dan menggelo­ rakan semangat kebangsaan, sungguh besar artinya "Merekalah yang secara gi9ih menolak pembentukan Malayan Union yang amat rnerugikan bangsa Melayu dan kemudian menyerukan aqar Malaysia segera memperoleh kemedarkaannya.Mengingat peranan para sastrawan dan wartawan panting, maka aistem penerbitannya ikut menentUkan berhasil atau tidaknya usaha perjuangan mereka Ternyata,' keberhasilan sistem penerbitan itu sangat ditentukan oleh tiga faktor:Pertama, peran ganda sastrawan-wartawanKurangnya tenaga wartawan, menuntut banyak sastrawan yang. bekerja sebagai war­ tawan atau diminta untuk mengelola rubrik tertentu yang dise­ lenggarakan berbagai media massa. Dengan begitu, memungkinkan karya sastra mereka dipublikasikan di media massa bersangkutan.Kedua, peran ganda sastr.awan--karyawan Tidak sedikit sastrawan yang bekerja di bidang penerbitan. Oleh karena itu, memungkinkan karya mereka diterbitkan penerbit bersangkutan.Ketiga, beberapa sastrawan ada yanq juga sebagai pemilik sebuah penerbitan atau pengelola salah satu rn dia mereka umumnya diterbitkan oleh penerbitannya sendiri. Ketiga faktor itulah yang memunqkinkan sistem penerbitan di Malaysia tahun 1950an."

"Elias Canetti, nobel-prize winner for literature in 1981,left at note to Herman Broach in Broach's 50 th anniversary of his birthday, encouraging his friend not to fear Elias and his senior colleagues too much. What he needs to do is write. "Age will not let you go , says Elias."short, Elias wants his friend to continue his creative work, and age should not matter. All writers , no matter how great they are, can never transcend their age. If one assumes that it can be done, then he certainly does not exist or perhaps still lives in the classical Greek period. Good writers, to him, are those who are sensitive toward their surroundings and their age. "You will not be a Dichter if you are still in doubt of becoming a Dichter. We have given up so much to machines, allowing it to make prophecies, that prediction has lost its values,insofat as we submit too much to the dictum of such non-living thing, we wll never have control upon events." (Centti, 1979:158). Reading and disccusing a series of Indonesian-Malay short stories by Umar Kayam, Budi darma, Seno Gumira Ajidarma, Keris Mas, Shahnon Ahmad and Anwar Ridhwan in creative writing course at Akademi Pengajian Melayu Universiti Malaya, in addition to basic courses in the theory of short story writing, Elias Canetti's tenets become one of my references. Senstiivity, which engages all the five senses ,also involves writer's imagination in shaping the plot, characterization, conflict, and in giving life to setting, nature,as well as combining tradition and modernity. How about the elements of suspense and resolution that writers are in favor of what about the element os surprise? these are some of the features examined by those wannabe writers.In order to be able to give life to their stories, they are asked to talk to their senior counterparts and find out the creative process that takes place in the writing of creating short stories. They are also asked to read their favorite shorts stories in the classroom.Also, they are assigned to write three short stories as part of the the requirements of their practicum and a term paper. for their positive developments, i believe that the reference should include literary text by Nusantara's writer's, examined through comparative perspectives, in universities in Indonesia,Malaya,Brunei Darussalam and Singapore,where Malay or Indonesian is used as the language of instruction, in addition to literary works from overseas."

"show that Indonesian and Malaysian literatures grew and developed out of the same old tradition, namely Malay tradition. Indonesian and Malaysian languages are also rooted in the same language, namely, the Malay language. It only makes sense that there a number of similarities This paper discusses the nationalist ideas found in the poems of M. Yamin published in Indonesia Tumpah Darahku and a number of poems produced by 10 Malaysian poets. These Malaysians? poems are found in a poetry anthology titled Puisi-puisi Kebangsaan 1913?1957 (nationalist poems 1913?1957) compiled by Abdul Latif Abu Bakar and published in 1987. Based on a comparison of these two sets of poems, some similarities can be discerned, such as admiration of natural beauty, admiration of past heroes and glories, and appeal by the poets for national unity. These similarities are made possible by similar political and cultural situations prevailing in both Indonesia and Malaysia in certain period of time. The relation between Indonesia and Malaysia that is tied by a common language (Malay) and a sense of being in the same situation (colonial oppression) are other factors that allow a number of Indonesian and Malaysian poets to write poems of similar themes in similar styles."