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Jul 8, 2015

Foto: Novel Kambing dan Hujan

Foto: Novel Kambing dan Hujan

Novel Kambing dan Hujan

 

Pertama-tama, saya akan menyebut novel ini sebagai novel islami. Saya mantap menyebutnya demikian karena Kambing dan Hujan melulu bercerita mengenai sosio-kultural keislaman. Indikator mengenai novel islami memang bisa diperdebatkan—tapi kita membahas soal itu lain kali saja. Pada awal 2000-an, trend novel pop yang dipelopori Forum Lingkar Pena menunjukkan fakta bahwa novel bertemakan keagamaan pernah merajai pasar buku. Mayoritas pembaca yang masuk dalam generasi 90-an akhir, yang masa mudanya belum terjajah wabah K-pop, akan terus terkenang-kenang kehebatan novel-novel islami keluaran FLP yang kala itu mendominasi rak-rak toko buku.

Merujuk pada kenangan masa SMP,  saya tidak akan sungkan membandingkan novel ketiga Mahfud Ikhwan dengan novel karya Asma Nadia, Helvy Tiana Rosa, Pipiet Senja, Afifah Afra, dan Habiburrahman El Shirazy. Kelima penulis yang saya sebutkan belakangan sudah jauh-jauh hari saya ketahui sepak terjangnya dari sekotak kecil lemari kayu yang dinamakan “perpustakaan” di pondok pesantren kecil di Singosari, Malang. Saya bisa berurai air mata membaca novel karangan Asma Nadia, yang entah kenapa, saat menggambarkan haru-biru nestapa keluarga sangat menyayat hati. Saya masih terkesan dengan cara Afifah Afra mengolah tema Islam dengan latar ibukota dan memilih tokoh utama jurnalis serta aktivis. Wah, saya juga masih ingat betul, saat Neng Ani boyongan dari Jogja— alumni Jurusan Sastra Arab UGM—menunjukkan Ayat-Ayat Cinta yang sampulnya seeksotis hidung gadis Timur Tengah pada para santriwati. Ia mengungkapkan dengan agak tersipu-sipu malu, bahwa suaminya menghadiahkan novel itu. Menurut kacamata anak SMP, kado buku Ayat-Ayat Cinta sungguh bercita-rasakan romantisme sastra maha tinggi. Judulnya saja ayat, lalu cinta. Aura kesakralan novel ini terpancar hingga beberapa tahun kemudian. Meledak menjadi patokan arus utama novel dan film islami selanjutnya.

Di masa itu—masa di mana menjadi NU nyaris tidak pernah dipersoalkan—saya sudah cukup puas dengan bacaan yang ala kadarnya. Kalau lagi beruntung, saya bisa meminjam komik-komik dan terbebas dari razia mbak-mbak sie keamanan pondok. Kalau lagi luang, saya bisa menghabiskan novel-novel teenlit keluaran terbaru. Dan berkat beberapa profil penulis novel-novel islami koleksi pondok, saya menyimpulkan bahwa Jogja adalah gudangnya penulis. Saya bertekad untuk hijrah ke Jogja sejak kelas dua SMP.

Lalu ternyata, enam tahun hidup sebagai anak kos di Jogja—saya baru berkenalan dengan Mahfud Ikhwan pada 2013 di Bengkel Menulis Gerakan Literasi Indonesia (GLI). Saya jarang berinteraksi dengan penulis Ulid Tak Ingin ke Malaysia (UTIM) itu, namun betapa kehebatannya bergaung di antara forum-forum informal teman-teman GLI. Terutama Imam, sang penggemar nomor satu Cak Mahfud, yang punya kecenderungan selalu mengenang Ulid di menit entah keberapa—lengkap dengan mengutip dialog-dialog favoritnya. Ulid hidup, bernafas, bergerak di alam pikir Imam, mungkin senyata Angga Palsewa, temannya yang tengah di Thailand itu. Saya pun terprovokasi membaca Ulid, dan dengan pasrah, saya juga terbawa arus, menjadi penggemar nomor sekian puluh—atau sekian ratus?—karya Mahfud Ikhwan.

Tak lama kemudian, datanglah kabar gembira, Kambing dan Hujan menjadi juara 1 di sayembara menulis novel paling tersohor seantero negeri. Tidak mengejutkan saat Cak Mahfud pulang dari Jakarta bawa uang banyak. Dan tidak mengejutkan pula, novelnya yang ketiga bernasib bagai bumi dan langit jika dibandingkan novel pertamanya, UTIM. Yang mengejutkan adalah kenikmatan membaca Kambing dan Hujan melampaui ekspektasi saya, melampaui kenangan masa remaja terhadap novel-novel islami. Ini adalah novel islami yang saya damba-dambakan sejak dulu, begitu batin saya bersuara. Seperti seorang perindu, saya menyelam ke dalam drama percintaan Mif dan Fauzia hingga menelusuri jejak perang dingin bapak keduanya, yani Is dan Fauzan. Sebagai perindu, tentu saja saya tidak sedang merindukan roman-roman ala Hamka—saya tidak seromantis itu—poin saya, kekuatan Kambing dan Hujan terletak pada tema sosial-kultural yang sanggup memanggil ulang memori kolektif pembaca.

Saya yakin belakangan Anda sempat sibuk memikirkan Kasus Charlie Hebdo dan pengusiran besar-besaran kaum Rohingya. Syiah dan ISIS menduduki tangga atas isu yang paling diminati para netizen. Saya juga demikian. Sedangkan saat terdampar di Kambing dan Hujan, konflik Muhammadiyah dan NU adalah  isu yang paling terlupakan, atau baru saja ditemukan—mengingat masa kecil dan masa remaja saya hidup di lingkungan NU kental, dan nyaris tidak paham-paham amat bagaimana Muhammadiyah punya potensi untuk dipandang sangat berbeda dan aneh oleh orang NU.

Kambing dan Hujan memanggil memori kolektif atas identitas kelompok keagamaan—membuat saya mengumpulkan remah-remah pengalaman terkait tema Muhammadiyah. Saya baru tahu jumlah rakaat sholat tarawih yang disukai Muhammadiyah berbeda saat ada seorang jamaah yang selalu melipat mukenanya di pertengahan tarawih di kampung saya lalu ngacir pulang dengan santainya. Saya baru merasa “oh, begitu..” saat paman saya menikah dengan anak tokoh Muhammadiyah di sebuah kecamatan. Oleh karenanya, saya jadi tahu, suami istri jika bersentuhan batal wudlunya di kalangan NU namun tidak batal di kalangan Muhammadiyah. Saya juga baru tahu jika sekolah-sekolah Muhammadiyah itu lebih progresif ketimbang sekolah-sekolah NU saat saya SMA. Saya bahkan baru tahu bendera Muhammadiyah berwarna hijau bukan biru—merujuk ke PAN—belakangan ini, saat Iqbal Aji Daryono cekikikan mengetahui kepolosan saya saat mengomentari sampul Kambing dan Hujan di status facebook Cak Mahfud.

Pada 2015, dua kelompok Islam terbesar di Indonesia ini seolah melebur menjadi satu, kecuali saat tarawih dan lebaran. Generasi muslim yang sekarang—yang hidup di perkotaan—adalah mereka yang tidak lagi memperkarakan identitas sosial semacam warga Desa Centong, desanya Mif dan Fauzia. Dan justru menariknya, Cak Mahfud menghadirkan konflik yang nyaris tidak terbayangkan sebelumnya.

Sampai di sini Anda belum yakin akan menamatkan Kambing dan Hujan di sisa Ramadhan?

Hm, cobalah untuk mencari-cari kembali novel dan film islami yang pernah Anda tahu dan nikmati. Anda bisa merujuk pada penulis islami masa kini macam Tere Liye—saya belum baca karyanya, jadi tidak begitu berminat berkomentar—dan Hanum Salsabiela Rais. Kalau mau lebih jauh, lihat-lihat pula tema-tema islam dalam film Hanung Bramantyo, Garin Nugroho dan beberapa sutradara lain yang saya tidak begitu hapal namanya. Apakah ada cerita yang begitu dekat dengan keseharian Anda sebagai muslim sejak lahir di Indonesia?

Beberapa cerita islami yang saya ingat, berkutat pada isu-isu urban sentris dan jika bukan terbelit dengan nuansa perkotaan yang khas, akan berfokus pada isu-isu ekstrem, seperti makna jihad dan terorisme. Simbol-simbol keagamaan bertebaran namun tidak untuk memanggil memori kolektif—hanya untuk membangun kebaruan perspektif terkait imajinasi yang ditawarkan. Misal, pada 99 Cahaya di Langit Eropa, atribut yang melekat adalah penguat mimpi muslim modern masa kini. Cerita mengenai intelektual muda yang mampu menembus batas kenegaraan, kebanggaan pada kejayaan peradaban islam tempo lalu, dan momen spiritual yang terjadi pada masa merantau di luar negeri adalah nuansa-nuansa keislaman yang terkandung dalam novel putri Amien Rais ini.

Anda disuguhi citra keluarga muslim yang ideal. Realita modern yang tercetak hampir sama dengan Ayat-Ayat Cinta, kuliah di luar negeri. Kemewahan imajinasi yang ditawarkan—lalu, apa bedanya dengan sinetron-sinetron di televisi?—adalah mimpi. Setiap orang berhak bermimpi, tentu saja, dan setiap orang yang mempunyai mimpi sejuta umat tetap akan menggemari kisah hidup “wow” Fahri bahkan Ikal Laskar Pelangi sekali pun. Istilah bekennya kisah inspiratif membangun jiwa.

Tengok pula, film 3 Doa 3 Cinta karya Nurman Hakim, meski berlatarkan pondok pesantren tradisional, isu-isu yang diangkat sangat berat. Realita modern yang termuat dalam komodifikasi nilai-nilai kultur keislamaan disajikan dengan kurang membumi—tidak banyak orang desa pernah merasakan konflik batin yang dialami para tokoh utama. Penyanyi dangdut orkesan yang terobsesi menjadi bintang di Jakarta, seorang santri yang terobsesi dengan handycam, dan seorang santri yang karena kemiskinan mencekik, pandangan keagamaannya beralih ke paham-paham ekstrem radikal.

Lantas, bagaimana dengan Kambing dan Hujan?

Anda akan menemukan cita rasa pedesaan yang teramat eksklusif dan intim. Cak Mahfud, dengan teknik yang sama seperti saat menuliskan UTIM, menyodorkan sebuah desa antah berantah di Jawa Timur bagian utara. Ini tampaknya akan menjadi ciri khas yang sangat dikenal jika kemudian hari novel selanjutnya juga menghadirkan satu desa utuh—tanpa menyuruh pembaca kemana-mana. Anda hanya diharapkan duduk tenang, selonjoran, membayangkan satu desa lengkap berserta warga yang beraneka rupa plus perkara-perkara yang biasa diributkan orang desa. 

Oleh karena itu saya menyebutnya eksklusif. Anda tidak akan kehabisan nafas mengikuti para tokoh utama lompat dari satu daerah ke daerah yang lain. Alkisah di sebuah desa, bernama desa Centong, hiduplah Mif dan Fauzia yang tengah gundah gulana, karena kedua bapaknya saling mendiamkan sejak bertahun-tahun lamanya. Ada apa gerangan? Jangan harap cerita melebar kemana-mana, atau masuk ke petualangan yang menantang adrenalin. Saya justru mendapati teknik Cak Mahfud dalam menulis alur kilas balik yang kelewat rapi dan mengalir—bak sungai jernih yang kaya ikan. Saya menyebutnya teknik menggali dan terus menggali masa lalu. Hingga sampai pada tersingkapnya rahasia dan konflik batin para tokoh dengan sangat rinci, hingga saya merasa Cak Mahfud lenyap. Penokohan yang begitu kuat, yang melekat di Mif, Fauzia, Iskandar, Fauzan, Hidayatun, Cak Ali dan lain-lain membuat kisah orang-orang Centong menari-nari di otak saya. Ekskluvitas ini juga terdapat saat Tragedi 65 menjadi hiruk pikuk nasional, justru orang Centong sibuk memperkarakan tawuran menjelang sholat jumat. Peristiwa 65’ dimaknai dengan apa adanya, menurut pemahaman sederhana para tokoh yang sedang mewakili generasinya masing-masing.  

Apa romansa yang dihadirkan tampak mengada-ada? Apa Mif dan Fauzia diciptakan hanya sebagai tim sendu yang menyayangkan masa lalu kedua bapak mereka yang begitu terjal? Saya pikir, novel ini diadakan penulisnya untuk menghadirkan kerumitan suasana saat Kelompok Pembaru membuat perbedaan yang besar terkait ibadah sehari-hari warga Centong. Ia menawarkan modernisasi pada zaman 60-an (pemikiran Kelompok Pembaru Cak Ali adalah penanda modernitas) bukan dengan benda (di Lerok, desanya Ulid, kita akan menemukan radio antik, tivi hitam putih, motor bebek, tiang listrik, dll sebagai penanda) melainkan dengan orang-orang yang bergerak. Jika memang susah menemukan sepasang kekasih yang nyaris tidak bisa bersatu karena perbedaan aliran antara NU dan Muhammadiyah, saya rasa kisah Mif dan Fauzia bisa memantik cerita susulan, misal roman antara Syiah dan Sunni di Indonesia.

Saya juga menyebut novel ini intim. Beberapa fragmen dalam Kambing dan Hujan benar-benar disusun dengan mantap. Pada halaman 23-29 terdapat adegan makan malam bersama antara Iskandar, Sri dan Miftah. Terakhir yang bisa saya ingat, cerpen Puthut EA berjudul Sambal Keluarga menceritakan adegan meja makan dengan kelewat brilian. Dan Cak Mahfud menyajikan pula adegan makan bersama keluarga yang tak kalah canggih, berbekal tradisi makan orang-orang Centong yang secara turun-temurun tidak punya ritual makan bersama dan menu sayur asam serta ikan layur goreng lengkap dengan bakwan jagung yang tampak menggoda.

Di penghujung cerita, saya tak habis pikir, bagaimana Cak Mahfud dengan lihai menciptakan keresahan umat Islam di Centong yang sedang menunggu kepastian Hari Raya Idul Fitri. Kehebohan dan olok-olok kocak para jamaah Masjid Utara dan Masjid Selatan menjelang lebaran pun ditutup dengan nuansa mendung milik sepasang kekasih. Mereka kecewa berat saat mendapati strategi untuk memanfaatkan momentum lebaran kandas, karena bulan—petanda 1 Syawal—muncul bak pembawa kabar duka.

Demikian keintiman dalam Kambing dan Hujan melebur pada kisah persahabatan Is dan Fauzan, pada kisah kasih Mif dan Fauzia dan dialog antar anak-bapak, anak-ibu. Narasi yang dibangun saya kira berdasarkan amatan yang sangat mendalam dan hanya orang-orang yang sabar yang mampu melakukannya. Dan Cak Mahfud berhasil mengeksekusi risetnya dengan baik. Meski demikian, saya agak terganggu dengan akhir yang kelewat sempurna, saat tokoh-tokoh penting yang lama tak bersua muncul di suatu pesta perayaan. Ketahuilah bahwa spoiler apa pun atas Kambing dan Hujan tidak akan mampu mereduksi kenikmatan membacanya. Karena bagaimana pun, daya tarik novel ini bukan pada tujuan di mana roman itu harus disudahi, melainkan pada proses, pada cara penulisnya menyusun potongan-potongan fragmen.

Astaga, resensi saya sudah amat panjang dan berputar-putar. Tidak pada kaidah penulisan resensi yang selama ini dicontohkan di suratkabar. Mohon dimaklumi. Hal ini dikarenakan kerinduan saya mendapati novel islami yang sangat membumi tuntas sudah. Saya harus mengucapkan terimakasih banyak pada Cak Mahfud. Pemanggilan ulang atas memori kolektif dan identitas kelompok keagamaan membuat saya merasa lebaran tahun ini, entah kompak atau tidak, akan sedikit berbeda. Mungkin nanti saya hadir di tengah halal bihalal keluarga besar dengan lebih peka, sambil diam-diam menguping pembicaraan kerabat, memperhatikan toples mana yang isinya paling cepat habis, dan menyaksikan sendiri pergeseran kultur yang mungkin saja terjadi setiap tahun tanpa disadari. Wallahu’alam.[]

Amanatia Junda
Amanatia Junda
Mahasiswa Tingkat Akhir

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