Anda Mencari Konsultan ISO 9001 Murah di Humbang Hasundutan Kami Solusinya Hubungi : 0857 1027 2813 konsultaniso9001.net adalah Jasa Konsultan ISO 9001, Consultant ISO 14001, Konsultan ISO 22000, OHSAS 18001, Penyusunan Dokumen CSMS-K3LL, K3, ISO/TS 16949,Dll yang BERANI memberikan JAMINAN KELULUSAN & MONEYBACK GUARANTEE ( Tanpa Terkecuali ) yang tertuang dalam kontrak kerja. Sebagai Konsultan ISO dan HSE TERBAIK dan BERPENGALAMAN kami siap membantu perusahaan bapak dan ibu dalam membangun sistem manajemen ISO dan HSE dengan pendekatan yang sistematis tanpa ribet dengan tujuan bagaimana sistem ISO tersebut bisa bermanfaat bagi perkembangan perusahaan serta menjadi pondasi yang kuat untuk kemajuan perusahaan.

Konsultan ISO 9001 Murah di Humbang Hasundutan Melalui berbagai TRAINING ISO yang diselenggarakan menggunakan Metode Accelerated Learning, sehingga Karyawan Dipacu untuk lebih aktif dalam pembelajaran sehingga dapat menerapkan Sistem ini dengan Baik Nantinya. Konsultan ISO 9001 Murah di Humbang Hasundutan

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Konsultan ISO 9001 | Konsultan ISO 9001 Murah di Humbang Hasundutan

Jasa Konsultasi ISO 9001 di Gunung Mas

Jasa Konsultasi ISO 9001 di Gunung Mas | Hubungi : 0857 1027 2813 PT Bintang Solusi Utama adalah Jasa Konsultan ISO 9001, Consultant ISO 14001, Konsultan ISO 22000, OHSAS 18001, Penyusunan Dokumen CSMS-K3LL, K3, ISO/TS 16949,Dll yang BERANI memberikan JAMINAN KELULUSAN & MONEYBACK GUARANTEE ( Tanpa Terkecuali ) yang tertuang dalam kontrak kerja. Sebagai Konsultan ISO dan HSE TERBAIK dan BERPENGALAMAN kami siap membantu perusahaan bapak dan ibu dalam membangun sistem manajemen ISO dan HSE dengan pendekatan yang sistematis tanpa ribet dengan tujuan bagaimana sistem ISO tersebut bisa bermanfaat bagi perkembangan perusahaan serta menjadi pondasi yang kuat untuk kemajuan perusahaan. Jasa Konsultasi ISO 9001 di Gunung Mas

Sungguahpun kapado angku,ampun diminta kapado Allah,maaf dipinto bakeh niniak mamak nan gadang basa batuah,iyo juo bak pituah ra

Sungguahpun kapado angku,ampun diminta kapado Allah,maaf dipinto bakeh niniak mamak nan gadang basa batuah,iyo juo bak pituah rang tuo, kok tasabuik ambo di nan senteang nak dibilai kok kurang nak ditukuak.jikok nyo salah minta diasak ka nan bana,sipi nak dikatangahkan,kok tasabuik di nan bukan minta diasak ka nan iyo.kok lah iyo nan dalam pariyokan angku2 nan baduo batigo. sambah ambo sambah baririk diparirikan diateh rumah gadang nangko. pulang pasambahan bakeh ipa bisan kami.manyo ipa bisan kami. aratinyo lah pituah di nan tuo, sajak samulo rantiang bapatah , sumue bakali,aie basauak,pangulu badiri dalam nagari.jalan duo nan baturuik kato duo nan bapakai. kk dikaji jalan nan duo, partamu jalan adaik kaduo jalan syarak. mangaji kito sapanjang jalan adaik iyolah babarih babalabeh bacupak bagantang, basuri batauladan,bajanjang naiak batango turun. magaji kito sapanjang jalan syarak iyolah mangatahui iman,islam,tauhid,makrifah,sah jo bata,halal jo haram,sunaik jo paradu,haruih jo mukaruah. manyo kato nan duo,partamu kato buek,kaduo kato pusako. buek bana kadipakai pusako bana ka dirunggusi. lampisan kaji dalam nantun,nan lazim nyenyo adaik,nan bana nyenyo syarak,nan laku nyenyo kitabullah. balampsan pulo kaji dalam nantun, bak pituah adih malayu;urang arih mangarek kuku,dikarek jo pisau sirauk,sirauik parauik batuangtuo.tuonyo elok kalantai. adaik nagari babilang suku,suku bablilang buah paruik,itulah barih nan bapahek ,ico nan bapakai. mangko dinamokan urang nan salapan indu. nagari dibari barajo,luhak di bari bapangulu. guno nagari dibari barajo;sakik bakeh maimbaukan ,mati bakeh marapuikan. guno luhak bari barajo;pai bakeh mangadu,pulang tampek babarito. diateh gadang babingkah tanah basa balingkuang aue,supayo a itu,supayo nak maharuihkan sumando manyumando dari suku lain ka bagadang lain. di nan bak sakarang nangko,lah tumbuah sumando saparti wak kami kabagadang nanko. sumando nangko balarauh pulo tantangannyo. a nyo nan manjadi larauhnyo,pihak nan tadaulu alah,nan takamudian lay. dipiihak nan tadaulu alah,baiak sahari duo hari,sapakan duo pakan,alah babulan bataun lambek maso nyo. dek Allah ta'ala mantakadiekan.lah manaruah baliau anak sikabaikan. anak si kabaikkan ko duo pulo wajah nan dikanduang nyo. partamu anak sikabaikan silaki laki,kaduo anak sikabaikan si parampuan. bagombak limo. kaganti cincin dikalngkiang kaganti ameh dalam puro, pamenan ibu jo baponyo,cahayo kampuang jo hilaman. paga nagari sumarak tapian.kok tingginyo lah bak ditambak,gadangnyo lah bak di anjuang itulah manko diambiak sariak drancuang talang,talang bak raso kabaungo. dari ketek di nanti gadang,gadang lah tau ereang jo gendeang,lah tau malu j raso ,tau di raso jo pareso,lah tau di manih aie tabu,tau dipakek tangguli. tau mamahek jo maukie,tau dirancak ragi bungo.tau di awa jo akie pakarajaan nangko, iyo lah biaso nan kadijapuik ka dijangkau urang nan kamamakai nan sapanjang adaik. tumbuah di anak sikabaikan si parampuan baitupulolah tantangannyo, ketek dibaok kasumue,di aja mandi,di asok ,di asuah,dibari makan,dibari baambuik panjang. kaganti cincin dikalngkiang kaganti ameh dalam puro, pamenan ibu jo baponyo,cahayo kampuang jo hilaman. limpapeh rumah gadang. kok tingginyo lah bak ditambak,gadangnyo lah bak di anjuang itulah manko diambiak sariak drancuang talang,talang bak raso kabaungo. dari ketek di nanti gadang,gadang lah tau ereang jo gendeang,lah tau malu j raso ,tau di raso jo pareso, tau di awa jo akie pakarajaan nangko. iyo lah nan biaso kadijauikan kadijangkaukan urang nan kamandirikan nan sapanjang adaik. di nan bak sakarang nangko,lah tumbuah dikami anak sikabaikan si aki laki. iyolah nan ka dijapuik kadaijangkau urang,nan kamakai nan sapanjang adaik. itu la mangko bapisuruah kami kabakh anak kami bacapek kaki barinngan tangan. manuruik labuah nan panjang,jalan nan baliku.jauah nan baturik,ampie bajalang,manjalang rumah niniak mamak nan gadang basa batuah. sarato kito nan adir diateh rumah gadang nangko. baiak lah adie kito ditangah runmah gadang nangko bakaranolah kapai anak kami mamakai nan sapanjang adaik,tantu baradaik pulo tantangannyo. manyo nan manjadi adaik nyo batatiangkan ayam singgang nan saikue,nasi kunyik nan sairiang siriah nan di ateh,ameh nan dibawah,uang nan limo kupang namonyo. kok lah banamo bana kabanaran nan katangah dikami nan ditarimo suko jikok banamo dilua nak dikadalamkan. sakian sambah jo titah kami himpunkan (mamak) Lah sampai di bapak kami Sapanjang panitahan bapak kami nan tairik tabantang,talayang ditangah tangah,tibo bakeh kami sagaji ipa bisan. Jikok didanga lah elok bunyi,di pandang lah elok rupo. Lah bunta bak sawah nan sapiriang,lah boneh bak padi nan satangkai....tapi samantang pun baitu. Dek sawah indak sapiriang,dek pipik indak saikua. Dek padi indak satangkai masak indak sakali ambiak,dek pipik indak saikua tabang indak sakali inggok. Baa dek kaadaan kami duduak baduo batigo nan sagalo ipa bisan,dihadapan niniak dengan mamak. Kok kami cubo marantang panjang,untuang taserak jalo suto,kok lai ikan nan kabuliah,kok indak ameh tantangannyo. Kok kami cubo mampaiyo patidokan,dikato nan kamanjawek,di gayuang nan kamanyambuik,lai kok dalam adat nan tapakai..... Nak bapambari bapak kami.... (bapak) sampai di mamak kami,arati nyo bana nan katangah dmamak kami.bana nan ktngah jikok dpandang lah elok rupo didanga lah rncak bunyi.baa pulokoh dikato kamanjawab dgayuang kamanjawab,dek bkarano kami nan bduo btigo sakaji ipan bisan nan dduak d hdapn jumalah niniak mamak nan gadang basa batuah tntu btariak bakato bariyo batido.yo mantun? Spnjg kabanaran mamak kmi nan katangah lah dalam adaik nan tpakai lah dlm barih jo balabeh lah dlm cupak jo gantang nyenyo kami.lalunyo dlm nantun,krano itu pituah dinan tuo,barih nak jan ilang,adaik nak nyo tapakai.adaik bajalan bamulah adaik bakato bariyo.sakarang jalan kadipamulahkan kato ka dipariyokan dek mamak kami.kok dkami lah dlam garih nan barantang.bana bananti dikami.kumbali sambah bakeh mamak kami. (Mamak) Yo...ma bapak kami.....sapanjang rundiang nan kami danga,karana bakato ka pariyokan,bajalan ka di pamulahkan dek bapak kami...., Kok janyo kami lah tibo di barih balabehnyo,iyo lah dalam adaik nan tapakai,kan baitu kabanaran bapak kami......... Dikami sagaji ipa bisan itu bana nan manyangkuik. Baa karano lah dalam adat nan tapakai kabanaran kami...kok di kami hari elok nak tapakai,kok bajalan kami pamulahkan,bakato kami pariyokan.....sipaik mananti bapak kami. (Bapak) indak tarago baulang sapanjang buah kabanaran nan katangah dek mamak kami.kok d kami bana badangakan.kumbali bakek mamak kami. (mamak) Inya Allah kami pariyokan....... (bapak) Bana mananti (mamak ka angku datuak) Bakeh angku sambah.aratinyo karano lah katangah kabanaran bapak kito,adaik nan biaso pituah din an tuo,suato kato takanak jawek suatu gayuang takanak sambuik.nan dijuluak nak rareh nan dipungkang nak jatuah.tumbuah bak dinan sakarang nangko,karano lah katangah kabanaran bapak kito,lah bana kok dikami kato kabajwek gayuang kabasambuik ikobanalah pai nan kami tanyo pulang nan kami baritokan bakeh niniak mamak nan gadang basa batuah. Ko lah bana nyenyo angku nak bapambari angku,kok banamo balun nak di kadalamkan sakian sambah bakeh angku. (Datuak ka mamak) Manyo sutan,arainyo bana nan katangah dek sutan tumbuah bak dinan sakarang nangko,karano lah katangah kabanaran bapak kito,lah bana kok dikami kato kabajawek gayuang kabasambuik ikobanalah pai nan kami tanyo pulang nan kami baritokan bakeh niniak mamak nan gadang basa batuah.yo baitu? (sutan) bana (Datuak) Sapanjang kabanaran sutan lah ico nan baturuik lah adaik nan bapakai,lalunyo dalam nantun pai batanyokan pulang bakadukan .tumbuah din an bak sakarang kini karano lah tajun sambah jo titah di bapak kito,kato tantu bajawek gayuang tantu basanbuik,nan di pungkang nak jatuah nan di juluak nak nak rareh.kandak babari pintak balaku.namun dalam sado nantun,barih nak jan nyo hilang jajak nak jan nyo lipue.adaik bakatobariyo adaik bajalan bamulah.alahkoh bajalan bapamulahkan bakato bapariyokan di sutan nan baduo tigo.kok nyenyo ambo,banati jaj baabih hari batanggang jan baabih minyak lah bana nyo kato bajawek gayaun basambuik.sakaian titah kumbali bakeh sutan. (sutan) sapanjang pambarian angku satitiak jadikan lauik basa sakepa jadikan gunuang tnggi,bapacik arek baganggam taguah siang dipatungkek malam jadikan suluah. (Sutan ka sidi) manyo sidi,aratinyo karano lah tajun sambah jo titah dek bapak kito.tantu suatu kato bakandak jawek suatu gayuang bakandak sambuik.adopun maso sabalunnyo,pail ah kami batanyokan pulang lah bakadukan ka niniak mamak nan gadang basa batuah.dek niniak mamak baalam laweh bapadang lapang,indak tarago bananti hari lah bapambari niniak mamak.a nyo nan jadi pambari niniak mamak.lah bananyo kato bajwek gayuang basambuik.samantangpun baitu barih nak jan nyo ilang jajak jan lipue.adaik bajalan bamulah adaik bakato bariyo.sakarang jalan nan kadipamulahkan kato nan kadipariyokan bakeh sidi.dimakoh katarabiknyo bak padi katumbuahnyo bak bijo dikato nan kamanjawek digayuang kamanyambuik kabanaran bapak kito nan katangah.ikolah jalan nan bapamulahkan kato nan bapariyokan bakeh sidi,sakian sambah (Sidi ka sutan) sampai dek sutan.aratinyo bana nan katangah dek sutan karano lah tajun sambah jo titah dek bapak kito.tantu suatu kato bakandak jawek suatu gayuang bakandak sambuik.adopun maso sabalunnyo,tinggi alah bajuluak randah lah bajambo.painyo kami tanyokan pulang lah kadukan ka niniak mamak nan gadang basa batuah.dek niniak mamak baalam laweh bapadang lapang,indak tarago bananti hari lah bapambari niniak mamak.a nyo nan jadi pambari niniak mamak.lah bananyo kato bajwek gayuang basambuik.samantangpun baitu barih nak jan nyo ilang jajak jan lipue.adaik bajalan bamulah adaik bakato bariyo.sakarang jalan nan kadipamulahkan kato nan kadipariyokan bakeh sidi.dimakoh katarabiknyo bak padi katumbuahnyo bak bijo dikato nan kamanjawek digayuang kamanyambuik kabanaran bapak kito nan katangah.ikolah jalan nan bapamulahkan kato nan bapariyokan bakeh sidi,iyo baitu? (sutan) bana (sidi) sapnjang kabanaran sutan lah dalam barih jo balabeh lah dalam cupak nanjo gantang,lalunyo dalam nantun.bajalan bapariyokan bajalan bapamulahkan.jalan nan tapariyokan di sutan batarimo suko di ambo.baa pulokoh,dek ambo nan duduak sabalah kamari lai baduo batigo pulo.kok batariak dikami bajalan bamulah bakato bariyo lai koh di sutan ka babari.kumbalai bakeh sutan. (sutan) Aratinyo buah kabanaran sidi kini nantun jalan nan tapariyokan di sutan batarimo suko di ambo.baa pulokoh,dek ambo nan duduak sabalah kamari lai baduo batigo pulo.kok batariak dikami bajalan bamulah bakato bariyo lai koh di sutan ka babari.iyo baitu? (sidi) bana (sutan) sapanjang kabanaran sidi lah dalam takuak tabang tibo,lah dalam garih makanan pahek.lalunyo dalam nantun.karano uitu pituah rang tuo,barih jan hilang jajak jan lipue.adaik bakato bariyo adaik bajalan bamulah.sakarang kato kabapariyokan jalan kadipamulahkan dek sidi.kok diambo bana bananti. (sidi) .aratinyo bana nan katangak dek sutan karano uitu pituah rang tuo,barih jan hilang jajak jan lipue.adaik bakato bariyo adaik bajalan bamulah.sakarang kato kabapariyokan jalan kadipamulahkan dek sidi,kok di kami bana mananti.yo baitu (sutan)bana (sidi) ndak tarago baulang sapanjang pambarian sutan,bana bapariyokan. (bana bananti) (sidi ka rangkayo) rang kayo,aratinyo karano bisiak lah kadangaran himbau lah kalampauan di dunsanak kito sabalah ka mudiak.karano lah tajun sambah jo titah di bapak kito.tantu kato bajawek gayuang basambuik.sakarang dimakoh katarabiknyo nan bak padi katumbuahnyo nan bak bijo dikato nan kamanjawek gayuang kamanyambuik kabanaran bapak kito nan katangah.ikolah jlan nan bapamulahkan kato nan bapariyokan bakeh rangkayo. (rangkayo ka sidi) sampai dek sidi.aratinyo karano bisiak lah kadangaran himbau lah kalampauan di dunsanak kito sabalah ka mudiak.karano lah tajun sambah jo titah di bapak kito.tantu kato bajawek gayuang basambuik.sakarang dimakoh katarabiknyo nan bak padi katumbuahnyo nan bak bijo dikato nan kamanjawek gayuang kamanyambuik kabanaran bapak kito nan katangah.ikolah jlan nan bapamulahkan kato nan bapariyokan bakeh rangkayo.yo baitu? (sidi) bana (rangkayo ka sidi)rupo ruponyo di sidi barih nadak hilang jajak ndak lipue.lalunyo dalam nantun,bajalan bapamulahkan bakato bapariyokan.jalan nan tapamulahkan kato nan tapariyokan dek sidi batarimo suko diambo.di tantangan kato nan kamanjawek gayuang nan kamanyambuik kabanaran bapak nan katangah .nak lamak siriah lega carano lamak kato lega bunyi, dikato nan kamanjawek kumbali kapado sutan,pihak mangumbalikan kumbali ka sidi .nan kami disiko lah samo didalam.sakian sambah. (sidi ka rangkayo) Alah sampai dek kayo? (rangkayo) umpamo alah (sidi ka rangkayo) Aratinyo nan manjadi buah bana di kayo kini nantun di tantangan kato nan kamanjawek gayuang nan kamanyambuik kabanaran bapak nan katangah .nak lamak siriah lega carano lamak kato lega bunyi, dikato nan kamanjawek kumbali kapado sutan,pihak mangumbalikan kumbali ka sidi .nan kami disiko lah samo didalam.iyo baitu? (rangkayo) lah bananyoh (sidi ka rangkayo) spanjang kabanaran sidi lah rancak susunnyo nan bak siriah lah rancak ririknyo nan bak pinang. nak lamak siriah lega carano lamak kato lega bunyi, dikato nan kamanjwek kumbali kapado sutan.kok di ambo bana bakumbalikan. (sidi ka sutan) manyo sutan (sutan)manitahlah (sidi ka sutan) aratinyo parundiangan kito antaro jo sutan iyolah talaun talalai.talaunnyo tarago kabukik mancari angin ,kalurah mancari aie.dek hari kolah nan elok kutiko kolah nan baiak,lakeh dapek dikami bulek nan sagiliang pipiah nan satapiak.dibulekkan aie ka pambuluah dibulekan kato ka mupakaik.a nyo nan manjadi mupakaik kami nan sabalah kamari,dipihak kamanarabik an nan bak padi manumbuahkan bak bijo,dikato nan kamanjawek di gayuang kamanyambuik kabanaran bapak nan katanagah iyolah karano lah sutan nan baulu jawek di sutan pulo katarabiknyo.kumbali bakeh sutan. (sutan ka sidi)aratinyo sapanjang titah nan katangah dek sidi..dek hari kolah nan elok kutiko kolah nan baiak,lakeh dapek dikami bulek nan sagiliang pipiah nan satapiak.dibulekkan aie ka pambuluah dibulekan kato ka mupakaik.a nyo nan manjadi mupakaik kami nan sabalah kamari,dipihak kamanarabik an nan bak padi manumbuahkan bak bijo,dikato nan kamanjawek di gayuang kamanyambuik kabanaran bapak nan katanagah iyolah karano lah sutan nan baulu jawek di sutan pulo katarabiknyo.iyo baitu? (sidi) bana (sutan ka sidi) sapanjang kabanaran sidi mambanai ambo.,dipihak nan baulu jawek iyolah diambo. namun sakiro nantun,nak rancak lega carano nak elok lega bunyi.elok juolah di sidi nan kamanarabik an.kumbali bakeh sidi. (sidi ka sutan)aratinyo nan manjadi bana dek sutan,nak rancak lega carano nak elok lega bunyi.elok juolah di sidi nan kamanarabik an.ityo baitu? (sutan)bana (Sidi ka sutan)sapanjang kabanaran sutan lah dalam takuak tabang tibo,lah dalam garih makanan pahek,lalunyo dalam nantun nak rancak lega carano nak elok lega bunyi mambanai ambo.namun sakiro nantun,bak pituah urang tuo.adaik bajalan ba nan tau adaik bakato ba nan pandai.tarabik an lah dek sutan mairiangan ambo.sakian sambah. (stuan ka sidi) aratinyo nan manjadi buah ban dek sidi,nak rancak lega carano nak elok lega bunyi mambanai ambo.namun sakiro nantun,bak pituah urang tuo.adaik bajalan ba nan tau adaik bakato ba nan pandai.tarabik an lah dek sutan mairiangan ambo,yo baitu. (sidi) sakiro nantun (sutan) sapanjang kabanaran sidi lah dalam barih jo balabeh lah dalam lingkuang cupak jo gantang.lalunyo dalam nan tun.bak gurindam rang tuo. singgalang lereang malereang dilereang nagari pandaisikek mandaki jalan ka tanjuang tasabuik nagari ampek koto dipapanjang namuah panjang elok di kumpa nak nyo singkek nan bak maetong kain saruang disinan juo katibonyo. karano lah sapareh tu bana sidi mangumbalikan bakeh ambo.kok jadih jadih juo.namun sakiro nantun,kok senteang nak di bilai kurang yo batukuak dek sidi. (sidi)indak bapabia tagamang sutan

Sinyal-sinyal pemerintah untuk menaikkan harga bahan bakar minyak (BBM) bersubsidi semakin jelas. Presiden Susilo Bambang Yudhoyono menegaskan subsidi harus dikurangi untuk menjaga perekonomian dan kesejahteraan rakyat Indonesia.

JAKARTA,  Sinyal-sinyal pemerintah untuk menaikkan harga bahan bakar minyak (BBM) bersubsidi semakin jelas.  Presiden Susilo Bambang Yudhoyono menegaskan subsidi harus dikurangi untuk menjaga perekonomian dan kesejahteraan rakyat Indonesia.

"Saya harus mengatakan dengan gamblang bahwa subsidi BBM perlu diturunkan. Caranya dengan menaikkan harga BBM secara terbatas dan terukur," kata Presiden saat pidato dalam Musyawarah Perencanaan Pembangunan Nasional (Musrenbangnas) di Bidakara, Jakarta, Kamis (30/4/2013).

Presiden mengatakan, ia tidak punya niat untuk menaikkan harga BBM sampai harga pasar atau keekonomian yang mencapai Rp 10.000 per liter.

Dengan kebijakan ini, lanjut Presiden, fiskal dan APBN akan menjadi sehat, perekonomian menjadi lebih aman di tengah resesi dunia, ketahanan ekonomi terjaga, lebih banyak biaya untuk kesejahteraan rakyat dan membangun infrastruktur, serta subsidi akan lebih adil dan tepat sasaran.

Presiden mengungkapkan bila tidak ada kenaikan harga BBM, subsidi total di APBN akan melonjak menjadi Rp 446,8 triliun dengan subsidi BBM mencapai Rp 297,7 triliun dan defisit akan menjadi Rp 353,6 triliun atau 3,83 persen dari produk domestik bruto Indonesia.

Saat ini, dalam APBN 2013, penerimaan negara mencapai Rp 1.529,7 triliun dengan belanja negara Rp 1.683 triliun dan defisit Rp 150,3 triliun atau 1,65 persen dari PDB. Sementara dana subsidi total mencapai Rp 317,2 triliun dengan subsidi BBM mencapai Rp 193,8 triliun.

"Jika tidak ada perbaikan, tidak dikendalikan subsidi ini. Subsidi total akan bengkak menjadi Rp 446,8 triliun. Bayangkan penerimaan total Rp 1.500 triliun untuk subsidi sudah Rp 446,8 triliun dengan subsidi BBM mencapai Rp 297,7 triliun," kata Presiden.

Namun, mengenai waktu kenaikan harga BBM, menurut Presiden, ialah bila dana kompensasi untuk masyarakat sudah siap. Hal ini harus dibicarakan terlebih dahulu dengan DPR.

 

 

Sumber : KOMPAS.com

 
Editor :  Maulana Lee

THE WRITERS ASHLEY AND JAQUAVIS COLEMAN know the value of a good curtain-raiser. The couple have co-authored dozens of novels, and they like to start them with a bang: a headlong action sequence, a blast of violence or sex that rocks readers back on their heels. But the Colemans concede they would be hard-pressed to dream up anything more gripping than their own real-life opening scene.

In the summer of 2001, JaQuavis Coleman was a 16-year-old foster child in Flint, Mich., the former auto-manufacturing mecca that had devolved, in the wake of General Motors’ plant closures, into one of the country’s most dangerous cities, with a decimated economy and a violent crime rate more than three times the national average. When JaQuavis was 8, social services had removed him from his mother’s home. He spent years bouncing between foster families. At 16, JaQuavis was also a businessman: a crack dealer with a network of street-corner peddlers in his employ.

One day that summer, JaQuavis met a fellow dealer in a parking lot on Flint’s west side. He was there to make a bulk sale of a quarter-brick, or “nine-piece” — a nine-ounce parcel of cocaine, with a street value of about $11,000. In the middle of the transaction, JaQuavis heard the telltale chirp of a walkie-talkie. His customer, he now realized, was an undercover policeman. JaQuavis jumped into his car and spun out onto the road, with two unmarked police cars in pursuit. He didn’t want to get into a high-speed chase, so he whipped his car into a church parking lot and made a run for it, darting into an alleyway behind a row of small houses, where he tossed the quarter-brick into some bushes. When JaQuavis reached the small residential street on the other side of the houses, he was greeted by the police, who handcuffed him and went to search behind the houses where, they told him, they were certain he had ditched the drugs. JaQuavis had been dealing since he was 12, had amassed more than $100,000 and had never been arrested. Now, he thought: It’s over.

But when the police looked in the bushes, they couldn’t find any cocaine. They interrogated JaQuavis, who denied having ever possessed or sold drugs. They combed the backyard alley some more. After an hour of fruitless efforts, the police were forced to unlock the handcuffs and release their suspect.

JaQuavis was baffled by the turn of events until the next day, when he received a phone call. The previous afternoon, a 15-year-old girl had been sitting in her home on the west side of Flint when she heard sirens. She looked out of the window of her bedroom, and watched a young man throw a package in the bushes behind her house. She recognized him. He was a high school classmate — a handsome, charismatic boy whom she had admired from afar. The girl crept outside and grabbed the bundle, which she hid in her basement. “I have something that belongs to you,” Ashley Snell told JaQuavis Coleman when she reached him by phone. “You wanna come over here and pick it up?”

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Three of the nearly 50 works of urban fiction published by the Colemans over the last decade, often featuring drug deals, violence, sex and a brash kind of feminism.Credit Marko Metzinger

In the Colemans’ first novel, “Dirty Money” (2005), they told a version of this story. The outline was the same: the drug deal gone bad, the dope chucked in the bushes, the fateful phone call. To the extent that the authors took poetic license, it was to tone down the meet-cute improbability of the true-life events. In “Dirty Money,” the girl, Anari, and the crack dealer, Maurice, circle each other warily for a year or so before coupling up. But the facts of Ashley and JaQuavis’s romance outstripped pulp fiction. They fell in love more or less at first sight, moved into their own apartment while still in high school and were married in 2008. “We were together from the day we met,” Ashley says. “I don’t think we’ve spent more than a week apart in total over the past 14 years.”

That partnership turned out to be creative and entrepreneurial as well as romantic. Over the past decade, the Colemans have published nearly 50 books, sometimes as solo writers, sometimes under pseudonyms, but usually as collaborators with a byline that has become a trusted brand: “Ashley & JaQuavis.” They are marquee stars of urban fiction, or street lit, a genre whose inner-city settings and lurid mix of crime, sex and sensationalism have earned it comparisons to gangsta rap. The emergence of street lit is one of the big stories in recent American publishing, a juggernaut that has generated huge sales by catering to a readership — young, black and, for the most part, female — that historically has been ill-served by the book business. But the genre is also widely maligned. Street lit is subject to a kind of triple snobbery: scorned by literati who look down on genre fiction generally, ignored by a white publishing establishment that remains largely indifferent to black books and disparaged by African-American intellectuals for poor writing, coarse values and trafficking in racial stereotypes.

But if a certain kind of cultural prestige is shut off to the Colemans, they have reaped other rewards. They’ve built a large and loyal fan base, which gobbles up the new Ashley & JaQuavis titles that arrive every few months. Many of those books are sold at street-corner stands and other off-the-grid venues in African-American neighborhoods, a literary gray market that doesn’t register a blip on best-seller tallies. Yet the Colemans’ most popular series now regularly crack the trade fiction best-seller lists of The New York Times and Publishers Weekly. For years, the pair had no literary agent; they sold hundreds of thousands of books without banking a penny in royalties. Still, they have earned millions of dollars, almost exclusively from cash-for-manuscript deals negotiated directly with independent publishing houses. In short, though little known outside of the world of urban fiction, the Colemans are one of America’s most successful literary couples, a distinction they’ve achieved, they insist, because of their work’s gritty authenticity and their devotion to a primal literary virtue: the power of the ripping yarn.

“When you read our books, you’re gonna realize: ‘Ashley & JaQuavis are storytellers,’ ” says Ashley. “Our tales will get your heart pounding.”

THE COLEMANS’ HOME BASE — the cottage from which they operate their cottage industry — is a spacious four-bedroom house in a genteel suburb about 35 miles north of downtown Detroit. The house is plush, but when I visited this past winter, it was sparsely appointed. The couple had just recently moved in, and had only had time to fully furnish the bedroom of their 4-year-old son, Quaye.

In conversation, Ashley and JaQuavis exude both modesty and bravado: gratitude for their good fortune and bootstrappers’ pride in having made their own luck. They talk a lot about their time in the trenches, the years they spent as a drug dealer and “ride-or-die girl” tandem. In Flint they learned to “grind hard.” Writing, they say, is merely a more elevated kind of grind.

“Instead of hitting the block like we used to, we hit the laptops,” says Ashley. “I know what every word is worth. So while I’m writing, I’m like: ‘Okay, there’s a hundred dollars. There’s a thousand dollars. There’s five thousand dollars.’ ”

They maintain a rigorous regimen. They each try to write 5,000 words per day, five days a week. The writers stagger their shifts: JaQuavis goes to bed at 7 p.m. and wakes up early, around 3 or 4 in the morning, to work while his wife and child sleep. Ashley writes during the day, often in libraries or at Starbucks.

They divide the labor in other ways. Chapters are divvied up more or less equally, with tasks assigned according to individual strengths. (JaQuavis typically handles character development. Ashley loves writing murder scenes.) The results are stitched together, with no editorial interference from one author in the other’s text. The real work, they contend, is the brainstorming. The Colemans spend weeks mapping out their plot-driven books — long conversations that turn into elaborate diagrams on dry-erase boards. “JaQuavis and I are so close, it makes the process real easy,” says Ashley. “Sometimes when I’m thinking of something, a plot point, he’ll say it out loud, and I’m like: ‘Wait — did I say that?’ ”

Their collaboration developed by accident, and on the fly. Both were bookish teenagers. Ashley read lots of Judy Blume and John Grisham; JaQuavis liked Shakespeare, Richard Wright and “Atlas Shrugged.” (Their first official date was at a Borders bookstore, where Ashley bought “The Coldest Winter Ever,” the Sister Souljah novel often credited with kick-starting the contemporary street-lit movement.) In 2003, Ashley, then 17, was forced to terminate an ectopic pregnancy. She was bedridden for three weeks, and to provide distraction and boost her spirits, JaQuavis challenged his girlfriend to a writing contest. “She just wasn’t talking. She was laying in bed. I said, ‘You know what? I bet you I could write a better book than you.’ My wife is real competitive. So I said, ‘Yo, all right, $500 bet.’ And I saw her eyes spark, like, ‘What?! You can’t write no better book than me!’ So I wrote about three chapters. She wrote about three chapters. Two days later, we switched.”

The result, hammered out in a few days, would become “Dirty Money.” Two years later, when Ashley and JaQuavis were students at Ferris State University in Western Michigan, they sold the manuscript to Urban Books, a street-lit imprint founded by the best-selling author Carl Weber. At the time, JaQuavis was still making his living selling drugs. When Ashley got the phone call informing her that their book had been bought, she assumed they’d hit it big, and flushed more than $10,000 worth of cocaine down the toilet. Their advance was a mere $4,000.

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The roots of street lit, found in the midcentury detective novels of Chester Himes and the ‘60s and ‘70s “ghetto fiction” of Iceberg Slim and Donald Goines.Credit Marko Metzinger

Those advances would soon increase, eventually reaching five and six figures. The Colemans built their career, JaQuavis says, in a manner that made sense to him as a veteran dope peddler: by flooding the street with product. From the start, they were prolific, churning out books at a rate of four or five a year. Their novels made their way into stores; the now-defunct chain Waldenbooks, which had stores in urban areas typically bypassed by booksellers, was a major engine of the street-lit market. But Ashley and JaQuavis took advantage of distribution channels established by pioneering urban fiction authors such as Teri Woods and Vickie Stringer, and a network of street-corner tables, magazine stands, corner shops and bodegas. Like rappers who establish their bona fides with gray-market mixtapes, street-lit authors use this system to circumnavigate industry gatekeepers, bringing their work straight to the genre’s core readership. But urban fiction has other aficionados, in less likely places. “Our books are so popular in the prison system,” JaQuavis says. “We’re banned in certain penitentiaries. Inmates fight over the books — there are incidents, you know? I have loved ones in jail, and they’re like: ‘Yo, your books can’t come in here. It’s against the rules.’ ”

The appeal of the Colemans’ work is not hard to fathom. The books are formulaic and taut; they deliver the expected goods efficiently and exuberantly. The titles telegraph the contents: “Diary of a Street Diva,” “Kiss Kiss, Bang Bang,” “Murderville.” The novels serve up a stream of explicit sex and violence in a slangy, tangy, profane voice. In Ashley & JaQuavis’s books people don’t get killed: they get “popped,” “laid out,” get their “cap twisted back.” The smut is constant, with emphasis on the earthy, sticky, olfactory particulars. Romance novel clichés — shuddering orgasms, heroic carnal feats, superlative sexual skill sets — are rendered in the Colemans’ punchy patois.

Subtlety, in other words, isn’t Ashley & JaQuavis’s forte. But their books do have a grainy specificity. In “The Cartel” (2008), the first novel in the Colemans’ best-selling saga of a Miami drug syndicate, they catch the sights and smells of a crack workshop in a housing project: the nostril-stinging scent of cocaine and baking soda bubbling on stovetops; the teams of women, stripped naked except for hospital masks so they can’t pilfer the merchandise, “cutting up the cooked coke on the round wood table.” The subject matter is dark, but the Colemans’ tone is not quite noir. Even in the grimmest scenes, the mood is high-spirited, with the writers palpably relishing the lewd and gory details: the bodies writhing in boudoirs and crumpling under volleys of bullets, the geysers of blood and other bodily fluids.

The luridness of street lit has made it a flashpoint, inciting controversy reminiscent of the hip-hop culture wars of the 1980s and ’90s. But the street-lit debate touches deeper historical roots, reviving decades-old arguments in black literary circles about the mandate to uplift the race and present wholesome images of African-Americans. In 1928, W. E. B. Du Bois slammed the “licentiousness” of “Home to Harlem,” Claude McKay’s rollicking novel of Harlem nightlife. McKay’s book, Du Bois wrote, “for the most part nauseates me, and after the dirtier parts of its filth I feel distinctly like taking a bath.” Similar sentiments have greeted 21st-century street lit. In a 2006 New York Times Op-Ed essay, the journalist and author Nick Chiles decried “the sexualization and degradation of black fiction.” African-American bookstores, Chiles complained, are “overrun with novels that . . . appeal exclusively to our most prurient natures — as if these nasty books were pairing off back in the stockrooms like little paperback rabbits and churning out even more graphic offspring that make Ralph Ellison books cringe into a dusty corner.”

Copulating paperbacks aside, it’s clear that the street-lit debate is about more than literature, touching on questions of paternalism versus populism, and on middle-class anxieties about the black underclass. “It’s part and parcel of black elites’ efforts to define not only a literary tradition, but a racial politics,” said Kinohi Nishikawa, an assistant professor of English and African-American Studies at Princeton University. “There has always been a sense that because African-Americans’ opportunities to represent themselves are so limited in the first place, any hint of criminality or salaciousness would necessarily be a knock on the entire racial politics. One of the pressing debates about African-American literature today is: If we can’t include writers like Ashley & JaQuavis, to what extent is the foundation of our thinking about black literature faulty? Is it just a literature for elites? Or can it be inclusive, bringing urban fiction under the purview of our umbrella term ‘African-American literature’?”

Defenders of street lit note that the genre has a pedigree: a tradition of black pulp fiction that stretches from Chester Himes, the midcentury author of hardboiled Harlem detective stories, to the 1960s and ’70s “ghetto fiction” of Iceberg Slim and Donald Goines, to the current wave of urban fiction authors. Others argue for street lit as a social good, noting that it attracts a large audience that might otherwise never read at all. Scholars like Nishikawa link street lit to recent studies showing increased reading among African-Americans. A 2014 Pew Research Center report found that a greater percentage of black Americans are book readers than whites or Latinos.

For their part, the Colemans place their work in the broader black literary tradition. “You have Maya Angelou, Alice Walker, James Baldwin — all of these traditional black writers, who wrote about the struggles of racism, injustice, inequality,” says Ashley. “We’re writing about the struggle as it happens now. It’s just a different struggle. I’m telling my story. I’m telling the struggle of a black girl from Flint, Michigan, who grew up on welfare.”

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The Colemans in their new four-bedroom house in the northern suburbs of Detroit.Credit Courtesy of Ashley and JaQuavis Coleman

Perhaps there is a high-minded case to be made for street lit. But the virtues of Ashley & JaQuavis’s work are more basic. Their novels do lack literary polish. The writing is not graceful; there are passages of clunky exposition and sex scenes that induce guffaws and eye rolls. But the pleasure quotient is high. The books flaunt a garish brand of feminism, with women characters cast not just as vixens, but also as gangsters — cold-blooded killers, “murder mamas.” The stories are exceptionally well-plotted. “The Cartel” opens by introducing its hero, the crime boss Carter Diamond; on page 9, a gunshot spatters Diamond’s brain across the interior of a police cruiser. The book then flashes back seven years and begins to hurtle forward again — a bullet train, whizzing readers through shifting alliances, romantic entanglements and betrayals, kidnappings, shootouts with Haitian and Dominican gangsters, and a cliffhanger closing scene that leaves the novel’s heroine tied to a chair in a basement, gruesomely tortured to the edge of death. Ashley & JaQuavis’s books are not Ralph Ellison, certainly, but they build up quite a head of steam. They move.

The Colemans are moving themselves these days. They recently signed a deal with St. Martin’s Press, which will bring out the next installment in the “Cartel” series as well as new solo series by both writers. The St. Martin’s deal is both lucrative and legitimizing — a validation of Ashley and JaQuavis’s work by one of publishing’s most venerable houses. The Colemans’ ambitions have grown, as well. A recent trilogy, “Murderville,” tackles human trafficking and the blood-diamond industry in West Africa, with storylines that sweep from Sierra Leone to Mexico to Los Angeles. Increasingly, Ashley & JaQuavis are leaning on research — traveling to far-flung settings and hitting the books in the libraries — and spending less time mining their own rough-and-tumble past.

But Flint remains a source of inspiration. One evening not long ago, JaQuavis led me on a tour of his hometown: a popular roadside bar; the parking lot where he met the undercover cop for the ill-fated drug deal; Ashley’s old house, the site of his almost-arrest. He took me to a ramshackle vehicle repair shop on Flint’s west side, where he worked as a kid, washing cars. He showed me a bathroom at the rear of the garage, where, at age 12, he sneaked away to inspect the first “boulder” of crack that he ever sold. A spray-painted sign on the garage wall, which JaQuavis remembered from his time at the car wash, offered words of warning:

WHAT EVERY YOUNG MAN SHOULD KNOW
ABOUT USING A GUN:
MURDER . . . 30 Years
ARMED ROBBERY . . . 15 Years
ASSAULT . . . 15 Years
RAPE . . . 20 Years
POSSESSION . . . 5 Years
JACKING . . . 20 YEARS

“We still love Flint, Michigan,” JaQuavis says. “It’s so seedy, so treacherous. But there’s some heart in this city. This is where it all started, selling books out the box. In the days when we would get those little $40,000 advances, they’d send us a couple boxes of books for free. We would hit the streets to sell our books, right out of the car trunk. It was a hustle. It still is.”

One old neighborhood asset that the Colemans have not shaken off is swagger. “My wife is the best female writer in the game,” JaQuavis told me. “I believe I’m the best male writer in the game. I’m sleeping next to the best writer in the world. And she’s doing the same.”

 

Mr. Mankiewicz, an Oscar-nominated screenwriter for “I Want to Live!,” also wrote episodes of television shows such as “Star Trek” and “Marcus Welby, M.D.”

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