For me, Going Big is the joy of feeling totally alive and terrified. My mom named the thrill “horrible-wonderful.” While very real, horrible drops away pretty quick when I’m wonderfully following my heart.
On Gili Air and in the silence of Nyepi, I decided to return to Java and write the screenplay. I flew from one kingdom to another, from Bali to Yogyakarta. It’s difficult to describe how freeing and scary this choice was for me. For nearly thirty years I’d made every big decision together with my husband. Going Big alone was new to me. Since the trip to Indonesia had met with so much resistance in my past life, the fact that I had actually taken the trip was huge. Extending my trip meant Going Big for myself, my art and my faith. Going Big became my new mantra.
I’d begun to write the screenplay in LA before I left, but something was missing. I hadn’t been to Indonesia and the script was the poorer for it. I touched down on Java painfully aware that the last time my dad had been on Javanese soil was as a prisoner of the Japanese. I would spend the next two weeks writing the screenplay about how dad fought for his life, while I was fighting for mine. Java’s perilous past fascinated me as I faced a seemingly perilous future. Was there some kind of message here about how I might survive?
As catastrophic as the end days were for Dad and our family on Java, the Indonesian way of life gave him constant joy. I’d find him in our Chicago basement hacking a coconut with an axe to extract its fresh milk, frying krepuk (shrimp crackers) on our back porch, filling the house with the scent of coconut curry chicken, topping jasmine rice with serundang (toasted coconut). Dad never said a bad word about the Japanese. He’d even encouraged me to buy a Honda when I’d saved enough of my waitressing tips to buy half of my first car—my parents treated me to the other half. Over the years, Mom and Dad would travel to Kyoto, Hiroshima, Nikko, Tokyo and entertain Japanese engineers at our home in Chicago. No one ever knew about his experience, not even Mom. I certainly didn’t. Not until Dad turned eighty. We spent the next ten years talking. Sometimes we corresponded by letters, but most of the time we’d sit in his room in Florida and we’d chat for a few hours at a time.
The final draft of the screenplay is nearly completed.
I just arrived at the d’Omah hotel. The perfect place to write. They even offer an amazing Rijsttafel here on Sundays (Rijsttafel is a Dutch word which means “rice table” and is an elaborate meal the Dutch had during the colonial days when Indonesia was the Dutch East Indies). Omah means “home” in Indonesian. I’m on a quest to find a home in the world. This truly feels like one.
As I settle in I hear buzzing, lots and lots of buzzing in the background. I walk down the road past the rice fields to the main street where parades of motorcycles, very loud motorcycles, wave large red flags. Villagers at the roadside watch the spectacle. Indonesian elections come with throngs of motorcycle-riding, flag-flying, noise-making party people. I’m hooked. I’ve never seen anything like their intensity. Some wear face masks. I’m standing here watching the scene among the masks and the revving. This is definitely Going Big. I film what I see. As election day approaches, I can’t wait to start writing.