AN ANNOTATED TRANSLATION OF ADDRESSING TERM IN

BEVERLY CLEARY’S RAMONA FOREVER

Thesis

Submitted in Partial Fullfilment

of the Requirements for the Degree of

Sarjana Sastra

By

YUNITA KRISTIANI

392014029

ENGLISH LITERATURE PROGAM

FACULTY OF LANGUAGE AND ARTS

UNIVERSITAS KRISTEN SATYA WACANA SALATIGA

2018

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AN ANNOTATED TRANSLATION OF ADDRESSING TERM IN

BEVERLY CLEARY’S RAMONA FOREVER

Thesis

Submitted in Partial Fullfilment

of the Requirements for the Degree of

Sarjana Sastra

By

YUNITA KRISTIANI

392014029

ENGLISH LITERATURE PROGAM

FACULTY OF LANGUAGE AND ARTS

UNIVERSITAS KRISTEN SATYA WACANA SALATIGA

2018

iii

iv

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Copyright Statement

This thesis contains no such material as has been submitted for examination in any course or

accepted for the fulfillment of any degree or diploma in any university. To the best of my

knowledge and my belief, this contains no material previously published or written by any

other person except where due reference is made in the text.

Copyright@2018. Yunita Kristiani and Esriaty Sega Kendenan, M.Hum.

All rights reserved. No part of this thesis may be reproduced by any means without the

permission of at least one of the copyright owners or the Faculty of Language and Arts,

Universitas Kristen Satya Wacana, Salatiga.

Yunita Kristiani

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TABLE OF CONTENTS

TITLE PAGE .....................................................................................................................ii

APPROVAL PAGE ...........................................................................................................v

COPYRIGHT STATEMENT ............................................................................................vi

PUBLICATION AGREEMENT DECLARATION ..........................................................vii

TABLE OF CONTENTS …...............................................................................................viii

LIST OF TABLES .............................................................................................................x

ABSTRACT …...................................................................................................................1

CHAPTER I INTRODUCTION …....................................................................................2

A. Background of the study .........................................................................................2-3

1. Research Questions ...........................................................................................3

2. Objective of Study .............................................................................................3

B. Description of the selected text ...............................................................................3

1. Author’s biography ...........................................................................................3-4

2. Book description ...............................................................................................5

3. Source text readership .......................................................................................6

4. Target text readership ........................................................................................6

C. Theoretical Framework ............................................................................................6

1. Addressing Terms ..............................................................................................6-7

a. Kindship .......................................................................................................7

b. General form .................................................................................................7

c. Relationship ..................................................................................................7

d. Endearment expressions ...............................................................................7

e. Nominal form ...............................................................................................7

2. Translation procedure .........................................................................................7

a. Cultural equivalent ........................................................................................7-8

b. Functional equivalent ....................................................................................8

c. Synonymy .....................................................................................................8

d. Through-translation .......................................................................................8

e. Transposition .................................................................................................8-9

f. Modulation .....................................................................................................9

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g. Paraphrase ...................................................................................................9

D. Methodology of Annotated Translation ..................................................................9

1. Translation method ............................................................................................9

2. Translating process ..........................................................................................10-12

3. Annotating process ..........................................................................................12-13

CHAPTER II TRANSLATION AND ITS SOURCE TEXT ............................................14

A. Target text ..............................................................................................................14-37

B. Source text .............................................................................................................38-59

CHAPTER III ANNOTATION ........................................................................................60

A. Kinship term ..........................................................................................................60-61

B. General form ..........................................................................................................61-62

1. Synonymy ........................................................................................................62-63

2. Through-translation .........................................................................................63-64

3. Transposition ...................................................................................................65-66

4. Modulation .......................................................................................................66

C. Relationship ...........................................................................................................67-68

D. Endearment term ....................................................................................................68

1. Cultural equivalent ...........................................................................................68-69

2. Synonymy ........................................................................................................69-71

3. Transposition ...................................................................................................71-72

E. Nominal form ........................................................................................................72-73

CHAPTER IV CONCLUSION AND SUGGESTIONS ...................................................74

A. Conclusion .............................................................................................................74

B. Suggestion .............................................................................................................74-75

REFERENCES ….............................................................................................................76-77

GLOSSARY ….................................................................................................................78

ACKNOWLEDGEMENT ................................................................................................79

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LIST OF TABLE

Table 3.1 Her third-grade niece :: Keponakan perempuannya yang duduk di kelas tiga

sekolah dasar ...................................................................................................................61

Table 3.2 You hateful little creep :: gadis egois yang aneh ............................................62

Table 3.3 Pizzaface :: muka jerawat ...............................................................................63

Table 3.4 You old camel :: unta tua ................................................................................64

Table 3.5 Old Moneybags :: si Tua Kaya ........................................................................65

Table 3.6 Cute licorice-chewing uncle :: paman .............................................................66

Table 3.7 Young lady :: nak ............................................................................................67

Table 3.8 Doll :: gadis cantik ..........................................................................................68

Table 3.9 Lovely little lady :: gadis cantik .....................................................................69-70

Table 3.10 Atta girl :: hebat ............................................................................................70

Table 3.11 You girls :: kalian .........................................................................................71

Table 3.12 The girls’ parents :: orang tua mereka ..........................................................72

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ABSTRACT

Title : An Annotated Translation of Addressing Term in Beverly Cleary’s Ramona Forever

Name : Yunita Kristiani

The purpose of this annotated translation is to give commentary on some problematic addressing

terms found in the source text and the translation procedures is used to translate them.Based on the

theory, addressing term is divided into four forms. One of them is used in this thesis that is noun of

address which also classified into nine forms. However, there are five out of nine annotated forms

which are in this thesis, such as kinships, general forms, relationship expressions, endearment

expressions, and nominal forms. The method used in translating the source text into target text is

communicative translation in order to transfer message that is acceptable in TL culture and easily

understood by target readers. As a result, in translating addressing terms, the translation procedures

used to translate are cultural equivalent, functional equivalent, synonymy, through-translation,

transposition, modulation, and paraphrase. These procedures serve to solve the translation problem of

addressing terms. From this study, it can be concluded that such of translation method and procedure

can be used to translate addressing terms.

Keyword: translation method, addressing terms, translation procedure, annotated translation.

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Chapter

I

INTRODUCTION

A. Background of the study

Translation is defined in many ways by different experts. According to

Newmark (1988:5) translation is “rendering the meaning of a text into another

language in the way that the author intended the text.”Beside that, Larson (1984:3)

says that translation consists of translating the meaning of the source language into the

receptor language. This is done by going from the form of the first language to the

form of a second language by way of semantic structure. It means which is being

transferred and must be held constant. Only the form changes. From the definition of

translation above, it can be concluded that translation includes the act of transferring

message from the source text to the target text. Translation itself has the aim, that is to

find the equivalent meaning of the source language expression in the target language.

This matter means that in delivering the equivalent message of two different

languages is not only being able to be reviewed from lexical terms, but also the

culture and social aspect of those two languages.

After translating the source text of the novel entitled Ramona Forever, then

the next step in this thesis is annotating target language which is focusing on

addresing terms. Addressing term is used by people to address someone. Dealing with

the novel entitled Ramona Forever by Beverly Cleary in 1984,so many addressing

terms which were found that spoken by Ramona, Beezus, and Mr. Quimby. Actually,

in that book there are some idioms, but they are just limited. And based on the

requirements of this kind of thesis that the student must give at least ten annotations

dealing with the problematic items faced by the students in translating selected text.

So, because there are a lot of addressing terms in the source text that arise problems in

their translation, addressing terms are chosen to limit this study.Friederike

Braun(1988: 56) indicates that “terms of address often designate the interlocutors, but

not necessarily so, since their literal and lexical meanings can differ from or even

contradict the addresses’s personal social features.”So, from that definition, it can be

concluded that the addresses are not always addressing someone by designating in a

directly conversation, but also it can be in the context. In this thesis, after translating

the source text into the target text, then the writer annotates the terms of addressing.

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Not all of the novels can be used in this thesis. In accordance with the

requirements specified by the lecturer that in writing this thesis, the student must use a

novel that has not been translated. It means that, if translation in Indonesian has not

been published. Certainly, there are three reasons of choosing this book. First, this

book is not translated yet.Second, the story of this book has many moral value in it.It

means that the story has something good to be learned and applied in the readers’ life.

For example, after reading this book, the readers can learn the messages of this story

which is acted by the main character, Ramona.Third, in the story of this novel, there

are many addressing terms which are spoken by some characteristic, Ramona, Beezus,

and Mr. quimby in their conversation that are interesting to discuss and annotate.

1. Research Questions

Based on the background of the study, translating a novel entitled Ramona

Forever by Beverly Cleary and analysing the source and target text are two

matters that is done in this thesis. This thesis would like to address the following

questions:

How does the translator translate addressing terms of the target text?

Why does the translator choose the certain procedure in translating addressing

terms of the target text?

2. Objective of Study

Based on the research questions above, this study aims to:

translate the addressing terms of the target text.

explain the reason of choosing the certain procedure in translating addressing

terms of the target text.

B. Description of the selected text

This part deals with author’s biography, source text readership, and target text

readership.

1. Author’s biography

An article entitled Beverly Cleary Biographyposts a biography of

Beverly Cleary. Beverly Cleary is one of America’s most popular and honored

author of all time. She was born in McMinnville, Oregon, April 12th. She

lived on a farm in Yamhill until she was six and then moved to Portland. After

college, she became the children’s librarian in Yakama, Washington. In 1940,

she married Clarence T. Cleary, and they are the parents of twins, now grown.

Mrs. Cleary’s books have earned her many pretigious awards, including the

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American Library Association’s Laura Ingalls Wilder Award, presented in

recording of her lasting contribution to children’s literature. Her Dear Mr.

Henshaw was awarded the 1984 John Newbery Medal, and her Ramona and

Her Father and Ramona Quimby, Age 8 have been named Newbery Honor

Books. In addition, her books have won more than thirty statewide awards

based on the votes of her young readers. Her characters such as Henry

Huggins, Ellen Tebbits, Otis Spofford, Beezus, and Ramona Quimby, as well

as Ribsy, Socks, and Ralph S. Mouse, have delighted children for more than a

generation. Below is Beverly Cleary’s books:

Henry Huggins (1950)

Ellen Tebbits (1951)

Henry and Beezus

(1952)

Otis Spofford (1953)

Fifteen (1956)

Henry and the Paper

Route (1957)

The Luckiest Girl

(1958)

Jean and Johnny (1959)

The Hullabaloo ABC

(1960)

The Real Hole (1960)

Beaver and Wally

(1960)

Here’s Beaver (1961)

Two Dog Biscuits

(1961)

Emily’s Runaway

Imagination (1961)

Henry and the

Clubhouse (1962)

Sister of the Bride

(1963)

Ribsy (1964)

The Mouse and the

Motorcycle (1965)

The Growing-Up Feet

(1967)

Mitch and Amy (1967)

Ramona the Pest (1968)

Runaway Ralph (1970)

Socks (1973)

Ramona the Brave

(1975)

Ramona and Her Father

(1977)

Ramona and Her

Mother (1979)

Ramona Quimby, Age 8

(1981)

Ralph S. Mouse (1982)

Dear Mr. Henshaw

(1983)

Ramona Forever (1984)

The Ramona Quimby

Diary (1984)

Lucky Chuck (1984)

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Henry Huggins series

(1950 – 1964)

Ramona Series (1955-

1999)

2. Book description

Ramona Forever is written by Beverly Cleary. It was published in 1984 by

Scholastic Inc. Ramona Forever is a humorous children’s novel. It is about a

third-grade named Ramona who always tried to be pleasant and helpful in every

moments, such as happiness and sadness moments. This story came first when

Howie and Willa Jean’s rich uncle came to visit them. All of things seem to be

changing. All people including Howie talked about him. Ramona who did not like

him because he always teased her and never wanted to have an uncle like him,

instead he married her aunt, Aunt Beatrice. Then, Ramona’s grown-up full of

beginings, discoverings, and surprises.

In Ramona Forever book, Beverly Cleary divided the story into ten chapters.

From those ten chapters, there are only three that are translated for this final

project because of the requirement, that is only 7500 words. These are three

chapters and the summary:

a. Chapter 1 “The Rich Uncle”

Howie’s uncle came to visit his family. The chaos ensued when Willa

Jean spoiled her accordion, Howie who fell down from his unicycle, and

Ramona who is blamed by Mrs. Kemp because of Willa Jean’s broken

accordeon. Ramona was dislike with Howie’s uncle, because he always teased

her. That makes Ramona will not live there anymore after school.

b. Chapter 2 “Ramona’s Problem”

Because of Ramona will not live in Kemp Family anymore, then she

asks a permission for not living there to her parents. After Mr. and Mrs.

Quimby know her story, they let Ramona stay at home after school. During

staying at home, Ramona is being good.

c. Chapter 3 “Being Good”

Ramona's good attitude was gone instantly when she was bored at

home after school and Howie who took her on a bicycle, injured her on the

knee. It made Beezus feel annoyed at her. Then, Ramona apologized to Beezus

and being a good Ramona again.

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3. Source text readership

In an interview of Beverly Cleary in a Youtube with the title of Beverly Cleary

Author Interviewon October 6, 2011, she said that she received many letters from

children or their parents telling her of a child who never liked to read. So, this is

one of the reasons why Beverly Cleary targeted her book to the children

expecially on age seven to nine years old and the grade level is two to four.

Another reason are:

The genre of this book is a children’s novel.

The language which used is for the children.

The plot of this book is about Ramona’s life, a third-grade child.

4. Target text readership

The target readership of the target text is also for the children. But, the specific

of the age is not determined, means that all children can read this book. The

reason why the target readership of the target text is children, because the

language used is for the children, means that there is no change in the structure of

language, meaning of the story, and plot of the story, because the translator used

communicative translation as a method of translating. Communicative translation

itself is the translation method to make the target reader understand the story

without eliminating the meaning of the target text.

C. Theoretical Framework

This part consists of the definition and theory will be used in this thesis related

to the object the researcher describe, such form of addressing term and translation

procedure.

1. Addressing Terms

The theory of addressing term is for determining forms of the addressing terms

in the source text which are found.Braun (1998:7) states that terms of address are

words and phrases used for addressing someone.He also classifies it into pronouns

of address, verb forms of address, nouns of address and bound and free forms of

address.From those terms of address, there is only one term used in this thesis,

nouns of address. Braun (1998:9-11) classifies nouns of address into names,

kinships, general forms, titles, abstracts, occupational terms, relationship

expressions, endearment expressions, and nominal forms.From those

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classifications of nouns of address, there are five forms used in this thesis, they are

kindship, general form, relationship, endearment expression, and nominal form.

a. Kindship

Kindships are terms for blood relations and affines, for example mom,

dad, grandma, etc.

b. General form

General form is a term which needs not to be regarded as particular

titles and are in common use. This characterization is vague enough, but a

more detailed description of this group of forms whould involve language-

spesific properties.

c. Relationship expressions

The relationship expressed in the term, though, need not correspond to

the actual relationship. Sometimes such terms are common even among

strangers, for example friend, colleague, neighbour, etc.

d. Endearment expressions

Terms of address are defined by context and function rather than

formal or semantic characteristics. In addressing small children or persons to

whom the speaker feels close, almost any noun.” It means that endearment

expression is used to address someone who has tight relationship with the

speaker, for examplemy dear young lady, my dear fellow, my boy, etc.

e. Nominal form

With regard to nominal forms, address must be clearly distinguished

from reference, for example daughter, father, brother, etc.

2. Translation procedure

There are different terms of translation procedure. Mona Baker (1992)

names it as “translation strategy”and Newmark (1998) names it as “translation

procedure”. Those terms have same purpose, that is to solve the translation

problems. Peter Newmark (1988: 81-91) proposes someprocedures that can be

used to translate the translation problems. But, there are only eight translation

procedures used in this thesis to translate the addressing terms:

a. Cultural equivalent

Newmark (1988:82-83) states that cultural equivalent is an

approximate translation where a SL cultural word is translated by a target

language. Since the translation are not accurate, but they can be used in

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general texts, publicity and propaganda, as well as for brief explanation to

readers who are ignorant of the relevant SL culture, for example ‘Great

Lord’ is translated become Ya, Tuhan.

b. Functional equivalent.

Newmark (1988: 83) says that this common procedure, applied to

cultural words, requires the use of a culture-free word, sometimes with a

new specific term, it therefore neutralises or generalises the source

language word. A similar procedure is used when a SL technical word has

no target language equivalent. This procedure occupies the middle,

sometimes the universal, area between the SL language or culture and the

TL language or culture, for example ‘My dear fellow’ is translated become

Wah, Sobat.

c. Synonymy

Newmark (1988:84) states that synonymy is a translation procedure

which is sense of a near target language equivalent to an source language

word in a context, where a precise equivalent may or may not exist. This

procedure is used for a source language word where there is no clear one-

to-one equivalent, and the word is not important in the text, in particular

for adjectives or adverbs of quality, for example ‘Her sweetheart’ is

translated become pacarnya.

d. Through-translation

Newmark (1988:84) states that through-translation in contiguous

cultures sometimes fill in useful gaps. Through-translation is a procedure

which is literally in translating. It is the literal translation of common

collocations, names of organizations and components of compounds. It can

also be called calque or loan translation. Normally, through-translations

should be used only when they are already recognised terms, for example

‘Noble benefactor’ is translated become bangsawan dermawan.

e. Transpositions

Newmark (1988:85) explains that transposition is a translation

procedure involving a change in the grammar from source language to

target language. There are four types of this translation procedure. First,

the change from singular to plural. Second, requirement when an source

language grammatical structure does not exist in the target language.

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Third, the one where literal translation is grammatically possible but may

not accord with natural usage in the target language. The last, the

replacement of a virtual lexical gap by a grammatical structure, for

example ‘Noble Lord’ is translated become bangsawan.

f. Modulation

Newmark (1988:88) states that it occurs when the translator reproduces

the message of the original text in the target language text in comformity

with the current norms of the target language, since the source language

and the target language may appear dissimilar in terms of perspective, for

example ‘hereditary King’ is translated become Raja.

g. Paraphrase

Newmark (1988:90) states, “This is an amplification or explanation of

the meaning of a segment of the text. It is used in an 'anonymous' text

when it is poorly written, or has important implications and omissions,” for

example ‘noble lad’ is translated become putra anda.

D. Methodology of Annotated Translation

This part consists of translation methods, translating process, and annotating

process. These three things are used to apply the way of translating and annotating

in this thesis. Jenny and Andrew (2002:7-8) state that annotated translation is “a

form of introspective and retrospective research where you yourself translate a

text and, at the same time, write a commentary on your own translation process.”

According to Cambridge Dictionary, methodology is “a system of ways of doing,

teaching, or studying something.”

1. Translation method

In translating Ramona Forever, translation method that used is

communicative translation by Peter Newmark. Newmark (1998:41) states that

communicative translation is “attempting to render the exact contextual

meaning of the original in such a way that both content and language are

readily acceptable and comprehensible to the readership.” Based on that

definition, communicative translation is a translation method which makes the

reader can understand the meaning or context. It means that by using

communicative translation the target text will be more acceptable to the target

reader.

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2. Translating process

Before annotating, the first step is translating. Larson (1984:519) states

that “translation has been presented as a process which begins with the source

text, analyzes the text into semantic structure, and then restuctures this

semantic structure into appropriate receptor language forms in order to create

an equivalent receptor language text.” Larson (1984:519-548) classifies

translation process into eight processes, preparation, analysis, transfer, initial

draft, reworking initial draft, testing the translation, polishing, and preparing

the manuscript for the publisher. There are only six processes used in this

thesis in translating Ramona Forever, the others are not used because this

translation is not for published.

a. Preparation

In preparation process, there are two ways the translator should do.

First, read the entire text through several times. In reading the text, the

translator maybe will mark any sections which seem unclear. Beside that,

the translator should understand the message intended by the author,

maybe they can use like this questions, “What is the information that is

being communicated?” and “What feelings or impact is the text intended to

have on the readers?”. Second, study the background material. This, the

translator includes the finding out about the author, the circumtances of the

writting of the text, the purpose for which it was written, the culture of the

source text, and from whom the text was written. Beside that, in studying

the background material, the translator should include study of linguistic

matters related to the text. This will be helpful for the translator to do a

comparison of the text in the source and receptor languages.

b. Analysis

One of the first steps in analysis should be careful of study of the key

words, in order to find lexical equivalent in the receptor language. The

components of meaning which are crucial and need to be transferred

should be identified. In the analysis process, the translator needs to study

the groupings of the next text, if the text is very long. Groupings will

depend on the genre of the text. The translator will also need to note the

relations between various units, discover what the cohesive devices used

are indicating, and also identify the units which are most prominent. Many

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translators find it helpful to rewrite in the source language the part of the

text they are working on in propositions, eliminating the skewing between

the deep and surface structure of the source text. Transposition to transfer

from the source to the receptor language, for the underlying structures of

language are formally and semantically closer together than are the

surfaces structures of languages.

c. Transfer

Larson (1984:525) states that “transfer is the process of going from the

semantic structures analysis to the initial draft of the translation.” In the

transfer process, the translator is producing a receptor language equivalent.

There are four things the translator should pay attention in carrying out this

process, the translator looks for good lexical equivalence for conceptsof

the source language and culture, decides whether or not the figurative and

rhetorical devices of the source language will be transferable or of some

adjustment will need to be made, considers what grammatical forms to use

to best communicate the correct meaning, and considers how to signal

cohesion and prominence.

d. Initial draft

The work of analysis, transfer, and initial drafting are not independent

the one of the other. As the translator begins the initial draft, he should be

working at paragraph level. Once, the translator is sure what the paragraph

is to communicate, the translator should compose the draft as naturally as

possible, without looking at the source language or even the semantic

rewrite. However, there are a number of things which the translator should

keep in mind as the translator does this initial draft. First of all, the

translator should be thinking clearly about who will use the translation,

their level of education, and other matters discussed in the previous

chapter on establishing the project.

e. Reworking the initial draft

In this way, the translator comes with a fresh look at the draft and is

able to be more objective in the evaluation and reworking of it. The

reworking of the initial draft includes checking for naturalness and

accuracy. There are three things the translator should pay attention. First,

the translator reads through the manuscript of the larger unit which the

12

translator is checking. Sometimes, it helps to read it out loud or read it into

a tape recorder and listen to it. In doing this, the translator should be

looking for, (1) wrong grammatical forms, (2) places that seem too wordy,

(3) wrong order, awkward phrasing, (4) places where the connections do

not seem right and it does not flow easily, (5) collocational classes, (6)

questionable meaning, (7) style. Second, the translator checks for accuracy

of meaning. Some of the problems the translator may find are, (1)

something omitted, (2) something added, (3) a different meaning, and (4) a

zero meaning, that is the form used just does not communicate any

meaning at all. Third, the translator checks is whether or not the theme

comes through clearly.

f. Testing the translation

This step is needed to know whether the translation product had done

by the translator perfectly transferred or not. There are three main reasons

in doing testing the translation, accurate, clear, and natural. In order to

make the translation as accurate, clear, and natural as possible. The

translation must involve at least four persons. They are translator,

consultant, tester, and reviewer. The translator will do self-checks by

making a comprehension testing. The translator asks poeple to read the

translation whether they understand or not. The consultant helps the

translation in accuracies and correcting use of translation principles. He or

she can often help with difficult exegetical questions. The tester tests the

translation with people whether the Source Text familiar or not. The

reviewer reads through the translation and makes comments concerning

clarity and naturalness.

3. Annotating process

In this thesis, annotating process is used to solve the problem of

addressing terms which exist in the source text and translated in the target text.

There are threeannotating processes used in this thesis, and these are those

processes:

a. Collect the addressing term of the source text.

This step is the first step of annotating process. In collecting the

addressing terms in the source text, the thing that the translator should note

is whether the words are really the intended addressing terms. This means

13

that before collecting, the researcher must really know what the addressing

term is. In the text of 7,500 words, according to the requirement, that the

researcher should be able to find 10 - 15 types of addressing term in the

source text. Addressing terms will be selected by using different forms of

addressing terms.

b. Select the addressing term with the form of addressing term.

The next step is selecting the addressing terms into the forms of

addressing term. The forms of addressing term which used in this thesis

are forms of addressing term by Friederike Braun (1998). The thing that

must be considered by the researcher so that no mistake is the researcher

must understand each forms of addressing term.

c. Explain about using the certain form of addressing term and translation

procedure.

The last step is explaining why this thesis uses the certain forms of

addressing terms and the translation procedure. This step is a decisive step

whether in selecting into the forms of addressing term and translation

procedure is right on the target. Those explanations will reinforce the

reason why only certain forms and procedures are used, and of course also

use the existing evidence by including the examples of addressing terms

that have been collected.

14

Chapter

II

TRANSLATION AND ITS SOURCE TEXT

A. Target Text

Selamanya Ramona

Bab I

Paman Kaya

[1.1] “Tebak apa?” tanya Ramona Quimby ketika Tante Beatrice mampir ke rumahnya

pada Jumat malam untuk menunjukkan pakaian skinya yang baru sekaligus untuk makan

malam. Ibu, ayah, dan kakak perempuannya, Beezus, yang nama aslinya adalah Beatrice,

tidak memperhatikannya dan tetap menikmati makan malam mereka. Picky-picky, kucing

peliharaannya, mengeong dari pintu ruang bawah tanah, meminta makanan.

[1.2] Tante Beatrice, yang mengajar kelas tiga sekolah dasar, tahu bagaimana berperilaku

terhadap keponakan perempuannya yang duduk di kelas tiga sekolah dasar itu. “Apa?”

tanyanya sambil meletakkan garpu, seolah-olah dia terkejut dengan berita dari Ramona.

[1.3] Ramona menghela nafas dan berkata, “Paman Howie Kemp yang kaya itu akan

datang berkunjung.” Kecuali Tante Bea, keluarganya tidak se-penasaran yang Ramona

harapkan. Ramona meloncat-loncat bahagia karena temannya itu. “Nenek Howie sangat

gembira, begitu juga Howie dan Willa Jean.” Sejujurnya, Ramona lah, yang tidak suka

tinggal di rumah Kemp sepulang sekolah, dimana nenek Howie menjaga cucu-cucunya dan

Ramona selama ibu mereka bekerja. Seorang paman yang kaya, bahkan paman orang lain

yang kaya, seharusnya membuat jam-jam pulang sekolah itu menjadi lebih menarik.

[1.4] “Aku tidak tahu Howie punya paman yang kaya,” kata ibu Quimby.

[1.5] “Dia adalah adik ayah Howie yang baru saja tumbuh besar,” Ramona menjelaskan.

[1.6] “Dia pastiHobart Kemp,” kata Tante Beatrice. “Waktu SMA dia satu kelas

denganku.”

[1.7] “Oh, ya. Aku ingat. Laki-laki itu berambut keriting pirang dan bermain baseball,

olahraga beregu yang populer di kawasan Amerika dan Asia Timur.” Ibu Quimby memberi

15

isyarat pada Ramona dan Beezus untuk membereskan semua piring. “Semua anak perempuan

menganggapnya manis.”

[1.8] “Itu dia orangnya,” kata Tante Bea. “Dia biasa mengunyah licorice, tanaman akar

manis, dan meludahkannya ke rerumputan untuk membuat kepala sekolah berpikir bahwa dia

sedang mengunyah tembakau layaknya pemain baseball profesional, seperti yang dia

inginkan.”

[1.9] “Dari mana paman ini berasal, dan bagaimana dia bisa kaya?” tanya ayah Ramona

mulai tertarik. “Bermain baseball?”

[1.10] “Dia berasal dari ...” Ramona mengerutkan keningnya. “Aku tidak bisa mengingat

namanya, tapi ini terdengar seperti sebuah cerita dongeng yang ada untanya.” Narnia? Never-

never-land? Tidak, bukan itu.

[1.11] “Saudi Arabia,” kata Beezus, yang juga tinggal di rumah Kemp sepulang sekolah.

Duduk di bangku Sekolah Menengah Pertama, dia bisa meluangkan waktunya untuk pergi

kesana.

[1.12] “Ya, itu dia!” Ramona berharap dialah yang mengingatnya terlebih dahulu. “Howie

bilang kalau pamannya akan membawakan hadiah untuk seluruh keluarganya.” Ramona

membayangkan tas berisikan emas seperti yang ada di The Arabian Nights, kumpulan

dongeng abad pertengahan dari Timur Tengah, yang pernah Beezus bacakan untuknya. Tentu

saja, tidak ada orang yang membawa tas berisikan emas di zaman ini, tapi dia terus

membayangkannya.

[1.13] “Apa pekerjaan paman Howie di Saudi Arabia?” tanya pak Quimby. “Selain

meludahkan licorice di pasir?”

[1.14] “Ayah, jangan konyol,” kata Ramona. “Aku tidak tahu tepatnya.” Dia berharap lebih

banyak informasi karena sekarang ia menjadi pusat perhatian. “Sesuatu yang berhubungan

dengan minyak. Bor, alat pengebor, atau sejenisnya. Howie paham dengan semua ini.

Pamannya menghasilkan banyak uang.” Saat itu keluarga Quimby sedang memiliki masalah

keuangan.

[1.15] “Oh, seperti itu kekayaannya,” kata pak Quimby. “Mungkin paman yang sudah lama

hilang telah meninggal dan mewariskan sebuah kastil yang penuh dengan pelayan, perhiasan,

dan anggur tua yang langka.”

16

[1.16] “Ayah, itu sudah sangat kuno,” kata Ramona. “Itu hanya ada di buku-buku cerita.”

[1.17] Perbincangan yang mulai menyimpang itu sudah tidak lagi melibatkan Ramona.

Ayahnya yang akan mendapatkan tugas mengajarnya di bulan Juni mengatakan bahwa ia

sedang bertanya ke sekolah-sekolah yang membutuhkan seorang guru seni. Ia juga bercerita

mengenai masalah para pekerja di gudang makanan beku, tempatnya bekerja saat akhir pekan

dengan suhu dibawah titik beku. Sementara, Ibu Quimby menceritakan tentang dua orang

yang bertengkar di area parkir kantor dokter dimana dia bekerja. Tante Bea menceritakan

tentang seorang laki-laki bernama Michael yang mengajaknya bermain ski, dan itulah

sebabnya dia membeli pakaian ski yang baru. Beezus bertanya apakah Michael akan

menikahi Tante Bea. Ia tertawa dan kemudian menceritakan bahwa ia baru dua minggu

mengenal Michael. Berhubung ini bulan Januari, maka hanya tinggal beberapa bulan lagi

permainan ski yang tersisa dan tidak ada yang tahu apa yang akan terjadi.

[1.18] Tidak ada lagi yang berbicara tentang paman Howie malam itu. Hari-hari berlalu.

Paman Hobart belum juga datang. Setiap malam pak Quimby bertanya, “Sudahkah si Tua

Kaya datang?” Dan Ramona berkata belum.

[1.19] Akhirnya suatu pagi, disaat Ramona dan Howie menunggu bus sekolah, Ramona

berkata, “Aku sama sekali tidak mengira kalau kamu punya paman kaya. Aku pikir kamu

hanya mengada-ngada.”

[1.20] Howie berkata kalau dia juga tidak mengira memiliki seorang paman yang kaya.

Ketika Ramona pergi ke rumah Kemp sepulang sekolah, Willa Jean juga membicarakan

tentang paman Hobart dan hadiah yang akan dia bawa.

[1.21] Dengan ekspresi kesal, Ramona memberitahu Howie dan Willa Jean bahwa ibunya

berkata, tidak baik membicarakan keuangan orang lain. Tapi mereka tidak memperhatikannya

- lagi pula, Paman Hobart itu paman mereka, bukan paman Ramona - dan terus

membicarakan banyak hal mengenai Paman Hobart. Paman Hobart sudah tiba di New York,

dan begitu sampai, ia langsung menghubungi keluarganya. Ia berkendara melewati pedesaan.

Namun, badai di pegunungan Rokies sedikit menghambat perjalanannya. Ramona berharap

belum pernah mendengar tentang Paman Hobart.

[1.22] Suatu hari setelah pulang sekolah, Ramona dan Howie melihat van yang berlumpur

terparkir di garasi depan rumah keluarga Kemps.

[1.23] “Pasti Paman Hobart!” seru Howie dan langsung berlari.

17

[1.24] Ramona berjalan santai. Entah bagaimana, ia berharap kalau Paman Hobart

mengendarai mobil limousine hitam panjang, bukan van yang berlumpur. Ia mengikuti Howie

masuk ke dalam rumah dimana paman yang terkenal itu ternyata seorang laki-laki muda yang

belum bercukur selama beberapa hari dan mengenakan jeans kuno serta kaos yang lusuh. Ia

memeluk erat Willa Jean dalam pangkuannya. Dan, wangi pie apel yang manis mengisi

ruangan itu.

[1.25] “Turunlah, gadis cantik,” kata Paman Hobart, seraya menurunkan Willa Jean ke lantai

dan berganti mendekap Howie dalam pelukan. “Apa kabarkeponakan kesayangan Paman?”

tanyanya, memeluk erat Howie dan menatapnya. Sedangkan, Nyonya Kemp berdiri di

sampingnya dan Willa Jean memeluk erat lutut Paman Hobart.

[1.26] Ramona malu. Ia merasa asing karena ia tidak berelasi. Ia duduk di kursi, membuka-

buka buku, tapi tidak membacanya. Menurutnya, Paman Hobart tidak terlihat seperti orang

kaya. Ia terlihat seperti laki-laki sederhana – sungguh mengecewakan.

[1.27] Willa Jean melepaskan pelukannya. “Lihat apa yang Paman Hobart bawa,” katanya,

dan menunjuk sepasang benda yang terlihat seperti dua kuda-kuda kecil, masing-masing

memiliki bantal kulit merah. Willa Jean menunggangi salah satunya “Giddyup, unta tua,”

katanya dan memberitahu Ramona, “Ini pelana untaku.”

[1.28] “Hei, pelana unta!” kata Howie ketika ia melihat hadiahnya. Ia menirukan Willa Jean.

Setelah beberapa giddyups, tidak ada lagi yang dapat dilakukan dengan pelana tersebut selain

duduk di atasnya.

[1.29] Ramona ingin mengatakan, huh, siapa yang mau pelana tua yang membosankan.

Disaat yang bersamaan, ia berharap memiliki pelana yang bisa ia duduki untuk membaca di

samping perapian saat musim dingin.

[1.30] Akhirnya, Paman Hobart menyadari kehadiran Ramona. “Nah, siapa gadis muda ini?”

tanyanya. “Howie, kamu tidak memberitahu Paman kalau kamu punya pacar.”

[1.31] Seketika, wajah Ramona dan Howie memerah.

[1.32] “Oh, dia hanya Ramona, teman lama,” gumam Howie.

[1.33] Paman Hobart mulai menirukan suara gitar dan bernyanyi:

“Ramona, I hear the mission bells above. Ramona, they’re ringing out our song of love. I

press you, caress you, And bless the day you taught me to care.”

18

[1.34] Ramona akhirnya menyadari bahwa ia tidak menyukai Paman Hobart dan tidak akan

pernah suka. Ia pernah mendengar lagu itu sebelumnya. Ketika Kakek Day tinggal di

Portland, ia menyanyikan lagu itu untuk menggodanya juga. “Aku bukan pacar Howie,”

katanya dengan sikap dewasa. “Aku harus tinggal di sini sampai ibuku selesai bekerja. Ini

merupakan ...” – bisakah ia mendapatkan kata yang tepat? – “aturan bisnis yang ketat.”

[1.35] Paman Hobart menganggap itu lucu dan membuat Ramona semakin tidak

menyukainya.

[1.36] “Berhentilah, Paman Hobart,” kata Howie, Ramona, yang tengah menyembunyikan

amarahnya dengan berpura-pura membaca bukunya, menyukai teguran Howie. Ia senang

bahwa ia tidak punya paman seperti Paman Hobart. Ia senang bahwa ia tak memiliki satu

paman pun, hanya ada Tante Beatrice yang tidak membuat malu dengan anak-anak dan selalu

ada ketika keluarganya membutuhkan.

[1.37] “Apakah adalagi Paman hadiah untuk kami?” tanya Willa Jean.

[1.38] “Willa Jean, itu tidak sopan,” kata Nyonya Kemp, tersenyum karena ia sangat senang

akhirnya anak lelaki bungsunya pulang.

[1.39] “Willa Jean, coba, tebak apa?” tanya Paman Hobart. “Keluarlah menuju van itu, dan

aku akan menunjukkan padamu.”

[1.40] “Aku juga?” Dengan cepat Howie melupakan kejengkelannya.

[1.41] “Tentu.” Saat ia keluar, Paman Hobart berkata, “Senang dapat kembali ke negara

yang dipenuhi dengan rumput dan pepohonan hijau ini.”

[1.42] Ramona mendengar pertanyaan Howie, “Apa yang unta makan kalau tidak ada

rumput?”

[1.43] Saat mereka kembali, Ramona tidak lagi tertarik pada bukunya karena Paman Hobart

membawa sebuah akordeon kecil.

[1.44] “Nenek, lihatlah!” Howie mendorong sesuatu yang tampak seperti bagian dari sepeda.

“Ini, sepeda beroda satu sungguhan!”

[1.45] “Apa ini rusak?” tanya Willa Jean. “Benda ini hanya punya satu roda.”

[1.46] “Hobart, apa yang kamu pikirkan?” Nyonya Kemp memberengut saat melihat sepeda

beroda satu itu.

19

[1.47] “Aku teringat saat Ibu tidak mengizinkanku memiliki sepeda beroda satu ketika seusia

Howie,” kata Paman Hobart. “Sekarang Ibu jangan khawatir akan hal ini. Aku akan

membantu Howie. Ia tidak akan patah tulang.” Ia meletakkan akordeon di lantai sebelah

Willa Jean. “Dan ini untukmu, Willa Jean,” katanya.

[1.48] Willa Jean melihat akordeon itu. “Apa fungsinya?” tanyanya.

[1.49] “Dengan benda itu kamu bisa memainkan musik,” jawab pamannya. “Ini akordeon

Wina. Paman membelinya dari salah satu teman kerja paman dan bahkan belajar sedikit cara

memainkannya.”

[1.50] “Bukankah itu bagus, Willa Jean?” kata Nyonya Kemp. “Ini alat musikmu. Kami

akan menyimpannya sampai kamu sudah cukup umur untuk mempelajarinya.”

[1.51] “Tidak!” Willa Jean memasang tampang keras kepalanya. “Aku ingin memainkannya

sekarang!”

[1.52] Paman Hobart mengambil akordeon itu dan mulai memainkannya sambil bernyanyi:

“Ramona, I hear the mission bells above, Ramona, they’re ringing out our song of love.”

[1.53] Ramona menatap bukunya sambil berpikiran negatif tentang Paman Hobart. Paman

Hobart berhenti bermain dan berkata, “Ada apa, Ramona? Tidakkah kamu menyukai

permainan musikku?”

[1.54] “Tidak.” Ramona menatapnya tajam. “Anda menggodaku. Aku tidak suka digoda.”

[1.55] “Ramona!” Nyonya Kemp menentang. “Bukan begitu caranya berbicara pada paman

Howie.”

[1.56] “Ibu, jangan marah,” kata Paman Hobart. “Ramona ada benarnya. Aku memang

menggodanya, tapi aku tidak akan mengulanginya. Oke, Ramona?

[1.57] “Oke,” Ramona sependapat, meski ia masih curiga.

[1.58] “Paman Hobart, Paman Hobart, ijinkan aku memainkannya,” Willa Jean memohon.

[1.59] Paman Hobart menempatkan tangan Willa Jean ke pegangan pada masing-masing

ujung akordeon itu. “Tekan kedalam dan tarik keluar saat kamu menekan tombol kecil ini,”

jelasnya.

[1.60] Sebelum ia memberikan instruksi lebih lanjut, Howie meraih tangan pamannya dan

menyeretnya keluar. Nyonya Kemp mengikuti mereka keluar dan merasa yakin kalau

20

nantinya akan ada yang patah tulang. Ramona melihatnya lewat jendela. Saat itu, Paman

Hobart melompat ke atas sepeda itu, dan melambai ke penontonnya, sambil mengayuh ke

samping dan belakang. “Lihatlah, tidak terjadi apa-apa,” katanya. “Nanti kamu tahu

bagaimana caranya.”

[1.61] “Hobart, darimana kamu belajar mengendarai sepeda roda satu itu?” ibunya bertanya

dari tangga depan.

[1.62] “Di kampus,” jawab anaknya. “Ayo, Howie, sekarang giliranmu.” Ia memegang

sepeda beroda satu itu dengan satu tangan, dan membantu Howie naik ke atas joknya.

“Sekarang, ayuhlah,” ia mengarahkan. Howie mengayuhnya, dan sepeda itu melaju ke depan

dan mengarah ke trotoar.

[1.63] Di dalam rumah, Willa Jean sibuk dengan akordeon yang terlalu berat untuknya, dan

membuat benda itu menggeram keras seperti kesakitan.

[1.64] “Bukan begitu caranya,” Ramona mendengar ucapan Paman Hobart. “Ini seperti

mengendarai sepeda, selain menyeimbangkannya ke samping, kamu juga harus

menyeimbangkannya ke belakang dan depan secara bersamaan.”

[1.65] Dengan wajah memerah dan penuh tekad, Howie mengendarai sepeda beroda satu itu

lagi. Kalau Howie berhasil, ada kemungkinan ia akan mengijinkanku mengendarai

sepedanya, pikir Ramona yang sangat menginginkan sebuah sepeda, bahkan sepeda bekas

dengan tiga kecepatan. Howie berbalik ke pangkuan pamannya. Terdengar suara akordeon

dari dalam. Ramona merasa agak kesepian, karena terabaikan.

[1.66] “Hobart, hati-hati,” teriak Nyonya Kemp di atas suara permainan akordeon Willy Jean

yang memekikkan telinga.

[1.67] Ramona dapat memahami kalau belajar mengendarai sepeda beroda satu

membutuhkan waktu yang lama, jadi ia mengalihkan perhatiannya ke Willa Jean dan

akordeonnya.

[1.68] Willa Jean meletakkan hadiahnya di lantai dan duduk di pelana unta dengan wajah

cemberut. “Benda ini sangat besar dan tidak berfungsi.”

[1.69] “Biar aku coba.” Ramona yakin ia bisa memainkannya. Kelihatannya sangat mudah.

Ia menyelipkan tangannya pada pegangan. Sayangnya, satu-satunya lagu yang ia pikirkan

adalah “Ramona.” Ia menarik dan menekan tombolnya, hanya untuk menghasilkan suara

21

pekikan. Ia mencoba menekan tombol yang berbeda sementara ia menghembuskannya keluar

masuk. Hee-haw, hee-haw. Ini bukanlah musik yang ada dalam pikiran Ramona. “Mungkin

pamanmu bisa mengajarimu saat ia punya waktu,” ia memberitahu Willa Jean sambil

meletakkan pelan-pelan akordeon itu di pelana unta Howie.

[1.70] Suara peringatan Nyonya Kemp masih terus berlanjut dari luar. “Hobart! Howie!

Hati-hati!”

[1.71] Ramona dan Willa Jean berdiri di dekat jendela untuk melihat Howie yang dijaga oleh

pamannya mengendarai sampai beberapa meter sebelum ia masuk ke trotoar. “Aku berhasil!”

teriaknya.

[1.72] Ramona berpikir, Howie akan belajar mengendarai itu, dan aku akan mengendarai

sepedanya.

[1.73] Willa Jean kembali bermain akordeonnya seakan-akan ia dapat memainkannya

setelah beristirahat sejenak. Tapi tidak, akordeonnya masih memekik dan menggeram. “Aku

tahu bagaimana membuatnya berbunyi,” katanya.

[1.74] Ramona berpaling dari jendela untuk melihat Willa Jean meletakkan ujung akordeon

di atas lantai. Willa Jean menjepitnya dengan satu kaki melalui sebuah tali, dan menggunakan

kedua tangannya untuk menarik-ulur akordeon itu setinggi yang dia bisa. Kemudian, saat

Ramona mulai paham apa yang akan dilakukan Willa Jean, dia langsung merebutnya dari

Willa Jean, dan seketika itu ia menarik kakinya keluar dari tali itu, akordeon itu terbalik dan

Willa Jean menindihnya. Ia mengangkat kedua kakinya dari lantai. Saat ia terjatuh, akordeon

itu mengeluarkan bunyi yang sangat keras dan panjang, seperti rasa sakit yang begitu dalam.

[1.75] “Willa Jean!” teriak Ramona, ia terkejut mendengar suara yang membuat telinganya

berdengung. Willa Jean melompat dengan wajah berseri-seri. Ramona dapat memahami kalau

akordeon itu tidak akan bangkit lagi. Akordeon itu telah pecah dan tidak dapat mengeluarkan

suara. “Kamu merusaknya,” kata Ramona, mengetahui kalau ia mungkin pernah melakukan

hal yang sama saat di usia Willa Jean.

[1.76] “Aku tidak peduli,” kata Willa Jean. “Aku sudah membuat suara yang begitu keras,

dan sekarang aku tidak menginginkannya lagi.”

[1.77] Nyonya Kemp masuk ke dalam untuk melihat apa yang terjadi. “Dasar anak nakal!”

teriaknya ketika ia melihat puing-puing hadiah Paman Hobart.

22

[1.78] “Tapi, bukan aku yang melakukannya,” bantah Ramona. “Ini bukan salahku.”

[1.79] “Alat musik mahal sudah hancur,” kata Nyonya Kemp. “Kamu sudah besar, Ramona.

Seharusnya kamu tahu mana yang lebih baik dari pada membiarkan Willa Jean merusaknya.”

Ia berpaling pada Willa Jean. “Tidakkah kamu mempermalukan dirimu sendiri?”

[1.80] “Tidak,” kata Willa Jean. “Ini benda tua sialan yang tidak mau dimainkan.”

[1.81] “Willa Jean, masuk kamar,” perintah Nyonya Kemp, Yang biasanya menganggap

apapun yang dilakukan Willa Jean itu lucu. “Nenek malu padamu. Kamu sudah merusak

suasana bahagia ini.”

[1.82] Willa Jean cemberut saat diberitahu.

[1.83] Nyonya Kemp berpaling ke Ramona. “Dan kamu, nak. Duduklah di kursi sampai

ibumu datang menjemputmu.”

[1.84] Ramona duduk dan sangat marah atas ketidakadilan yang telah terjadi. Kenapa

Ramona harus menjaga Willa Jean ketika ibunya membayar Nyonya Kemp untuk

menjaganya? Sedangkan Paman Hobart sangat bodoh memberikan sesuatu yang tidak bisa

dimainkan anak kecil. Tapi, seringkali orang dewasa bodoh mengenai hadiah. Ramona tahu,

ia telah diberi buku “to grow into,” dan seiring berjalannya waktu, Ramona telah lama

tumbuh bersama mereka, sampai akhirnya Ramona sudah tidak tertarik lagi. Tetapi, untuk

mempelajari akordeon akan membutuhkan waktu yang lama.

[1.85] Di luar, anak-anak lainnya telah berdatangan untuk menyaksikan Howie belajar

mengendarai sepeda beroda satunya. Ramona bisa mendengar teriakan, tawa, dan sesekali

sorakan. Ramona berkata pada dirinya sendiri bahwa ini tidak adil. Bahkan orang dewasa pun

akan mengatakan bahwa kehidupannya tidak adil. Tidak adil, hidup itu tidak adil.

[1.86] Ramona mengamati Nyonya Kemp mengelap nampan kuningan dan teko kopi

barunya dari Arab Saudi dengan penuh kasih sayang. Ping-ping-ping, penunjuk waktu di

kompor dapur berbunyi. Sebaliknya, Howie menangis karena salah satu lulutnya terluka dan

berdarah. Paman Hobart menyusulnya dengan sepeda beroda satu. Siang hari yang tidak adil,

dan juga membosankan.

[1.87] “Ya ampun,” teriak Nyonya Kemp. “Aku tahu ini akan terjadi. Aku juga tahu ia akan

terluka karena benda itu.”

[1.88] Ramona bisa mendengarkan Willa Jean bernyanyi dari kamarnya:

23

“This old man, he is dumb. Knick-a-knack paddywhack, Give a dog a phone, This old man

comes rolling home.”

[1.89] Seketika itu, Ramona tersenyum mendengarkan nyanyian Willa Jean yang kata-

katanya tidak pernah tepat.

[1.90] Ping-ping-ping, pengatur waktu terus berbunyi. “Hobart, matikan ovennya dan angkat

pienya, biar Ibu yang menangani Howie,” perintah Nyonya Kemp. Willa Jean mengintip ke

ruang tamu, mengambil pelana untanya dan mengintip keluar lagi. Terlepas dari

kekesalannya, Ramona menyadari bahwa apa yang dilihatnya saat itu lebih menarik daripada

menonton TV karena semuanya nyata.

[1.91] Ketika Howie tertatih-tatih kembali ke ruang keluarga dengan celan jeans tergulung

dan perban di salah satu lututnya, ia mengasihani dirinya sendiri. Ramona pun juga merasa

kasihan pada Howie.

[1.92] “M-m-m.” Paman Hobart mencium sesuatu. “Bau pie apel Ibu. Ini yang aku impikan

setiap malam ketika di luar negeri.” Lalu, ia memberikan ciuman pada ibunya.

[1.93] “Jangan membodohiku.” Nyonya Kemp senang. “Ibu tidak percaya kalau setiap

malam kamu memimpikan pie apel Ibu. Ibu tahu kamu lebih dari pada itu.”

[1.94] Paman Hobart memperhatikan Ramona termenung di kursi. “Ada apa dengan pacar

Howie ini?” tanyanya.

[1.95] Tentu saja, Ramona tidak menjawab laki-laki yang tidak berlaku adil itu. Ia sudah

berjanji untuk tidak menggodanya lagi.

[1.96] “Hobart, apa pendapatmu tentang anak yang sudah besar yang hanya duduk dan

melihat anak kecil merusakkan akordeonnnya?” Ramona tahu kalau Nyonya Kemp tidak

menginginkan jawaban. Ia hanya ingin mempermalukannya.

[1.97] Ramona tiba-tiba terganggu oleh pikiran baru yang menggelisahkan yaitu bahwa

Nyonya Kemp tidak menyukainya. Sampai detik ini, ia mengira kalau semua orang dewasa

suka dengan anak-anak. Sekarang, ia mengerti bahwa ini hanyalah kesalahpahaman, seperti

yang ia miliki pada guru-gurunya, dan sering kali kepada orang-orang dewasa dan anak-anak

sejalan. Tetapi entah bagaimana, hal-hal ini memang terjadi. Bagi orang-orang dewasa yang

tidak menyukainya dan mencoba mempermalukannya, ia yakin, pasti salah, sangat salah. Ia

merindukan Beezus, karena ia bisa merasakan seseorang berada di sisinya, tetapi Beezus

24

menemukan lebih banyak alasan untuk menunda kedatangannya ke rumah Nyonya Kemp

sepulang sekolah.

[1.98] Paman Hobart rupanya mengira bahwa ia harus menjawab pertanyaan ibunya. “Apa

pendapatku tentang Ramona? Ia adalah pacar Howie, dan menurutku ia anak yang baik.

Bukan begitu, Howie?”

[1.99] “Ah, diam, Paman Hobart.” Howie cemberut di karpet.

[1.100] “Bagus, Howie,” pikir Ramona. Kamu berada di pihakku.

[1.101] “Howie!” teriak Nyonya Kemp. “Bukan begitu caranya berbicara dengan pamanmu.”

[1.102] “Aku tidak peduli,” kata Howie. “Lulutku sakit.”

[1.103] “Aku benar-benar tidak mengerti apa yang terjadi pada anak-anak siang ini.” Nyonya

Kemp benar-benar terpancing kemarahannya.

[1.104] Ramona dapat menyebutnya dengan satu kata: dewasa. Sebaliknya, ia menatap

bukunya dan berpikir, aku tidak akan pernah kembali lagi kesini. Tidak akan pernah. Ia tidak

peduli apa kata orang dan apa yang terjadi. Ia tidak ingin dijaga oleh orang yang tidak

menyukainya.

[1.105] “Malangnya Ibu,” kata Paman Hobart. “Bagaimana dengan sepotong pie apel Ibu.”

[1.106] Bukan hanya Nyonya Kemp yang malang. Tidak hanya Howie dan Willa Jean, tetapi

Ramona juga berharap bahwa suatu hari nanti ia juga bisa duduk di akordeon itu meski hanya

sekali. Tapi, ia tahu ia tidak akan bisa. Bahkan sekalipun ia memiliki kesempatan, ia tidak

akan bisa. Ia telah melewati masa pertumbuhan sama seperti Willa Jean yang menyenangkan.

Ramona tersenyum saat mengingat siang hari bahagia yang ia lalui ketika ia seumuran Willa

Jean, mengebor dinding garasi dengan alat bor ayahnya sampai ia ketahuan.

Bab II

Masalah Ramona

[2.1] Pada saat makan malam setelah kejadian itu, anggota keluarga Quimby terdiam dan

berpikir seakan-akan mereka memiliki masalah serius. Mereka memang sedang memikirkan

masalah mereka, tetapi mereka terlihat serius karena mereka mencoba menghindari tulang

25

ikan yang mereka santap. Rasanya tidak mungkin makan ikan yang berduri tanpa terlihat

seserius itu. Picky-picky, mengeong untuk mendapatkan gilirannya, menjejalkan diri disekitar

kaki mereka.

[2.2] Ramona, yang tidak suka ikan dan yang bersedia membiarkan Picky-picky

mendapatkan bagiannya, berharap ibunya akan berkata, “Ramona makan seperti burung,”

karena saking sedikitnya ia makan seakan Ramona tidak sensitif. Kebanyakan ibu memang

seperti itu, tetapi tidak dengan Nyonya Quimby, yang hanya akan berkata dengan ceria,

“Makanlah,” kalau Ramona mengeluh bahwa ia tidak suka ikan.

[2.3] Karena ia tidak bisa menghindari hal itu, maka Ramona menusuk ikannya dengan

garpu untuk memisahkan tulangnya sebelum mulai memakannya. Sementara itu, ia juga

merasa khawatir. Bagaimana ia akan memberitahu keluarganya kalau ia tidak mau lagi

tinggal dengan Nyonya Kemp? Tidak pernah, terus bagaimana? Kalau ia tidak tinggal di

rumah Nyonya Kemp sepulang sekolah, ibunya tidak akan bisa bekerja di kantor dokter,

ayahnya tidak bisa berangkat ke kampus, dan seluruh keluarganya akan terjatuh layaknya

domino yang didorong oleh Ramona.

[2.4] Pak Quimby meletakkan tulang ikan di tepi piringnya. “Apakah paman kaya Howie,

Si Kantong Uang Tua, sudah kembali? tanyanya pada Ramona. Kepada kucingnya ia berkata,

“Gigitlah ini, kucing pengganggu.”

[2.5] “Ya,” kata Ramona, “tapi ia hanya pria biasa dengan brewok dan memakai jeans. Ia

sama sekali tidak terlihat kaya.”

[2.6] “Jaman sekarang, jangan pernah kamu menilai orang dari pakaiannya,” ujar Pak

Quimby.

[2.7] “Apakah ia baik?” tanya Ibu Quimby.

[2.8] “Tidak,” kata Ramona. “Ia itu jenis orang dewasa yang menggoda anak-anak dan

beranggapan kalau ia lucu.”

[2.9] “Rupanya kamu tahu tipenya,” kata Beezus. “Ketika aku di sana, ia berkata, ‘Siapa

gadis cantik ini?’ Dan aku tahu, aku tidak cantik. Aku punya tiga jerawat, terlihat buruk

sekali.” Akhir-akhir ini, Beezus khawatir dengan wajahnya hingga ia harus mencucinya

dengan sabun obat dua kali sehari dan mengurangi makan coklat.

26

[2.10] “Aku tidak akan pernah kembali ke sana sepulang sekolah,” Ramona meledak. “Aku

tidak peduli apa kata orang. Aku tidak mau lagi pergi kesana! Aku mau pulang dan duduk di

tangga lalu berdiam diri. Aku tidak akan membiarkan Nyonya Kemp yang mengerikan itu

menjagaku lagi.” Air matanya jatuh di atas ikannya yang hambar.

[2.11] Keluarganya terdiam. Ketika tidak ada satupun yang berbicara, Ramona kembali

berapi-api, “Aku tidak mau, dan kalian tidak bisa memaksaku. Disana, Nyonya Kemp

membenciku.”

[2.12] Ada saatnya ketika Pak Quimby akan berkata seperti, “Tenangkan dirimu, Ramona,

dan makanlah.” Sebaliknya, karena ia sekarang belajar menjadi guru, maka bicaranya lebih

terkontrol, “Beritahu kami tentang hal itu, Ramona.”

[2.13] Hal ini membuat Ramona merasa lebih buruk. Ia tidak mau ayahnya tetap tenang

seolah-olah ia sedang sakit di tempat tidur. Ia juga ingin ayahnya terkejut dan kesal. Ibunya,

yang juga tetap tenang, memberinya tisu Kleenex. Ramona mengusap matanya, meremas

tisunya dalam bentuk bola dan mulai bercerita. Ia memulai dari hadiah paman Hobart, lagu

yang dinyanyikannya, lutut Howie yang berdarah, dan bagaimana Willa Jean merusakkan

akordeonnya. Kemudian, orang tuanya tertawa. “Kejadian itu seharusnya membuat tetangga

itu bahagia,” kata Pak Quimby. “Dan sekarang mereka terselamatkan dari suara keributan.”

[2.14] Ramona juga menahan tawa. Karena merasa aman di rumahnya sendiri, ia bisa

memahami hal yang menyenangkan dari kunjungan Paman Hobart, kecuali yang menyangkut

dirinya.

[2.15] “Itu seharusnya menjadi keributan yang menarik,” ucap Ibu Quimby.

[2.16] “Ya, keributan yang luar biasa,” kata Ramona sepakat. “Keributan yang sungguh

mengerikan hingga membuat telingaku sakit - Picky-picky, geli - tapi Nyonya Kemp

menyalahkan aku karena tidak memperhatikan Willa Jean, dan ini tidak adil. Hari ini aku

memahami satu hal kalau Nyonya Kemp tidak menyukaiku. Ia tidak pernah bersikap baik dan

selalu menyalahkanku mengenai hal yang aku tidak lakukan. Aku tidak peduli apa yang Ibu

lakukan padaku. Aku tidak akan kembali kesana.”

[2.17] “Tidakkah kamu berpikir, Ramona, bahwa mungkin saja Nyonya Kemp lebih memilih

untuk tidak menjadi pengasuh kamu ataupun cucunya?” tanya Ibu Quimby.

[2.18] Tidak, Ramona tidak memikirkan hal itu.

27

[2.19] “Perempuan seusianya memang ditugaskan untuk menjaga rumah dan merawat anak-

anak,” jelas Ibu Quimby. “Mereka sangat tahu cara melakukannya. Tetapi sekarang, mungkin

ia lebih suka melakukan hal lain.” Sekarang, Ramona berpikir, bukan tulang ikan yang

dipikirkan, tetapi benar-benar berpikir.

[2.20] “Tapi ia bisa sedikit menyukaiku.” Ramona sekarang merasa kesal, bukannya marah.

[2.21] Beezus angkat bicara. “Ramona benar. Nyonya Kemp tidak menyukai kita berdua.

Itulah kenapa sepulang sekolah aku memilih pergi ke rumah Pamela atau perpustakaan.”

[2.22] “Ramona, menurutmu apa yang sebaiknya kamu lakukan?” tanya Nyonya Quimby.

[2.23] Ramona tidak ingin pusing-pusing memikirkan apa yang seharusnya ia lakukan. Ia

meminta bantuan dari orang yang lebih dewasa. Terkadang ia berpikir bahwa belajar menjadi

seorang guru telah mengubah ayahnya. “Kenapa aku tidak bisa tinggal di rumah dan menjaga

diriku sendiri?” tanyanya. “Banyak anak kecil bisa menjaga diri mereka sendiri ketika tidak

ada orang di rumah.”

[2.24] “Dan itulah anak-anak yang bermasalah – Picky-picky, berhenti mencakar! – Kamu

anak ayah,” kata Pak Quimby, “dan Ayah tidak suka idemu untuk tinggal di rumah

sendirian.”

[2.25] “Anak-anak lain tidak menjaga diri mereka sendiri, mereka menonton TV,” kata

Beezus sambil membersihkan meja.

[2.26] “Aku tidak akan nonton TV,” Ramona asal berjanji. Ia membawa piringnya ke dapur

dan membuang ikannya ke dalam tempat makanan Picky-picky. “Aku akan duduk di kursi

sambil membaca buku. Aku berjanji.”

[2.27] “Ayah tidak akan bertindak sejauh itu,” kata Pak Quimby yang bagi Ramona

terdengar lebih seperti ayahnya sebelum masuk ke perguruan tinggi.

[2.28] “Aku bisa menjaganya.” Beezus berdiri untuk menyajikan pir kalengan, sementara

Ramona menyiapkan sepiring cookies gandum. “Banyak anak di sekolah menengah yang

menjadi pengasuh.”

[2.29] “Ibu tidak perlu makanan penutup,” bisik Nyonya Quimby.

[2.30] “Aku bukan bayi.” Ramona heran mengapa Beezus tidak mau pergi ke rumah Pamela.

Pamela punya segalanya, peralatan TV miliknya sendiri, telefon genggam. Pamela terkenal.

Seluruh anak perempuan SMP ingin menjadi sepertinya.

28

[2.31] Ramona berpikir cepat. Beezus ingin bersikap layaknya orang dewasa. Beezus akan

menjadi tukang perintah. Ia dan Beezus akan bertengkar tanpa ada yang menghentikan

mereka. Beezus mungkin mengadu. Kadang ia melakukannya, kadang tidak. Tentu saja,

Ramona juga mengadu, tapi entah mengapa ia merasakan hal yang berbeda.

[2.32] Di sisi lain, ada Nyonya Kemp. Begitu putranya pergi, ia akan kembali merajut dan

membenci Ramona. Dan ada Howie, sahabatnya, untuk dipikirkan. Pada hari yang cerah

ataupun mendung, ia pergi mengendarai sepedanya bersama anak-anak laki-laki di

lingkungannya, meninggalkan Ramona bersama Willa Jean. “Akankah Beezus dibayar?”

tuntut Ramona.

[2.33] Semua terdiam. “Picky-picky, turun,” kata Nyonya Quimby. Seekor kucing yang telah

melahap ikan Ramona, menginginkan lebih.

[2.34] “Yeah...” kata Beezus, “Aku kira aku akan duduk dan tidak melakukan apapun.

Lagipula, aku tidak suka pergi ke rumah Nyonya Kemp sendiri. Ia tidak pernah membuatku

merasa diterima, dan rumah mereka selalu bau sup yang sudah basi.”

[2.35] “Saya yakin Nyonya Kemp akan senang menghabiskan waktu bersama putranya

selagi ia ada di sini,” kata Nyonya Quimby. “Ibu bisa memintanya libur satu minggu. Dengan

begitu, kalian bisa tinggal di rumah tanpa menyakiti perasaannya, dan kita akan lihat

hasilnya.”

[2.36] “Ia akan senang mendapat pembebasan dari ibu.” Rasa sakit hati Ramona mulai pulih

sekarang, karena keluarganya berusaha membantu.

[2.37] “Sepulang sekolah kalian harus langsung pulang ke rumah,” kata Nyonya Quimby,

“dan berjanjilah menjaga tingkah laku kalian. Jangan bertengkar dan jangan pernah

membukakan pintu untuk orang asing.”

[2.38] Mereka setuju. “Ibu, maukah ibu menelpon Nyonya Kemp sekarang?” Ramona sangat

ingin masalah ini diselesaikan sebelum Nyonya Kemp menelepon lebih dulu untuk

mengatakan bahwa Ramona adalah pengaruh buruk bagi Willa Jean.

[2.39] Nenek Howie, seperti yang Nyonya Quimby telah duga, sangat senang memiliki lebih

banyak waktu untuk dihabiskan bersama putranya. “Hore!” sorak Ramona. Ia bebas dari

Nyonya Kemp, paling tidak selama satu minggu.

29

[2.40] Ketika waktu makan sudah selesai, Beezus masuk ke kamarnya untuk mengerjakan

tugas sekolah. Ramona mengikutinya dan menutup pintu. “Bagaimana bisa kamu mau tinggal

bersamaku di rumah dari pada pergi ke rumah Pamela atau Mary Jane sepulang sekolah?” Ia

tidak bisa mencurigai kakaknya, karena perilakunya yang sangat tidak terduga itu.

[2.41] “Mary Jane selalu berlatih piano, dan aku lagi tidak berbicara dengan Pamela,” kata

Beezus.

[2.42] “Kenapa tidak?” Ramona sering berkata keras kepada orang-orang, tapi tidak pernah

menolak untuk berbicara. Tidak akan terjadi apa-apa kalau kamu tidak berbicara. Ia suka

kalau itu terjadi.

[2.43] Beezus menjelaskan. “Pamela selalu menyombongkan bahwa ayahnya memiliki

pekerjaan yang tetap, dan ia selalu bertanya kapan ayah akan mendapatkan pekerjaan yang

tetap. Jadi, aku tidak pergi ke rumahnya lagi, dan tidak berbicara padanya.”

[2.44] “Huh untuk Pamela tua.” Ramona mengunyah bintil kuku, yang rasanya seperih

pikirannya. “Ia tidak berhak bicara seperti itu tentang Ayah. Aku juga tidak mau berbicara

padanya.”

[2.45] “Dan aku mendengar sesuatu yang dikatakan Tante Bea,” lanjut Beezus. “Tante

bilang kalau sekolah sedang memberhentikan para guru. Lalu, bagaimana kita tahu kalau

Ayah akan mendapatkan pekerjaan?”

[2.46] Ramona, yang pernah membayangkan bahwa setiap sekolah menginginkan seorang

pria sebaik ayahnya, sekarang merasa khwatir. “Kamu tidak berpikiran kalau Ayah akan

pergi ke Gaudy Arabia, kan? Bahkan, jika itu akan lebih hangat dari gudang pendingin

makanan yang mengerikan tempat Ayah bekerja?”

[2.47] “Saudi Arabia,” koreksi Beezus. “Tidak. Ia tidak tahu apa-apa tentang minyak kecuali

bahwa harganya mahal, dan kamu tahu apa yang aku pikirkan?” Beezus tidak menunggu

jawaban Ramona. “Aku pikir kalau Ibu tidak akan bekerja lama-lama, karena ia akan punya

seorang bayi.”

[2.48] Ramona duduk di tempat tidur dengan suara keras. “Kenapa Ibu mau punya seorang

bayi kalau ia sudah punya kita?”

[2.49] “Jangan tanya aku,” kata Beezus, “tapi, aku yakin tentang hal itu.”

[2.50] “Kenapa?” tanya Ramona, berharap kalau kakaknya salah.

30

[2.51] “Oke, kamu ingat bagaimana Tante Bea selalu menanyakan bagaimana perasaan Ibu,

seolah-olah Tante punya alasan khusus untuk bertanya?”

[2.52] Kalau diingat-ingat, Beezus ada benarnya.

[2.53] “Dan Ibu tidak lagi makan makanan penutup,” lanjut Beezus, “jadi, ia tidak mau

bertambah gemuk.”

[2.54] “Mungkin, Ibu hanya tidak mau gemuk.” Ramona meragukan hal ini. Ibunya memang

selalu ramping, tidak pernah mengkhawatirkan berat badannya seperti ibu-ibu kebanyakan.

[2.55] “Dan kedua kalinya, saat Thanksgiving, acara syukuran, Ibu muntah setelah sarapan.”

Beezus menambahkan alasan lain.

[2.56] “Itu bukan apa-apa,” ejek Ramona. “Aku sering muntah, dan kue pastel isi daging

cincang selalu membuatku ingin muntah.”

[2.57] “Tapi, perempuan yang akan memiliki bayi, terkadang muntah di pagi hari,” jelas

Beezus.

[2.58] “Oh ya?” Ini adalah kabar baru untuk Ramona. Beezus mungkin benar. Ia tertarik

pada hal-hal seperti itu. “Kenapa tidak kita tanyakan sama Ibu?”

[2.59] “Kalau waktunya sudah pas, ia pasti memberitahu kita. Tapi, ada kemungkinan kalau

aku salah ...” Ada keraguan dalam suara Beezus sebelum ia melanjutkan, “Oh, aku harap aku

benar. Aku suka bayi. Aku mau membantu mengurus salah satu dari bagian kita. Ini akan

menyenangkan.”

[2.60] Ramona duduk di tempat tidur dan berpikir, sedangkan Beezus membuka buku-

bukunya. Adik laki-laki atau perempuan? Ia tidak sedikitpun menyukai ide itu. Kalau ia

memiliki adik, orang-orang akan berkata dengan cara mereka, seolah-olah anak-anak tidak

akan bisa memahami kalau seseorang menyindir mereka. Ramona mendengar mereka sering

kali berbicara tentang anak-anak yang memiliki adik bayi dalam keluarganya. Ini adalah cara

mereka berbicara tentang anak-anak di depan mereka.

[2.61] “Tapi, kalau ini benar, aku sungguh berharap Ayah segera mendapatkan pekerjaan

mengajar,” kata Beezus. “Sekarang, pergilah. Aku harus belajar.”

[2.62] Ramona berjalan ke ruang keluarga, di mana ibunya sedang berbaring di sofa

menonton berita malam di TV dengan volume pelan sehingga tidak akan mengganggu

suaminya yang sedang belajar di meja makan. Ramona tahu ia tidak seharusnya mengganggu

31

ketika ayahnya belajar, tapi kali ini ia merasa yakin bahwa ayahnya tidak benar-benar sedang

belajar, tapi hanya mencoret-coret diatas kertas dengan wajah khawatir. Ia menyelipkan

kepalanya di antara tulang rusuk dan lengan ayahnya.

[2.63] “Hai,” kata ayahnya, seolah-olah Ramona telah membuatnya tersadar kembali.

[2.64] “Hai,” jawab Ramona, ketika ayahnya dengan cepat membalikkan kertas coretannya,

tapi Ramona telah melihat sekilas gambar uang dan bayi. Gambar itu menunjukan bahwa ia

sedang memikirkan bayi.

[2.65] “Ayah memiliki Ramona untuk menjadi seorang gadis kecilmu,” Ramona

mengingatkan ayahnya.

[2.66] Ayahnya mengusap dagunya di atas kepala Ramona. “Itu benar, dan Ayah senang

memilikimu.”

[2.67] “Dan Ayah tidak ingin memiliki gadis kecil lagi, kan?” Ramona memastikan.

[2.68] “Oh, Ayah tidak tahu,” kata Pak Quimby. “Tapi Ayah suka gadis kecil.”

Bab III

Menjadi Baik

[3.1] Pada hari Senin, Howie tampak gelisah karena setelah turun dari bus sekolah, Ramona

langsung pulang ke rumahnya, bukan ke rumah Howie. “Yah, Ramona,” katanya. “Sampai

jumpa besok.”

[3.2] “Selamat bersenang-senang dengan pamanmu,” kata Ramona, dan berjalan menyusuri

Jalan Klickitat menuju rumah keluarga Quimby. Ia menemukan kuncinya yang tersembunyi,

masuk lewat pintu belakang, mencuci tangannya, makan apel, membuang isinya dalam

tempat sampah, mengganti pakaian sekolah dengan jeans lama dan kaos, kemudian duduk di

sofa untuk membaca. Ia merasa tumbuh dewasa dan baik-baik saja. Betapa tenangnya rumah

keluarga Quimby dibandingkan dengan rumah keluarga Kemp yang selalu menyetel opera

sabun dan Willa Jean melompat-lompat, berteriak dan bersikeras agar Ramona bermain

dengannya. Sebenarnya, menjadi baik tidak sulit sama sekali.

32

[3.3] Tidak berselang lama, Beezus akhirnya pulang. Keduanya saling menyapa dengan

sopan santun yang tidak biasa, jadi bertekadlah mereka untuk menjadi baik. Beezus

membawa apel ke kamarnya untuk mengerjakan tugas sekolahnya.

[3.4] Picky-picky merengek, minta di keluarkan dari ruang bawah.

[3.5] “Ramona, tolong keluarkan kucing itu?” Biasanya, Beezus akan berteriak, kamu tidak

mendengar Picky-picky? Keluarkan dia.

[3.6] Begitu pula Ramona, ia juga akan membalasnya dengan berteriak. Keluarkan sendiri.

Ia lebih seperti kucingmu dari pada punyaku. Bahkan, aku belum lahir ketika kita

mendapatkannya. Tapi, hari ini ia menjawab, “Iya, Beezus,” saat ia membuka pintu ruang

bawah.

[3.7] Picky-picky dengan segera menghampiri tempat makanannya untuk melihat kalau

saja ada seseorang yang memberinya kejutan dengan makanan kecil. Ramona kembali ke

bukunya. Picky-picky hanya menemukan sisa Pusspuddy, kemudian keluar dari dapur

menuju ke sofa, kemudian menggoyangkan bokongnya bersiap melompat ke samping

Ramona. Usaha yang hebat untuk usianya yang sudah tua. Ramona, yang selalu senang

menerima perhatian kucing, mengangkatnya dengan hati-hati. Ia meringkuk di sampingnya

dan mendengkur seperti mesin pendengkur yang sudah berkarat.

[3.8] Saat pulang, orang tua mereka sangat senang melihat sikap anak-anaknya. Beezus dan

Ramona mendekat dan melihat pinggang ibu mereka untuk memastikan apakah berat

badannya sudah bertambah sejak sarapan tadi pagi.

[3.9] Selasa siang masih sama seperti hari Senin. Beezus berbicara lama sekali di telefon

dengan temannya yang Ramona tidak kenal. Perbincangan itu tentang siapa yang bilang

mengenai anak laki-laki baru di sekolah, dan apa yang tercetak pada kaos laki-laki itu, dan

beberapa gadis yang mengatakan kalau ia telah melihat beberapa anak laki-laki memandang

Beezus, karena Beezus bertanya, “Apakah menurutmu ia memperhatikanku?” dan seterusnya.

Ketika perbincangan yang tidak menarik perhatian Ramona itu akhirnya selesai, Beezus pergi

ke kamar mandi dan mencuci wajahnya dengan sabun obat.

[3.10] “Anak-anak yang baik,” kata Nyonya Quimby saat pulang kerja dengan ukuran

pinggang yang masih sama. Ia terlihat lelah, dan dalam perjalanan pulang, ia membeli pizza

untuk makan malam. Karena pizza adalah makanan mewah di keluarga Quimby, ini berarti ia

tidak perlu memasak untuk makan malam.

33

[3.11] Pada hari Rabu, Ramona mulai kesal menjadi anak baik karena membosankan. Jadi,

ia senang melihat Howie berjalan mengendarai sepeda beroda satunya, menyeimbangkan

tempat duduk dan dua setangnya. Ia bertambah senang ketika Howie memarkirkan sepedanya

di jalanan rumahnya. Ramona menemuinya di depan pintu.

[3.12] “Ayo, keluarlah, Ramona,” kata Howie. “Paman Hobart membantuku belajar

mengendarai sepeda roda satu, jadi sekarang kamu bisa mengendarai sepedaku.”

[3.13] Harapan Ramona terwujud. “Hai, Beezus,” teriaknya, “Aku akan keluar dan

mengendarai sepeda Howie.”

[3.14] “Kamu seharusnya tanya dulu,” kata Beezus. “Kamu tidak bisa pergi kecuali aku

mengizinkanmu.”

[3.15] Ramona merasa kalau Beezus pamer di depan Howie. “Kenapa kamu tiba-tiba

menjadi pengatur?” tuntutnya.

[3.16] “Ibu dan Ayah memintaku untuk menjagamu dan kamu harus menurut,” jawab

Beezus.

[3.17] “Kau berbicara seperti ketika dulu kau dan Mary Jane bicara saat bermain rumah-

rumahan dan menjadikanku bayi. Nah, sekarang aku bukan bayi lagi.” Ramona tumbuh

semakin keras kepala dan berlawanan. “Ibu selalu membiarkanku keluar untuk bermain

dengan Howie.”

[3.18] “Sama saja. Kalau kamu terluka, aku yang bertanggungjawab,” kata Beezus.

[3.19] “Kamu kejam,” kata Ramona. “Sampai jumpa, muka jerawat.” Tepat sebelum ia

membanting pintu, ia takut melihat wajah Beezus, seolah-olah ia akan menangis.

[3.20] Howie berseru, “Ramona, lihatlah aku!”

[3.21] Ramona melihat Howie menaiki sepedanya dan mengendarainya ke ujung jalan dan

kembali. Tetapi ketika ia melihatnya, ia merasa bingung dan tidak nyaman. Ia sudah

membuat Beezus sedih, tapi, kenapa? Ia tidak paham. Ia telah memanggil Beezus muka Pie

berkali-kali tanpa membuatnya kesal. Apa bedanya dengan muka pizza? Ia kebetulan

kepikiran tentang pizza karena tadi malam ia baru saja memakannya dan pizza itu semacam

pie.

[3.22] “Kerja bagus, Howie,” kata Ramona ketika Howie telah kembali dari ujung jalan

untuk kedua kalinya. Tapi, bagaimana denganku? Ia berpikir dan masih mengkhawatirkan

34

Beezus. Aku tidak bisa menghabiskan sisa hidupku hanya duduk di sofa dan menjadi anak

baik.

[3.23] “Ayo, kendarai sepedaku,” kata Howie. “Coba lihat apakah kita berhasil

mengendarainya mengelilingi blok.”

[3.24] Ramona menegakkan sepeda Howie, sambil memastikan salah satu pedalnya cukup

tinggi dan yang satunya rendah supaya ia dapat memulainya dengan baik. Lalu, ia

menaikinya dan dengan goyah mengendarainya ke trotoar.

[3.25] “Hebat, Ramona,” kata Howie, duduk sendiri di sepeda beroda satunya dan mengayuh

di depan Ramona.

[3.26] Ramona terhuyung-huyung mengikutinya sambil tetap merasakan khawatir. Apa yang

akan Beezus katakan pada ibu dan ayah? Akankah ia harus kembali ke rumah Kemp?

[3.27] Seiring berjalannya waktu, Ramona sampai ke ujung dan goyahnya berkurang.

Bahkan ia ingin kembali ke ujung tanpa terguling. Ia mulai mengayuh lebih kencang.

Sekarang, ia sungguh-sungguh mengendarainya, penuh dengan kegembiraan, seolah-olah ia

sedang terbang.

[3.28] Ramona menyalip Howie. Ia berdiri di pedal dan melaju lebih kencang. Ramona

fokus pada kecepatan bukan keseimbangan, dan di tikungan berikutnya, ketika ia berbalik, ia

kehilangan kendali. Ia terjatuh tertindih sepeda. Lutut dan sikunya yang sebelah kiri terluka,

dan nafasnya tersendat.

[3.29] Howie menjatuhkan sepeda beroda satunya dan berlari mengangkat sepedanya dari

Ramona. “Kamu baik-baik saja?” tanyanya.

[3.30] Ramona berdiri pelan-pelan. “Menurutku tidak ada yang rusak,” katanya dan

mencoba untuk tidak menangis. Darah mengalir dari sikunya yang tergores dan lututnya.

Tertatih-tatih, ia menuntun sepedanya, dan Howie mendorong sepeda beroda satunya, meuju

jalanan rumahnya.

[3.31] “Kembali lagi, Howie,” kata Ramona. “Aku suka mengendarai sepedamu, bahkan

kalau aku sampai jatuh jungkir-balik.”

[3.32] “Tentu, Ramona,” Howie sepakat. “Tapi, sebaiknya kamu bersihkan semua darah itu

dulu.”

35

[3.33] Ramona lewat pintu belakang supaya ia tidak mengotori karpet ruang tamu dengan

darahnya. Ia mengetuk pintu terlebih dahulu karena pintunya dikunci. Ketika Beezus

membukakan pintu, ia mengabaikan darah adiknya yang menetes dan kembali ke kamarnya

tanpa berbicara.

[3.34] Ramona berjalan tertatih-tatih menuju kamar mandi. Mungkin ia bisa membuat

Beezus berbicara jika ia memberi tahu bahwa ia benar. Ramona telah menyakiti dirinya

sendiri ketika ia tidak menurut. Ia berkata dengan sedih, “Beezus, aku jatuh. Kemarilah dan

bantu aku.”

[3.35] “Aku tidak peduli, gadis egois yang aneh,” itu jawaban kakaknya. “Urus dirimu

sendiri. Aku tidak akan berbicara padamu lagi. Ini bukan salahku kalau wajahku semua

merah dan memiliki jerawat seperti pizza.”

[3.36] Apa yang Ramona dengar membuatnya terdiam, malu, dan marah. Ia dengan tidak

sengaja sudah menyakiti perasaan kakaknya, dan Beezus memang sengaja menyakitinya,

bahkan ia tidak peduli kalau Ramona sedang terluka. Bahkan, ia mungkin merasa senang. Si

bos tua, Beezus.

[3.37] Ramona membersihkan lutut dan sikunya, menyemprotnya dengan obat desinfektan,

membalutnya dengan plester Band-Aids, dan mengganti jeansnya dengan yang bersih serta

blus lengan panjang untuk menutupi lukanya. Kemudian, ia mengangkat Picky-picky ke sofa

dan duduk disebelahnya untuk membaca. Ia kini menjadi Ramona yang baik lagi.

[3.38] Namun, Ramona tidak benar-benar membaca. Ia marah.Tapi, bagaimanapun juga ia

tetap merasa bersalah karena ia telah menyakiti perasaan kakaknya meski ia tidak bermaksud

begitu. Mereka sering memanggil satu sama lain dengan sebutan yang berbeda. Beezus

memanggil Ramona ingusan,saat es krimnya meleleh dari contongnya dan menetes ke

dagunya. Tapi mereka tidak pernah menggunakan nama yang tidak baik. Sekarang Beezus

sungguh-sungguh memanggilnya dengan sebutan tengil. Bagaimana jika Beezus

menceritakan kepada orang tuanya bahwa ia dan Ramona sedang bertengkar? Romana akan

kembali ke keluarga Kemp.

[3.39] Ramona berniat untuk menata meja makan. Ia mendengar Beezus pergi ke kamar

mandi dan mencuci mukanya sebelum masuk ke dapur. Picky-picky turun dari sofa dan

mengikutinya, berharap Beezus akan memberinya makan. Beezus mencuci empat kentang

dan menaruhnya di oven untuk di panggang. Lalu, ia memeluk kucingnya dan membelainya.

36

“Picky-picky yang baik,” ia mengatakannya supaya Ramona dengar. Tentu saja, ini berarti

kalau Ramona tidak baik.

[3.40] Namun, ketika orang tua mereka pulang, Beezus berpura-pura kalau sedang tidak

terjadi apa-apa, dan begitu juga Ramona, kecuali kalau mereka berdua berbicara pada ibu dan

ayah mereka, tidak satu sama lain. Ramona berpikir mungkin seragam putih ibunya yang di

pakai untuk bekerja di kantor dokter sudah tampak lebih ketat di bagian pinggangnya.

Mungkin itu menyusut atau pizza semalam yang telah menggemukkannya. Atau mungkin

Beezus benar, kalau ia akan memiliki seorang bayi.

[3.41] Saat keluarganya bersiap untuk makan malam, telefon berbunyi. Karena kebetulan

Nyonya Quimby berdiri di samping telefon, ia pun mengangkatnya dan menjawab, “Oh, saya

baik-baik saja,” katanya.

[3.42] Ramona ingin menatap Beezus. Namun, mereka tidak hanya tidak saling berbicara,

tapi juga tidak saling melihat. Ia mendengarkan dengan saksama percakapan telefon ibu

mereka. Nyonya Quimby tersenyum. “Ya, ya, tentu saja. Saya pikir itu ide yang bagus.

Tidak, tidak ada salahnya mencoba, lanjutkan. Kedengarannya menyenangkan. Beritahu saya

hasilnya.”

[3.43] “Apa yang kedengarannya menyenangkan?” tanya Ramona dan Beezus bersamaan.

[3.44] “Oh – sesuatu,” kata Nyonya Quimby dengan santai. Ia mengedipkan mata pada

suaminya. “Aku tidak bisa ingat tepatnya apa.”

[3.45] “Ibu mengedipkan mata ke Ayah,” Ramona menuduh ibunya, seolah-olah kalau

mengedipkan mata itu tindakan yang jahat.

[3.46] “Ibu! Ibu bohong!” seru Beezus dengan jengkel. “Ibu juga bisa mengingatnya.”

[3.47] “Tidak baik berbicara sesuatu didepan orang, tapi tidak memberi tahu apa yang

sebenarnya dibicarakan.” Ramona sungguh ingin tahu seperti halnya Beezus.

[3.48] “Siapa yang menelpon?” tanya Pak Quimby.

[3.49] Ha! Pikir Ramona, sekarang kita menyiduknya. Ibu tidak akan berbohong pada Ayah.

[3.50] “Ibu Howie,” kata Nyonya Quimby. “Ia membutuhkan beberapa informasi.”

[3.51] “Oh,” itu saja yang Pak Quimby harus katakan.

37

[3.52] “Apakah itu tentang pesta ulang tahun?” tanya Ramona karena ibunya menyebutkan

kata menyenangkan.

[3.53] “Sudahlah, Ramona,” kata ibunya. “Makan saja makananmu.”

[3.54] “Iya, kan?” tahan Ramona.

[3.55] “Tidak, ini bukan soal pesta ulang tahun,” kata Nyonya Quimby, “dan ini bukan

urusanmu.”

[3.56] Ramona berharap kalau ibunya berbohong. Ia menginginkan kesenangan yang

melibatkan dirinya.

[3.57] Orang tua mereka tidak memperhatikan kalau anak-anak mereka tidak saling

berbicara, atau kalau orang tua mereka memperhatikan hal itu, mereka memilih untuk tidak

mengatakannya.

[3.58] Setelah makan malam, Nyonya Quimby berkata kalau ia lelah dan akan tidur, tapi

sebelum itu ia akan membaca sebentar. Kedua gadis itu saling menghindari tatapan satu sama

lain, meskipun sebenarnya terlihat jelas.

[3.59] “Aku akan mencuci piring,” kata Pak Quimby bersukarela, sedangkan anak-anaknya

membereskan meja makan. “Lalu, Ayah akan mempersiapkan rencana pembelajaran sebagai

bahan mengajar besok.” Ia mengecilkan suaranya. “Dan Ayah akan memastikan satu hal pada

kalian. Kalian jangan melakukan apapun yang mengkhawatirkan ibu kalian. Mengerti?”

[3.60] Gadis-gadis itu mengangguk, menghindari tatapan satu sama lain. Dari kegusaran

dalam suara ayah mereka, mereka tahu kalau Ayahnya mengetahui pertengkaran mereka.

Beezus pergi ke kamarnya.

[3.61] Ramona sangat ingin menyusul kakaknya untuk minta maaf. Ia tidak bermaksud

memanggilnya muka Pizza seperti yang dipikirkan Beezus. Ia juga ingin tahu apa yang

dipikirkan Beezus tentang telepon misterius dan bertanya kapan ibunya akan memiliki bayi,

jika itu memang benar. Namun, ia tidak terbiasa minta maaf, khususnya pada orang yang

suka mengatur dan memanggilnya tengil. Kalau anak menyebalkan, ia masih bisa terima, tapi

tidak untuk anak tengil.

38

B. Source Text

Ramona Forever

Bab I

The Rich Uncle

[1.1] “ Guess what?” Ramona Quimby asked one Friday evening when her Aunt Beatrice

dropped by to show off her new ski clothes and to stay for supper. Ramona’s mother, father,

and big sister Beezus, whose real name was Beatrice, paid no attention and went on eating.

Picky-picky, the cat, meowed through the basement door, asking to share the meal.

[1.2] Aunt Beatrice, who taught third grade, knew how to behave toward her third-grade

niece. “What?” she asked, laying down her fork as if she expected to be astounded by

Ramona’s news.

[1.3] Ramona took a deep breath and announced, “Howie Kemp’s rich uncle is coming to

visit.” Except for Aunt Bea, her family was not as curious as Ramona had hoped. She

plunged on anyway because she was happy for her friend. “Howie’s grandmother is really

excited, and so are Howie and Willa Jean.”And so, to be truthful, was Ramona, who disliked

having to go to the Kemps’ house after school, where Howie’s grandmother looked after her

grandchildren and Ramona while the two mothers were at work. A rich uncle, even someone

else’s rich uncle, should make those long after-school hours more interesting.

[1.4] “I didn’t know Howie had a rich uncle,” said Mrs. Quimby.

[1.5] “He’s Howie’s father’s little brother, only now he’s big,” explained Ramona.

[1.6] “Why, that must be Hobart Kemp,” said Aunt Beatrice. “He was in my class in high

school.”

[1.7] “Oh, yes. I remember.That boy with the blond curly hair who played baseball.” Mrs.

Quimby motioned to her daughters to clear away the plates. “All the girls said he was cute.”

[1.8] “That’s the one,” said Aunt Bea.“He used to chew licorice and spit on the grass to

make the principal think he was chewing tobacco like a professional baseball player, which

was what he wanted to be.”

[1.9] “Where’s this cute licorice-chewing uncle coming from, and how did he get so rich?”

asked Ramona’s father, beginning to be interested. “Playing baseball?”

39

[1.10] “He’s coming from—” Ramona frowned. “I can’t remember the name, but it sounds

like a fairy tale and has camels.” Narnia? Nevernever-land? No, those names weren’t right.

[1.11] “Saudi Arabia,”said Beezus, who also went to the Kemps’ after school. Being in

junior high school, she could take her time getting there.

[1.12] “Yes, that’s it!” Ramona wished she had remembered first.“Howie says he’s bringing

the whole family presents.” She imagined bags of gold like those in The Arabian Nights,

which Beezus had read to her. Of course, nobody carried around bags of gold today, but she

enjoyed imagining them.

[1.13] “What’s Howie’s uncle doing in Saudi Arabia?” asked Mr. Quimby. “Besides spitting

licorice in the sand?”

[1.14] “Daddy, don’t be silly,” said Ramona. “I don’t know exactly.” Now that she was the

center of attention, she wished she had more information.“Something about oil. Drills or rigs

or something. Howie understands all about it. His uncle earned a lot of money.” The

Quimbys were a family who had to worry about money.

[1.15] “Oh, that kind of rich,” said Mr. Quimby. “I thought maybe a long-lost uncle had died

and left him a castle full of servants, jewels, and rare old wines.”

[1.16] “Daddy, that’s so old-fashioned,” said Ramona. “That’s only in books.”

[1.17] The conversation drifted off, leaving Ramona behind. Her father, who would earn his

teaching credential in June, said he was inquiring around for schools that needed an art

teacher, and he also told about the problems of the men who worked in the same frozen-food

warehouse where he worked on weekends at below-freezing temperatures. Mrs. Quimby told

about two people who got into an argument over a parking space at the doctor’s office where

she worked. Aunt Bea talked about a man named Michael who had invited her to go skiing

and was the reason she had bought new ski clothes. Beezus wondered aloud if Michael would

ask Aunt Bea to marry him.Aunt Bea laughed at that, saying she had known him only two

weeks, but since this was January, there were several months of skiing left and there was no

telling what might happen.

[1.18] No more was said about Howie’s uncle that evening. Days went by. Uncle Hobart

didn’t come and didn’t come. Every evening Mr. Quimby asked, “Has Old Moneybags

arrived?” And Ramona had to say no.

40

[1.19] Finally one morning, as Ramona and Howie were waiting for the school bus, Ramona

said,“I don’t think you have a rich uncle at all. I think you made him up.”

[1.20] Howie said he did too have a rich uncle. Even little Willa Jean, when Ramona went to

the Kemps’ after school, talked about Uncle Hobart and the presents he was bringing.

[1.21] Ramona informed Howie and Willa Jean rather crossly that her mother said it wasn’t

nice to talk about other people’s money. They paid no attention—after all, he was their very

own uncle, not Ramona’s—and went right on talking about Uncle Hobart this and Uncle

Hobart that. Uncle Hobart had landed in New York. He had actually telephoned, live and in

person. Uncle Hobart was driving across the country. Uncle Hobart was delayed by a storm

in the Rockies. Ramona wished she had never heard of Uncle Hobart.

[1.22] Then, one day after school, Ramona and Howie saw a muddy van parked on the

Kemps’ driveway.

[1.23] “It’s Uncle Hobart!” Howie shouted, and began to run.

[1.24] Ramona took her time. Somehow she had expected Uncle Hobart to arrive in a long

black limousine, not a muddy van. She followed Howie into the house, where the famous

uncle turned out to be a mediumyoung man who had not shaved for several days and who

was wearing old jeans and a faded T-shirt. He was holding Willa Jean on his lap. The warm,

sweet smell of apple pie filled the air.

[1.25] “Down you go, Doll,” said Uncle Hobart, lifting Willa Jean to the floor and grabbing

Howie in a bear hug. “How’s my favorite nephew?” he asked, and held Howie off to look at

him while Mrs. Kemp hovered and Willa Jean embraced her Uncle Hobart’s knee.

[1.26] Ramona was embarrassed. She felt she was in the way because she was not related.

She sat down on a chair, opened a book, but did not read. She studied Uncle Hobart, who

didn’t look rich to her. He looked like a plain man—a big disappointment.

[1.27] Willa Jean let go of her uncle’s knee.“See what Uncle Hobart brought us,” she said,

and pointed to a pair of objects that looked like two small sawhorses, each holding a red

leather cushion. Willa Jean sat astride one. “Giddyup, you old camel,” she said and informed

Ramona,“This is my camel saddle.”

[1.28] “Hey, a camel saddle!” said Howie when he saw his present. He imitated Willa Jean.

After a few more giddyups, there was nothing more to do with a camel saddle except sit on it.

41

[1.29] Pooh, who wants a boring old camel saddle, Ramona wanted to say, at the same time

wishing she had a saddle to sit on these winter days when she liked to read by the furnace

outlet.

[1.30] Finally Uncle Hobart noticed Ramona. “Well, who’s this young lady?” he asked.

“Howie, you didn’t tell me you had a girlfriend.”

[1.31] Both Ramona and Howie turned red and somehow felt ashamed.

[1.32] “Aw, that’s just old Ramona,” Howie muttered.

[1.33] To Ramona’s horror, Uncle Hobart began to strum an imaginary guitar and sing:

“Ramona, I hear the mission bells above. Ramona, they’re ringing out our song of love. I

press you, caress you, And bless the day you taught me to care.”

[1.34] Ramona knew right then that she did not like Uncle Hobart and never would. She had

heard that song before. When Grandpa Day lived in Portland, he used to sing it to tease her,

too. “I’m not Howie’s girlfriend,” she said in her most grown-up manner. “I have to stay here

until my mother is through work. It is”—could she get the words out right?—“strictly a

business arrangement.”

[1.35] Uncle Hobart found this very funny, which made Ramona dislike him even more.

[1.36] “Cut it out, Uncle Hobart,” said Howie, a remark much appreciated by Ramona, who

pretended to read her book while inside she churned with anger. She was glad she didn’t have

an Uncle Hobart. She was glad she didn’t have any uncles at all, just Aunt Beatrice, who

never embarrassed children and who always came when the family needed her.

[1.37] “Did you bring us any more presents?” asked Willa Jean.

[1.38] “Willa Jean, that isn’t nice,” said Mrs. Kemp, smiling because she was so happy to

have her youngest son home at last.

[1.39] “Willa Jean, how did you guess?” asked Uncle Hobart. “Come on out to the van, and

I’ll show you.”

[1.40] “Me, too?” Howie quickly forgot his annoyance.

[1.41] “Sure.” As he went out the door, Uncle Hobart said,“It’s great to be back in a country

full of green grass and trees.”

[1.42] Ramona heard Howie ask, “What do camels eat if there isn’t any grass?”

42

[1.43] When they returned, Ramona lost her struggle to be interested in her book. Uncle

Hobart was carrying a small accordion.

[1.44] “Grandma, look!” Howie was wheeling what appeared to be part of a bicycle. “It’s a

real unicycle!”

[1.45] “Is it broken?” asked Willa Jean.“It has only one wheel.”

[1.46] “Hobart, whatever were you thinking of ?” Mrs. Kemp frowned at the unicycle.

[1.47] “I was thinking of the unicycle you wouldn’t let me have when I was Howie’s age,”

said Uncle Hobart. “Now, Mom, don’t you worry about a thing. I’ll help him. He’s not going

to break any bones.” He set the accordion on the floor by Willa Jean. “And this is for you,”

he said.

[1.48] Willa Jean eyed the accordion.“What does it do?” she asked.

[1.49] “You can play music on it,” answered her uncle.“It’s a Viennese accordion. I bought

it from one of the men I worked with and even learned to play it a little.”

[1.50] “Isn’t that lovely, Willa Jean?” said Mrs. Kemp.“Your very own musical instrument.

We’ll put it away until you’re old enough to learn to play it.”

[1.51] “No!” Willa Jean put on her stubborn look. “I want to play it now!”

[1.52] Uncle Hobart took the accordion and began to play and sing:

“Ramona, I hear the mission bells above, Ramona, they’re ringing out our song of love.”

[1.53] Ramona stared at her book as she thought mean, dark thoughts about Uncle Hobart.

He stopped playing and said, “What’s the matter, Ramona? Don’t you like my music?”

[1.54] “No.” Ramona looked the uncle in the eye. “You’re teasing. I don’t like grown-ups

who tease.”

[1.55] “Why, Ramona!” Mrs. Kemp was most disapproving. “That’s no way to talk to

Howie’s uncle.”

[1.56] “Now, Mom, don’t get excited,”said Uncle Hobart. “Ramona has a point. I was

teasing, but I’ll reform. Okay, Ramona?”

[1.57] “Okay,” agreed Ramona, suspecting he might still be teasing.

[1.58] “Uncle Hobart, Uncle Hobart, let me play it,” begged Willa Jean.

43

[1.59] The uncle placed Willa Jean’s hands through the straps at each end of the accordion.

“You squeeze in and pull out while you press the little buttons,” he explained.

[1.60] Before he could give any more instructions, Howie grabbed his uncle by the hand and

dragged him outdoors. Mrs. Kemp, sure that bones were about to be broken, followed.

Ramona watched through the window. Uncle Hobart hopped on the unicycle and, waving to

his audience, pedaled to the corner and back.“See, nothing to it,” he said.“Once you know

how.”

[1.61] “Hobart, where on earth did you learn to ride that thing?” his mother called out from

the front steps.

[1.62] “In college,” answered her son.“Come on, Howie, it’s your turn.” Holding the

unicycle upright with one hand, he helped Howie mount the seat over the single wheel. “Now

pedal,” he directed. Howie pedaled; the unicycle tipped forward, setting Howie on the

sidewalk.

[1.63] Indoors, Willa Jean struggled with the accordion, too heavy for her, and made it give

out a loud groan, as if it were in pain.

[1.64] “No, not that way,” Ramona heard Uncle Hobart say. “It’s like riding a bicycle, only

instead of balancing sideways, you have to balance back and forth at the same time.”

[1.65] With a flushed and determined face, Howie mounted the unicycle again. If he learns

to ride it, maybe he’ll let me ride his bicycle, thought Ramona, who longed for a bicycle,

even a secondhand, three-speed bicycle. Howie tipped over backward into his uncle’s arms.

The accordion squawked. Ramona felt rather lonely, left out and in the way.

[1.66] “Hobart, do be careful,” shouted Mrs. Kemp above the squawk and screech of Willa

Jean’s playing.

[1.67] Ramona could see that learning to ride a unicycle was going to take time, so she

turned her attention to Willa Jean and the accordion.

[1.68] Willa Jean set her gift on the floor and sat down on her camel saddle with a

scowl.“It’s too big and it won’t play music.”

[1.69] “Let me try.” Ramona was sure she could make music come out of the accordion. It

looked so easy. She slipped her hands through the straps. The only song she could think of

was, unfortunately, “Ramona.” She pumped and pushed the buttons, only to produce the cry

44

of a suffering accordion. She tried pushing different buttons while she pushed the bellows in

and out. Hee-haw, hee-haw. This was not the music Ramona had in mind. “Maybe your uncle

can show you how when he has more time,” she told Willa Jean as she set the accordion

down carefully on Howie’s camel saddle.

[1.70] From outside, Mrs. Kemp’s warnings continued. “Hobart! Howie! Be careful!”

[1.71] Ramona and Willa Jean stood by the window to watch Howie, protected by his uncle,

actually ride a few feet before he pitched forward onto the sidewalk.“I did it!” he shouted.

[1.72] He’s going to learn to ride it, thought Ramona, and then I’ll get to ride his bicycle.

[1.73] Willa Jean returned to the accordion as if it might have learned to play while she let it

rest, but no, it went right on shrieking and groaning.“I know how I’ll make it play,” she said.

[1.74] Ramona turned from the window in time to see Willa Jean set her accordion on one

end on the floor. Holding it down with one foot through the strap, she used both hands to

stretch it up as high as she could pull it. Then, as Ramona understood what she was about to

do and tried to grab her, Willa Jean quickly took her foot out of the strap, turned, sat on the

upended accordion, and lifted both feet from the floor. As she sank down, the accordion

uttered one long screech, as if it were dying in agony.

[1.75] “Willa Jean!” cried Ramona, horrified and delighted by the dreadful piercing noise

that left her ears ringing. Willa Jean jumped up beaming. The accordion, Ramona could see,

would never rise again. Its bellows had split, silencing it forever. “You broke it,” Ramona

said, knowing she might have done the same thing at Willa Jean’s age.

[1.76] “I don’t care,”said Willa Jean.“I made a big noise, and now I don’t want it anymore.”

[1.77] Mrs. Kemp burst in to see what had happened. “You naughty girls!” she cried when

she saw the remains of Uncle Hobart’s present.

[1.78] “But I didn’t do it,” protested Ramona. “It’s not my fault.”

[1.79] “An expensive musical instrument ruined,” said Mrs. Kemp. “You’re a big girl,

Ramona. You should know better than let Willa Jean break it.” She turned to her

granddaughter. “Aren’t you ashamed of yourself ?

[1.80] “No,”said Willa Jean.“It’s a dumb old thing that wouldn’t play.”

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[1.81] “Willa Jean, go to your room,” ordered Mrs. Kemp, who usually felt that anything

Willa Jean did or said was cute, sweet, or adorable.“I’m ashamed of you, spoiling your nice

uncle’s homecoming.”

[1.82] Scowling,Willa Jean did as she was told.

[1.83] Mrs. Kemp turned to Ramona. “As for you, young lady, you sit on that chair until

your mother comes for you.”

[1.84] Ramona sat, and Ramona seethed, angry at the unfairness of all that had happened.

Why should she have to look after Willa Jean when her mother paid Mrs. Kemp to look after

Ramona? And Uncle Hobart was just plain stupid to give a little girl something she couldn’t

use until she was older, but then, grown-ups were often stupid about presents. Ramona knew.

She had been given books “to grow into,” and by the time she had grown into them, they had

lain around so long they no longer looked interesting. But an accordion—growing up to an

accordion would take forever.

[1.85] Outside, other children had come to watch Howie learn to ride his unicycle. Ramona

could hear shouts and laughing, and once in a while, a cheer. It isn’t fair, Ramona told

herself, even though grown-ups were always telling her life was not fair. It wasn’t fair that

life wasn’t fair.

[1.86] Ramona watched Mrs. Kemp lovingly polish her new brass tray and coffee pot from

Saudi Arabia. Ping-ping-ping went the timer on the kitchen stove. Howie burst in crying, one

knee of his jeans bloody. Uncle Hobart followed with the unicycle. The afternoon was not

fair, but neither was it boring.

[1.87] “Oh, my goodness,” cried Mrs. Kemp.“I knew this would happen. I just knew he

would get hurt on that contraption.”

[1.88] Ramona could hear Willa Jean singing from her room:

“This old man, he is dumb. Knick-a-knack paddywhack, Give a dog a phone, This old man

comes rolling home.”

[1.89] Ramona smiled.Willa Jean never got the words to songs right.

[1.90] Ping-ping-ping insisted the timer.“Hobart, turn off the oven and take out the pie while

I attend to Howie,” directed harassed Mrs. Kemp.Willa Jean stalked into the living room,

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picked up her camel saddle, and stalked out again. In spite of her bitterness, Ramona found

the whole scene most entertaining to watch, better than TV because it was live.

[1.91] When Howie limped back to the living room with one leg of his jeans rolled up and a

bandage on his knee, he sat on the couch feeling sorry for himself. Ramona felt sorry for him,

too.

[1.92] “M-m-m.” Uncle Hobart inhaled.“Smell Mom’s apple pie. Just what I dreamed of

every night when I was overseas.” He gave his mother a smacking kiss.

[1.93] “You’re not fooling me.” Mrs. Kemp was delighted. “You can’t make me believe you

dreamed of my apple pie every night. I know you better than that.”

[1.94] Uncle Hobart noticed Ramona imprisoned on a chair. “What’s the matter with

Howie’s girlfriend?” he asked.

[1.95] Of course, Ramona did not answer a man who did not play fair. He had promised to

reform and not tease.

[1.96] “Hobart, what do you think of a big girl who sits and watches while a little girl breaks

her accordion?” Mrs. Kemp, Ramona understood, did not want an answer. She wanted to

shame Ramona.

[1.97] Ramona was suddenly struck by a new and disquieting thought. Mrs. Kemp did not

like her. Until this minute she had thought all adults were supposed to like all children. She

understood by now that misunderstandings were to be expected—she had had several with

teachers—and often grown-ups and children did not agree, but things somehow worked out.

For a grown-up to actually dislike a child and try to shame her, she was sure had to be wrong,

very, very wrong. She longed for Beezus to come, so she could feel someone was on her side,

but Beezus found more and more excuses to delay coming to the Kemps’ after school.

[1.98] Uncle Hobart apparently thought he was expected to answer his mother’s question.

“What do I think of Ramona? Since she’s Howie’s girlfriend, I think she’s a great kid. Don’t

you, Howie?”

[1.99] “Oh, shut up, Uncle Hobart.” Howie scowled at the carpet.

[1.100] Good for you, Howie, thought Ramona. You’re on my side.

[1.101] “Howie!” cried Mrs. Kemp.“That’s no way to talk to your uncle.”

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[1.102] “I don’t care,” said Howie. “My knee hurts.”

[1.103] “Really, I don’t know what got into you children this afternoon.” Mrs. Kemp was

thoroughly provoked.

[1.104] Ramona could have told her in one word: grown-ups. Instead, she stared at her book

and thought, I am never going to come back here again. Never, never, never. She did not care

what anyone said. She did not care what happened. She was not going to be looked after by

someone who did not like her.

[1.105] “Poor Mom,” said Uncle Hobart. “How about a piece of your apple pie.”

[1.106] Poor us. Ramona included Howie and Willa Jean in her pity as she wished that

someday, just once, she too could sit on an accordion. She knew she never would, even if she

had the chance. She had grown past Willa Jean’s kind of behavior, which had been fun while

it lasted. Ramona smiled as she recalled the happy afternoon she had spent, when she was

Willa Jean’s age, boring holes in the garage wall with her father’s brace and bit—until she

was caught.

Bab II

Ramona’s Problem

[2.1] At dinner the evening after the accordion incident, the members of the Quimby family

were silent and thoughtful, as if they all had serious problems on their minds.They really

were thinking about their problems, but they looked thoughtful because they were trying to

avoid the bones in the fish they were having for supper. Eating fish with bones without

looking thoughtful is impossible. Picky-picky, meowing for his turn, wove himself around

their legs.

[2.2] Ramona, who did not care for fish and was willing to let Picky-picky have her share,

wished her mother would say, “Ramona eats like a bird,” as if Ramona were unusually

delicate and sensitive. Some mothers were like that, but not Mrs. Quimby, who would only

say cheerfully, “Eat it anyway,” if Ramona complained that she did not like fish.

[2.3] Since she could not get away with eating like a bird, Ramona poked her fork through

her fish to remove every single bone before taking the first bite, and while she pushed, she

worried. How was she going to inform her family that she was never going to stay with Mrs.

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Kemp again? Never, and then what? If she did not stay at the Kemps’ after school, her

mother might not be able to work in the doctor’s office, her father could not go to college,

and the whole family would fall over like dominoes pushed by Ramona.

[2.4] Mr. Quimby laid a fishbone on the edge of his plate. “Has Howie’s rich uncle, Old

Moneybags, turned up yet?” he said to Ramona. To the cat he said, “Beat it, you furry

nuisance.”

[2.5] “Yes,” said Ramona, “but he’s just a plain man with whiskers and jeans. He doesn’t

look rich at all.”

[2.6] Mr. Quimby said, “These days, you never can tell by clothes.”

[2.7] “Is he nice?” asked Mrs. Quimby.

[2.8] “No,” said Ramona. “He’s the kind of grown-up who teases children and thinks he’s

funny.”

[2.9] “You know the type,” said Beezus.“When I got there, he said, ‘Who’s this lovely little

lady?’ And I’m not lovely. I have three pimples, and I look terrible.” Beezus worried about

her face lately, scrubbing it with medicated soap twice a day and refusing to eat chocolate.

[2.10] “I’m never going back there after school,” Ramona burst out. “I don’t care what

anybody says. I won’t go there again! I’ll come home and sit on the steps and freeze, but I

will not let that awful Mrs. Kemp look after me again.” Tears of anger spilled over her

untasted fish.

[2.11] The family was silent. When no one spoke, Ramona flared again. “Well, I won’t, and

you can’t make me. So there! Mrs. Kemp hates me.”

[2.12] There was a time when Mr. Quimby would have said something such as, “Pull

yourself together, Ramona, and eat your dinner.” Instead, now that he was studying to be a

teacher, he said calmly and quietly, “Tell us about it, Ramona.”

[2.13] This made Ramona feel worse. She did not want her father to be calm and quiet, as if

she were sick in bed. She wanted him to be upset and excited, too. Her mother, also quiet,

handed her a Kleenex. Ramona mopped her eyes, clutched the Kleenex in a ball, and began.

She told about the uncle’s presents, the song he sang, Howie’s bloody knee, and how Willa

Jean broke the accordion. Her parents laughed at that.“That ought to make the neighbors

happy,” said Mr. Quimby.“Now they’re spared the racket.”

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[2.14] Ramona managed a shaky laugh, too. Now that she was safely in her own home, she

could see the funny side to Uncle Hobart’s visit—except her part.

[2.15] “That must have been an interesting noise,” remarked Mrs. Quimby.

[2.16] “A wonderful noise,” agreed Ramona. “A really terrible noise that hurt my ears—

Picky-picky, you’re tickling—but Mrs. Kemp blamed me for not watching Willa Jean, and

that isn’t fair. And today I figured out something. Mrs. Kemp doesn’t like me. She’s never

nice and is always blaming me for something I didn’t do. I don’t care what you do to me. I

am not going back.”

[2.17] “Did you ever stop to think, Ramona,” said Mrs. Quimby, “that perhaps Mrs. Kemp

would rather not be a sitter for you or her grandchildren?”

[2.18] No, Ramona had not thought of that.

[2.19] “Women her age were brought up to keep house and take care of children,” explained

Mrs. Quimby. “That’s all they really know how to do. But now maybe she’d rather be doing

something else.” She looked thoughtful, not fishbone thoughtful, but really thoughtful.

[2.20] “She could like me a little bit.” Ramona now felt sulky instead of angry.

[2.21] Beezus spoke up. “Ramona is right. Mrs. Kemp doesn’t like either of us.That’s why I

try to go to Pamela’s house after school, or to the library.”

[2.22] “Ramona, what do you think you should do?” asked Mr. Quimby.

[2.23] Ramona did not want the responsibility of thinking what she should do. She wanted

help from a grown-up. Sometimes she thought learning to be a teacher had changed her

father.“Why can’t I stay home and watch myself ?” she asked.“Lots of kids watch themselves

when nobody is home.”

[2.24] “And those are the kids who get into trouble—Picky-picky, take your claws out of my

leg!—You’re my daughter,” said Mr. Quimby, “and I don’t like the idea of you staying

alone.”

[2.25] “Other kids don’t watch themselves, they watch TV,” said Beezus as she cleared the

table.

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[2.26] “I wouldn’t watch TV,” was Ramona’s reckless promise. She whisked her own plate

to the kitchen and dumped her fish on Picky-picky’s dish. “I would sit on a chair and read a

book. Cross my heart and hope to die and stew and fry.”

[2.27] “I wouldn’t go that far,” said her father, sounding more the way Ramona remembered

him before he went back to college.

[2.28] “I could watch her.” Beezus rose from the table to serve canned pears while Ramona

followed with a plate of oatmeal cookies. “Lots of girls in junior high baby-sit.”

[2.29] “No dessert for me,” whispered Mrs. Quimby.

[2.30] “I’m not a baby.” Ramona wondered why Beezus was willing to give up going to

Pamela’s house. Pamela had everything—her own TV set, her own telephone. Pamela was

popular. All the junior high girls wanted to be like Pamela.

[2.31] Ramona thought fast. Beezus would act big. Beezus would be bossy. She and Beezus

would quarrel with no one to stop them. Beezus might tattle. Sometimes she did, and

sometimes she didn’t. Of course, Ramona tattled, too, but somehow she felt that was

different.

[2.32] On the other hand, there was Mrs. Kemp. As soon as her son left, she would go back

to knitting and disliking Ramona.And there was Howie, her best friend, to think about. On

sunny days, and even on damp days, he was off riding his bicycle with the boys in the

neighborhood, leaving her stuck with Willa Jean. “Would Beezus get paid?” Ramona

demanded.

[2.33] Silence. “Picky-picky, get down,” said Mrs. Quimby. The cat, who had gobbled up

Ramona’s fish, wanted more.

[2.34] “Well—” said Beezus, “I guess I could sit for nothing. After all, I don’t like going to

the Kemps’ myself. Mrs. Kemp never makes me feel welcome, and their house always smells

of old soup.”

[2.35] “I’m sure Mrs. Kemp would like to be with her son as much as possible while he is

here,” said Mrs. Quimby. “I could suggest she take a week off. That way, you could try

staying home without hurting her feelings, and we could see how it works out.”

[2.36] “She’ll be glad to get rid of me.” The raw, hurt feeling inside Ramona was beginning

to heal now that her family was trying to help.

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[2.37] “You girls will have to come straight home from school,” said Mrs. Quimby, “and

promise to behave yourselves. No fighting, and never, never, open the door to strangers.”

[2.38] The sisters promised. “Mother, will you phone Mrs. Kemp now?” Ramona was

anxious to have the matter settled before Mrs. Kemp telephoned first to say Ramona was a

bad influence on Willa Jean.

[2.39] Howie’s grandmother, as Mrs. Quimby had predicted, was delighted to have more

time to spend with her son.“Whee!” cheered Ramona. She was free of Mrs. Kemp for at least

a week.

[2.40] When the meal was over, Beezus went to her room to do her homework. Ramona

followed and closed the door behind her.“How come you are willing to stay with me instead

of going to Pamela’s or Mary Jane’s after school?” She could not help feeling suspicious, so

unexpected was Beezus’s behavior.

[2.41] “Mary Jane is always practicing the piano, and I’m not speaking to Pamela,”said

Beezus.

[2.42] “Why not?” Ramona often yelled at people, but never refused to speak. Nothing could

happen if you didn’t speak, and she liked things to happen.

[2.43] Beezus explained.“Pamela is always bragging that her father has a real job, and she’s

always asking when my father is going to stop fooling around and really go to work. So I

don’t go to her house anymore, and I don’t speak to her.”

[2.44] “Pooh to old Pamela.” Ramona chewed a hangnail as painful as her thoughts. “She

doesn’t have any right to say things like that about Daddy. I won’t speak to her either.”

[2.45] “And I heard something Aunt Bea said,” continued Beezus.“She said schools are

laying off teachers. How do we know Daddy will get a job?”

[2.46] Ramona, who had imagined every school would want a man as nice as her father, now

had a new worry. “You don’t think Daddy would go to Gaudy Arabia, do you? Even if it

would be warmer than that awful frozenfood warehouse where he works?”

[2.47] “Saudi Arabia,” corrected Beezus. “No, I don’t. He doesn’t know anything about oil

except it costs a lot, and do you know what I think?” Beezus did not wait for Ramona to

answer. “I think Mother won’t be working much longer, because she’s going to have a baby.”

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[2.48] Ramona sat down on the bed with a thump. A damp, dribbly baby, another Quimby.

“Why would Mother do a thing like that when she already has us?”

[2.49] “Don’t ask me,” said Beezus, “but I’m pretty sure she is.”

[2.50] “Why?” asked Ramona, hoping her sister was wrong.

[2.51] “Well, you remember how Aunt Bea is always asking Mother how she is feeling, as if

she had a special reason for asking?”

[2.52] Looking back, Ramona realized Beezus was right.

[2.53] “And Mother doesn’t eat dessert anymore,” continued Beezus,“so she won’t gain too

much weight.”

[2.54] “Maybe she just doesn’t want to get fat.” Ramona was doubtful about this. Her

mother had always been slender, never worrying about her weight like most mothers.

[2.55] “And twice, back around Thanksgiving, Mother threw up after breakfast.” Beezus

added another reason.

[2.56] “That’s nothing,” scoffed Ramona. “I’ve thrown up lots of times, and mince pie

always makes me want to urp.”

[2.57] “But ladies who are going to have babies sometimes throw up in the morning,”

explained Beezus.

[2.58] “They do?” This was news to Ramona. Beezus might be right. She was interested in

such things.“Why don’t we go ask Mother?”

[2.59] “When she wants us to know, she will tell us. And of course, I might be wrong....”

Doubt crept into Beezus’s voice before she said,“Oh, I hope I’m right. I love babies. I’d love

to help take care of one of our own. I just know it would be darling.”

[2.60] Ramona sat on the bed thinking while Beezus opened her books.A little brother or

sister? She did not like the idea, not one bit. If she had a little brother or sister, grownups

would say in their knowing way, as if children could not understand, Somebody’s nose is out

of joint. Ramona had heard them say it many times about children who had new babies in the

family.This was their way of talking about children behind their backs in front of them.

[2.61] “But if it’s true, I sure hope Daddy finds a teaching job fast,” said Beezus. “Now go

away. I have to study.”

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[2.62] Ramona wandered into the living room, where her mother was lying on the couch

watching the evening news on TV with the sound turned low so it would not disturb her

husband, who was studying at the dining room table. Ramona knew she was not supposed to

interrupt when he was studying, but this time she decided he wasn’t really working, just

doodling on a piece of scratch paper with a worried look on his face. She slipped her head up

between his ribs and arm.

[2.63] “Hi,” said her father, as if Ramona had brought his thoughts back to the dining room.

[2.64] “Hi,” answered Ramona as her father quickly turned over his page of doodles, but not

before she had a glimpse of dollar signs and babies, doodles that must mean he was thinking

about a baby.

[2.65] “You have me to be your little girl,” Ramona reminded her father.

[2.66] Her father rubbed his chin against the top of Ramona’s head.“That’s right, and I’m

mighty glad I do.”

[2.67] “Then you wouldn’t want another little girl, would you?” Ramona had to find out.

[2.68] “Oh, I don’t know,” said Mr. Quimby. “I like little girls.”

Chapter III

Being Good

[3.1] On Monday, Howie looked troubled when Ramona hopped off the school bus and

turned toward her house instead of his. “Well—so long, Ramona,” he said. “See you

tomorrow.”

[3.2] “Have fun with your uncle,”said Ramona, and walked down Klickitat Street to the

Quimby house, where she found the hidden key, let herself in the back door, washed her

hands, ate an apple, put the core in the garbage, changed from school clothes into old jeans

and a T-shirt, and sat down on the couch to read. She felt grown up and very, very good. How

peaceful the Quimby house was compared to the Kemp house, where the television set was

always tuned to soap operas and Willa Jean hopped around, yelling and insisting that Ramona

play with her. Being good wasn’t going to be hard after all.

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[3.3] Beezus came home a short time later. The sisters greeted one another with unusual

courtesy, so determined were they to be good. Beezus took an apple into her room, where she

settled down to do her homework.

[3.4] Picky-picky meowed to be let out of the basement.

[3.5] “Ramona, will you please let the cat out?” Ordinarily, Beezus would have shouted,

Can’t you hear Picky-picky? Let him out.

[3.6] Another time, Ramona would have shouted back, Let him out yourself. He’s more

your cat than mine. I was not even born when we got him.Today she answered,“Yes,

Beezus,” as she opened the basement door.

[3.7] Picky-picky immediately went to his dish to see if someone had surprised him with a

choice tidbit. Ramona returned to her book. Picky-picky, finding only leftover Pusspuddy,

strolled out of the kitchen and went to the couch, where he waggled his rear end as if he were

about to jump up beside Ramona. The effort was too great for his old age. Ramona, who was

always pleased to receive attention from the cat, lifted him gently. He curled up beside her

and purred as if his purring machinery had grown rusty and was wearing out.

[3.8] Of course, the girls’ parents, when they came home, were delighted to see what

wellbehaved daughters they had. The girls looked closely at their mother’s waistline to see if

she had gained weight since breakfast.

[3.9] Tuesday afternoon was much the same as Monday. Beezus talked a long time on the

telephone to a friend Ramona did not know. The conversation was about who said what to a

new boy at school, and what was printed on someone’s T-shirt, and how some girl said she

had seen some boy looking at Beezus, because Beezus said, “Do you think he looked at me,

really?” and on and on. When the conversation, uninteresting to Ramona, finally ended,

Beezus went into the bathroom and scrubbed her face with medicated soap.

[3.10] “What good girls we have,” said Mrs. Quimby when she returned from work with her

waistline no larger than it had been the day before. However, she did look tired, and on the

way home, had bought a pizza for dinner. Since pizzas were an extravagance in the Quimby

household, this meant she did not feel like cooking dinner.

[3.11] By Wednesday Ramona began to dread being good because being good was boring,

so she was happy to see Howie coming down the street, wheeling his bicycle with his

55

unicycle balanced across the seat and handlebars. She was even happier when he laid both on

her driveway. Ramona met him at the door.

[3.12] “Come on out, Ramona,” said Howie. “Uncle Hobart helped me learn to ride my

unicycle, so now you can ride my bicycle.”

[3.13] Ramona’s wish had come true. “Hey, Beezus,”she shouted,“I’m going out and ride

Howie’s bike.”

[3.14] “You’re supposed to ask first,”said Beezus. “You can’t go out unless I say so.”

[3.15] Ramona felt that Beezus was showing off in front of Howie.“How come you’re so

bossy all of a sudden?” she demanded.

[3.16] “Mom and Dad left me in charge, and you have to mind,” answered Beezus.

[3.17] “You talk the way you and Mary Jane used to talk when you played house and made

me be the baby. Well, I’m not a baby now.” Ramona grew more determined and contrary.

“Mom always lets me go out and play with Howie.”

[3.18] “Just the same, if you get hurt, I’m responsible,” said Beezus.

[3.19] “You’re just being mean,” said Ramona. “So long, Pizzaface.” Just before she

slammed the door, she was horrified to see Beezus’s face crumple, as if she were about to

burst into tears.

[3.20] Howie cried out,“Ramona, look at me!”

[3.21] Ramona watched Howie mount his unicycle and ride it to the corner and back, but as

she watched, she felt puzzled and uncomfortable. She had made Beezus unhappy, but why?

She did not understand. She had called Beezus Pieface many times without upsetting

her.What was so different about Pizzaface? She happened to think of it because they had

eaten pizza the night before, and pizza was a sort of pie.

[3.22] “Good work, Howie,” said Ramona when he had ridden to the corner and back a

second time. But what about me? She thought, still worrying about Beezus. I can’t spend the

rest of my life sitting on a couch being good.

[3.23] “Come on, ride my bike,” said Howie. “Let’s see if we can make it around the block.”

[3.24] Ramona raised Howie’s bicycle, made sure one pedal was high and the other low so

she would have a good start, mounted, and rode wobbling down the sidewalk.

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[3.25] “Atta girl, Ramona,” said Howie, seating himself on his unicycle and pedaling ahead

of her.

[3.26] Ramona wobbled along after him, and as she wobbled, she worried.What was Beezus

going to say to their mother and father? Would she have to go back to the Kemps’?

[3.27] By the time Ramona reached the corner, she was less wobbly. She even managed to

turn the corner without tipping over. She began to pedal faster. Now she was really riding,

filled with joy, as if she were flying.

[3.28] Ramona passed Howie. She stood up on the pedals to go faster. Ramona’s mind was

on speed, not balance, and at the next corner, as she turned, she lost control. Down she went,

with the bicycle on top of her. Her left knee and elbow hurt; her breath was knocked out of

her.

[3.29] Howie dropped his unicycle and came running to lift his bicycle from Ramona. “You

okay?” he asked.

[3.30] Ramona rose stiffly to her feet. “I don’t think anything’s broken,” she said, struggling

not to cry. Blood was running down her scraped elbow and soaking the knee of her jeans.

Limping, she wheeled the bicycle, and Howie wheeled his unicycle, as far as her driveway.

[3.31] “Come back again, Howie,” said Ramona. “I love to ride your bicycle, even if I did

take a spill.”

[3.32] “Sure, Ramona,” agreed Howie. “You better go mop up all that blood.”

[3.33] When Ramona went to the back door so she wouldn’t bleed on the living room carpet,

she had to knock because the door was locked.When Beezus opened it, she ignored her

sister’s dripping blood and returned to her room without speaking.

[3.34] Ramona limped to the bathroom. Maybe she could make Beezus speak if she let her

know she had been right, that Ramona had hurt herself when she disobeyed. She said in her

most pitiful voice, “Beezus, I had a bad fall. Come and help me.”

[3.35] “I don’t care, you hateful little creep,” was her sister’s answer.“Serves you right. I’m

not speaking to you anymore. It’s not my fault my face is all red and blotchy like a pizza.”

[3.36] What Ramona heard left her speechless, ashamed, and angry. She had hurt her sister’s

feelings accidentally; Beezus had hurt hers on purpose, and she didn’t even care that Ramona

was dripping blood. She was probably glad. Bossy old Beezus.

57

[3.37] Ramona washed her own knee and elbow, sprayed them with disinfectant, plastered

them with Band-Aids, and changed into clean jeans and a long-sleeved blouse to hide her

wounds. She then lifted Picky-picky to the couch, sat down beside him to read and be good

Ramona again.

[3.38] Ramona, however, found she could not read, she felt so terrible, even though she was

angry, about hurting her sister’s feelings in a way she had not intended. The girls often called

one another names—Beezus called Ramona Dribblepuss when her ice cream melted from a

cone and trickled down her chin—but they never used really unkind names. Now Beezus

called her a hateful little creep and meant it. And what if Beezus told their mother and father

they had quarreled? Then it would be back to the Kemps’ for Ramona.

[3.39] Good girl that she was, Ramona decided to set the table. She heard Beezus go into the

bathroom and wash her face before coming into the kitchen. Picky-picky managed to get

down from the couch and follow her, in case she decided to feed him. Beezus scrubbed four

potatoes and put them in the oven to bake. Then she picked up the cat, hugged and petted

him.“Nice Picky-picky,” she said so Ramona could hear. This, of course, meant that Ramona

was not nice.

[3.40] However, when their parents came home, Beezus acted as if nothing had happened,

and so did Ramona—except they both talked to their mother and father but not to one

another. Ramona thought maybe the white uniform her mother wore to work in the doctor’s

office looked tighter at the waist. Perhaps it had shrunk, or last night’s pizza had been

fattening, or maybe Beezus was right—she was going to have a baby.

[3.41] As the family was about to sit down to dinner, the telephone rang, and since Mrs.

Quimby happened to be standing near it, she answered. “Oh, I’m fine,” she said.

[3.42] Ramona wanted to look at Beezus. However, they were not only not speaking, they

were not looking. She listened intently to their mother’s side of the telephone conversation.

Mrs. Quimby was smiling.“Yes . . . yes, of course. I think that’s a great idea . . . no, it doesn’t

hurt to try, so go ahead . . . it sounds like fun. Let me know how it turns out.”

[3.43] “What sounds like fun?” demanded Ramona and Beezus at the same time.

[3.44] “Oh—something,” said Mrs. Quimby airily, and winked at her husband. “I can’t

remember exactly what.”

58

[3.45] “You winked at Daddy,” Ramona accused her mother, as if winking were somehow

wicked.

[3.46] “Mom! You’re fibbing!” cried Beezus in exasperation. “You can too remember.”

[3.47] “It isn’t nice to talk about things in front of people and not tell them what you are

talking about.” Ramona suffered from curiosity as much as Beezus.

[3.48] “Who called?” asked Mr. Quimby.

[3.49] Ha! thought Ramona, now we’ve got her. She won’t fib to Dad.

[3.50] “Howie’s mother,” said Mrs. Quimby. “She needed some information.”

[3.51] “Oh,” was all the girls’ father had to say.

[3.52] “Is it about a birthday party?” asked Ramona, because her mother had mentioned fun.

[3.53] “Never mind, Ramona,” said her mother. “Just eat your dinner.”

[3.54] “Well, is it?” persisted Ramona.

[3.55] “No, it isn’t a birthday party,” said Mrs. Quimby, “and it doesn’t concern you.”

[3.56] Ramona hoped her mother was still fibbing. She wanted fun to concern herself.

[3.57] The parents did not notice that the girls were not speaking—or if they did, they chose

not to mention the matter.

[3.58] After dinner, Mrs. Quimby said she was a little tired and thought she would go to bed

and read awhile.The girls avoided looking at one another, even though the remark was

significant.

[3.59] “I’ll do the dishes,” volunteered Mr. Quimby as the girls cleared the table.“Then I’ll

work on my lesson plan for tomorrow’s practice teaching.” He lowered his voice. “And I

want to make one thing clear to you girls.You are not to do anything to worry your mother.

Do you understand?”

[3.60] The girls nodded, avoiding one another’s eyes. From the exasperation in their father’s

voice, they knew he understood they had quarreled. Beezus went off to her room.

[3.61] Ramona yearned to follow her sister, to say she was sorry, that she had not meant

Pizzaface the way Beezus thought she meant it, to find out what Beezus thought of the

mysterious telephone call, to ask when she thought her mother was going to have a baby—if

59

she was. However, Ramona was not used to saying she was sorry, especially to someone who

was bossy and called her a hateful little creep. Little creep she could overlook, but not hateful

little creep.

60

Chapter

III

ANNOTATION

This chapter contains an explanation of addressing terms which are problematic in

their translation from the source text of Ramona Forever. These addressing terms will be

explained based on each clasiffication of form of addressing term that has been discussed in

chapter I about Introduction.

According to Braun (1988:7-12) there are four forms of addressing term, pronoun of

address, verb form of address, noun of address, and bound and free form of address. From

those forms, there is only one which used by the translator in this thesis, i.e. noun of address.

Braun (1988:9-11) also classifies noun of address into name, kinship term, general form, title,

abstract, occupational term, relationship, endearment term, and nominal form. Not all of

those classifications of noun of address are used in this annotation, but there are only five of

them, they are kinship term, general form, relationship, endearment term, and nominal form.

Newmark (1988: 81-91) states that there are some translation procedures that can be applied

in translation. But, from those procedures, there are only eight procedures which applied in

this annotated translation, they are cultural equivalent, functional equivalent, synonymy,

through-translation, transposition, modulation, paraphrase, and couplets.

A. Kinship Term

Braun (1998:9) states that kinship terms are related to blood relationship and

affines. It means that kinship term is a term in which the speaker has a close

relationship with the audience, for example blood relations, marriage, and adoption.

There is also a close relationship through nature and character called affinity. Usually

affinity-related is people and things that have a close relationship. In this thesis, the

translation procedures which used to translate the addressing term of kinship term is

paraphrase.Newmark (1988:90) explains that paraphrase is “an amplification or

explanation of the meaning of a segment of the text. It is used in thetext when it is

poorly written, or has important implications and omissions.” Table 3.1 shows how

the translator translated addressing term “Her third-grade niece” become Keponakan

perempuannya yang duduk di kelas tiga sekolah dasar ituby using this paraphrase

procedure.

61

Table 3.1

Her third-grade niece :: Keponakan perempuannya yang duduk di kelas tiga

sekolah dasar itu

Chapt.

Par. Source Text Target Text

1.2

Aunt Beatrice, who taught third

grade, knew how to behave

toward her third-grade niece.

“What?” she asked, laying down

her fork as if she expected to be

astounded by Ramona’s news.

Tante Beatrice, yang mengajar

kelas tiga sekolah dasar, tahu

bagaimana berperilaku terhadap

keponakan perempuannya yang

duduk di kelas tiga sekolah dasar

itu. “Apa?” tanyanya sambil

meletakkan garpu, seolah-olah

dia terkejut dengan berita dari

Ramona.

The ‘third-grade niece’ is an addressing term to address Ramona. The

translator uses paraphrase as a procedure to solve this problem. The words ‘third

grade’ here means third-grade in Elementary School. It can be seen by knowing

Ramona’s elder sister, Beezus. Beezus is in Junior High School (1.11). Logically,

if Beezus is in Junior High School, it is impossible for Ramona if she is a third-

grade of Junior High School. She must be at lower grade than Beezus.

Based on the existing definition of paraphrase that this procedure is used when

in the source text there is an omission word. In this regard, the translator uses this

procedure, since there is an omission word in 'third-grade', i.e. Elementary School.

Therefore, the translator wants to add the omission word to make it more clear and

understand that 'third-grade' does not mean 'third-grade' in Junior High School or

Senior High School but Elementary School. So, the translator translated ‘third-

grade niece’ become keponakan perempuannya yang duduk di kelas tiga sekolah

dasar itu. There is only one data found in the kinship term category that uses

paraphrase procedure.

B. General form

Braun (1988:9) states that general form is a term which does not need to be

regarded as particular titles and are in common use. This characterization is vague

enough, but a more detailed description of this group of forms whould involve

62

language-spesific properties. In one language, there may be several contrasting

variants of this type, combinable with each other or excluding each other, while in

other languages there is only one. It means that, in this general form, one term or

word can be used in variant languages or has more than one meanings. There are five

translation procedures to solve this kind of form of address in this translation project,

they aresynonymy, through-translation, transposition, modulation, and couplets.

1. Synonymy

Newmark (1988:84) states that this procedure is used for a source language

word where there is no clear one-to-one equivalent, and the word is not important

in the text, in particular for adjectives or adverbs of quality. So, there is a

similarity of the meaning between the source language and target language,

although the words when translated is not same. Table 3.2shows how the

translator translated addressing term ‘you hateful little creep’ become gadis egois

yang aneh.

Table 3.2

you hateful little creep :: gadis egois yang aneh

Chapt.

Par. Source Text Target Text

3.35

“I don’t care, you hateful little

creep,” was her sister’s

answer.“Serves you right. I’m

not speaking to you anymore.

It’s not my fault my face is all

red and blotchy like a pizza.”

“Aku tidak peduli, gadis egois

yang aneh,” itu jawaban

kakaknya. “Tangani dirimu

sendiri. Aku tidak akan berbicara

padamu lagi. Ini bukan salahku

kalau wajahku semua merah dan

memiliki jerawat seperti pizza.”

The word ‘you hateful little creep’ is an addressing term used to address

Ramona. To translate this addressing term, the translator uses synonymy

procedure. Based on the definition of synonymy that there is no clear one-to-one

equivalent. The translator translated ‘you hateful little creep’ become gadis egois

yang aneh. The translator tries to find a similar word in the target language to

translate ‘you hateful littel creep’. Based on Urban Dictionary, the word 'hateful'

means a word is often used to refer to racists, sexists, etc. But, really just means

people shallow, selfish, spiteful, unfirgiving, and who generally have their head

63

up their ass. The similarity of the word 'hateful' in the target language based on the

definition is egois. Furthermore, the word 'little' in target language means kecil.

But, based on the context, the word 'little' means gadis used to describe Ramona

as a little girl. Then, the word 'creep' is used usually as an ordinary personality or

overall behavior that is strange or weird. Based on that definition, the translator

translated the word 'creep' becomes aneh.Therefore, ‘you hateful little creep’ is

translated into Indonesian as the target language as gadis egois yang aneh.

Table 3.3 shows how the translator translated addressing term ‘Pizzaface’

become muka jerawat by using this procedure.

Table 3.3

Pizzaface :: muka jerawat

Chapt.

Par. Source Text Target Text

3.19

“You’re just being mean,” said

Ramona. “So long, Pizzaface.”

Just before she slammed the

door, she was horrified to see

Beezus’s face crumple, as if she

were about to burst into tears.

“Kamu kejam,” kata Ramona.

“Sampai jumpa, muka jerawat.”

Tepat sebelum ia membanting

pintu, ia takut melihat wajah

Beezus, seolah-olah ia akan

menangis.

The ‘Pizzaface’ is an addressing term to address Beezus. The word ‘Pizzaface’

is from the word ‘Pizza’ and ‘face’. The translator uses synonymy procedure to

translate this addressing term by using a word which has a similar meaning. So,

synonymy procedure is for translating the word ‘Pizzaface’ become muka jerawat.

Based on Cambridge Dictionary, the word ‘Pizzaface’ means a person whose face

has a lot of spots and pimples on it. The word ‘pimples’ in the target language

means jerawat. If the word ‘Pizzaface’ is translated literally it will become muka

or wajah pizza. But, it refers to Beezus which has written in this story and has so

many acnes. So, based on the context, there is a similar meaning between

‘Pizzaface’ and muka jerawat, which actually refers to Beezus. Besides that, it is

similar because of the definition of ‘Pizzaface’ itself.

2. Through translation

Newmark (1988:84) states that through-translation in contiguous cultures

sometimes fill in useful gaps. Through-translation is a procedure which is

64

translating the text literally. It is the literal translation of common collocations,

names of organizations and components of compounds. It can also be called

calque or loan translation. Table 3.4shows how the translator translated addressing

term ‘you old camel’ become unta tua by using this procedure.

Table 3.4

you old camel :: unta tua

Chapt.

Par. Source Text Target Text

1.27

Willa Jean let go of her uncle’s

knee.“See what Uncle Hobart

brought us,” she said, and

pointed to a pair of objects that

looked like two small sawhorses,

each holding a red leather

cushion. Willa Jean sat astride

one. “Giddyup, you old camel,”

she said and informed

Ramona,“This is my camel

saddle.”

Willa Jean melepaskan

pelukannya. “Lihat apa yang

Paman Hobart bawa,” katanya,

dan menunjuk sepasang benda

yang terlihat seperti dua kuda-

kuda kecil, masing-masing

memiliki bantal kulit merah.

Willa Jean menunggangi salah

satunya “Giddyup, unta tua,”

katanya dan memberitahu

Ramona, “Ini pelana untaku.”

The word ‘you old camel’ refers to a present from Uncle Hobart which looks

like a small sawhorse which holding a red leather cushion. In translating the word

'you old camel', the translator uses through-translation procedure. Based on the

definition of through-translation procedure that word from the source text is

translated by using the authenticity of the word or in other words literally

translated.

In this regard, the translator translates 'you old camel' literally into an old

camel. In Cambridge Dictionary (English-Indonesia) the word 'old' means old and

the word 'camel' means camel. This translator is used because it corresponds to the

context of the story in which 'old camel' refers to a gift from Uncle Hobart. In

addition, this translation is also very neutral and does not deviate from the

message source text itself.

65

3. Transposition

Newmark (1988:86) states that transposition is a translation procedure

involving a change in the grammar from source language to target language.

There are four types of this translation procedure. First, the change from singular

to plural. Second, requirement when an source language grammatical structure

does not exist in the target language. Third, the one where literal translation is

grammatically possible but may not accord with natural usage in the target

language. The last, the replacement of a virtual lexical gap by a grammatical

structure. Table 3.5 shows how the translator translated addressing term ‘Old

Moneybags’ become si Tua Kaya by using this procedure.

Table 3.5

Old Moneybags :: si Tua Kaya

Chapt.

Par. Source Text Target Text

1.18

No more was said about

Howie’s uncle that evening.

Days went by. Uncle Hobart

didn’t come and didn’t come.

Every evening Mr. Quimby

asked, “Has Old Moneybags

arrived?” And Ramona had to

say no.

Tidak ada lagi yang berbicara

tentang paman Howie malam itu.

Hari-hari telah berlalu. Paman

Hobart belum juga datang. Setiap

malam pak Quimby bertanya,

“Sudahkah si Tua Kaya datang?”

Dan Ramona berkata belum.

Based on Cambridge Dictionary, ‘Moneybags’ refers to a rich person. The

word ‘Moneybags’ is an addressing term to address Howie’s uncle, Uncle Hobart.

It can be known if Uncle Hobart is a rich person in Ramona’s conversation with

her family. Ramona told that Uncle Hobart is rich from his job which related to

oil, drills or rigs.

To translate ‘Old Moneybags’ become si Tua Kaya, the translator uses

transposition procedure which focused on the third type i.e literal translation is

grammatically possible but may not accord with natural usage in the target

language, because if 'Old Moneybags' is translated literally it will be Tas-tas uang

Tua. However, in this context, the word 'Old Moneybags' does not mean that,but

Uncle Hobart. In addition, Tas-tas uang Tua is not neutral in the target language

66

or in other words the translation does not match the message of the source text.

Then, to provide more information that 'Old Moneybags' refers to Uncle Hobart,

the translator adds the word si before the word Tua, where the word si in the target

language refers to a person.

4. Modulation

Newmark (1988:88) states that it occurs when the translator reproduces the

message of the original text in the target language text in conformity with the

current norms of the target language, since the source language and the target

language may appear dissimilar in terms of perspective. It means that the specific

word is changed to be general word. Table 3.6shows how the translator translated

addressing term ‘cute licorice-chewing uncle’ become pamanby using this

procedure.

Table 3.6

cute licorice-chewing uncle :: paman

Chapt.

Par. Source Text Target Text

1.9

“Where’s this cute licorice-

chewing uncle coming from, and

how did he get so rich?” asked

Ramona’s father, beginning to

be interested. “Playing

baseball?”

“Dari mana paman ini berasal,

dan bagaimana dia bisa kaya?”

tanya ayah Ramona mulai

tertarik. “Bermain baseball?”

The word 'cute licorice-chewing uncle' refers to Uncle Hobart. The translator

used modulation procedure to translate that word. Based on the definition of

modulation procedure that the specific word in the source text is translated into a

common word in the target text. Therefore, the translator translated the word 'cute

licorice-chewing uncle' into a more general word become paman. This procedure

is also used to prevent the occurrence of repetition of words, because the word

'cute licorice-chewing' has been discussed in the previous sentence (1.7 and 1.8).

From the explanation above, it can be concluded that some general form of

addressing forms can be translated using synonymy, through-translation,

transposition, and modulation.

67

C. Relationship

Braun (1988:10) states that the relationship expressed in the term, though,

need not correspond to the actual relationship. Sometimes such terms are common

even among strangers. It is different with kinship term. Kinship term is also about

relationship, but it is closer and around the family. Then, relationship is a relation

between people but it is not close and outside the family. To translate this addressing

term, there is only one procedure, that is functional equivalent.

According to Newmark (1988:83) this common procedure, applied to cultural

words, requires the use of a culture-free word, sometimes with a new specific term; it

therefore neutralises or generalises the source language word. It means that this shows

that word has a function to show something, depends on the main content and

contexts but they still have the same meaning. Table 3.7shows how the translator

translated addressing term ‘young lady’ become nakby using this procedure.

Table 3.7

young lady :: nak

Chapt.

Par. Source Text Target Text

1.83

Mrs. Kemp turned to Ramona.

“As for you, young lady, you sit

on that chair until your mother

comes for you.”

Nyonya Kemp berpaling ke

Ramona.“Untukmu, nak.

Duduklah di kursi sampai ibumu

datang menjemputmu.”

Based on this context, according to Cambridge Dictionary, the word ‘lady’ is

a polite or old-fashioned way of reffering to or talking to a woman. The ‘young

lady’ refers to Ramona. Based on the definition of functional equivalent procedure

that the word has a function to show something, depends on the main content and

contexts but they still have the same meaning. The translator uses functional

equivalent, because the translator wants to find a functional word in the target

language to describe ‘young lady’, although the word is not same but has same

meaning. Then, the translator translated ‘young lady’ become nak. The word nak

is the abbreviation ofanak. Based on this context, anak means a child especially

for a girl which refers to Ramona. The word nak here has a function to describe

‘young lady’, because Ramona is a little girl and to address a little girl in the

target language can use the word nak.

68

From the explanation above, it can be concluded that relationship form of

addressing forms can be translated by using functional equivalent.

D. Endearment term

Braun (1988:10) states that this addressing term is for addressing small

children or person to whom the speaker feels close. It means that there is a close

relationship between the speaker and person who is addressed. Usually, endearment

term is in family environment. There are three translation procedures which used to

translate this addressing term, such as cultural equivalent, synonymy, and

transposition.

1. Cultural equivalent

Newmark (1988:82) says that this procedure is an approximate translation

where a source language cultural word is translated by a target language cultural

word. It means that culture of the source language is adjusted to the culture of the

target language, although the word is limited and not accurate but still has the

same meaning. Table 3.8shows how the translator translated addressing term

‘Doll’ become gadis cantik by using this procedure.

Table 3.8

Doll :: gadis cantik

Chapt.

Par. Source Text Target Text

1.25

“Down you go, Doll,” said

Uncle Hobart, lifting Willa Jean

to the floor and grabbing Howie

in a bear hug. “How’s my

favorite nephew?” he asked, and

held Howie off to look at him

while Mrs. Kemp hovered and

Willa Jean embraced her Uncle

Hobart’s knee.

“Turunlah, gadis cantik,” kata

Paman Hobart, seraya

menurunkan Willa Jean ke lantai

dan berganti mendekap

Howie.“Bagaimana kabarnya

keponakan kesayangan Paman?”

tanyanya, memeluk erat Howie

dan memandangnya. Sedangkan,

Nyonya Kemp berdiri di

sampingnya dan Willa Jean

memeluk erat lutut Paman

Hobart.

69

The word ‘Doll’ is an addressing term used by Uncle Hobart to address Willa

Jean. In theUrban Dictionary, the definition which deal with the word ‘Doll’ in

this context means a term of endearment used to talk about or to a pretty girl.In

translating this addressing term, the translator uses cultural equivalent procedure

which means that cultural equivalent is a procedure which the source text is

translated using the culture of the target language. In translating the word 'Doll',

the translator wants to use an appropriate cultural equivalent. In accordance with

the meaning and context, the word 'Doll' itself refers to a pretty girl. The word

'pretty girl' is from the word 'pretty' which means cantik and 'girl' which means

gadis. So, the translator translates the word 'Doll' by matching the culture in the

target language become gadis cantik. It is not neutral and worth if the word 'Doll'

is translated become boneka, because the definition of boneka itself does not refer

to Ramona or humans but children’s toys.

2. Synonymy

Newmark (1988:84) states that this procedure is used for a source language

word where there is no clear one-to-one equivalent, and the word is not important

in the text, in particular for adjectives or adverbs of quality. So, there is a

similarity of the meaning between the source language and target language,

although the words when translated is not same. Table 3.9shows how the

translator translated addressing term ‘lovely little lady’ become gadis cantikand

table 3.10shows how the translator translated addressing term ‘Atta girl’ become

hebat by using this procedure.

Table 3.9

lovely little lady :: gadis cantik

Chapt.

Par. Source Text Target Text

2.9

“You know the type,” said

Beezus.“When I got there, he

said, ‘Who’s this lovely little

lady?’ And I’m not lovely. I

have three pimples, and I look

terrible.” Beezus worried about

her face lately, scrubbing it with

medicated soap twice a day and

“Rupanya kamu tahu tipenya,”

kata Beezus. “Ketika aku di sana,

ia berkata, ‘Siapa gadis

cantikini?’ Dan aku tahu, aku

tidak cantik. Aku punya tiga

jerawat, terlihat buruk sekali.”

Akhir-akhir ini, Beezus khawatir

dengan wajahnya hingga ia harus

70

refusing to eat chocolate. mencucinya dengan sabun obat

dua kali sehari dan mengurangi

makan coklat.

The ‘lovely little lady’ refers to Ramona. To translate the ‘lovely little lady’,

the translator uses synonymy procedure. Based on the definition of synonymy

which means there is no clear one-to-one equivalent. It means that the source

language and target language has a similarity of meaning. In this thesis, the

translator translated the ‘lovely little lady’ become gadis cantik. Based on

Cambridge Dictionary, the word ‘lovely’ which deals with the context means

beautiful. The ‘beautiful’ in the target language means cantik. Beside that, the

word ‘little lady’ means gadis, the ‘little’ means kecil and ‘lady’ means

perempuan. Actually, the word ‘lady’ used for a woman not girl, but in the source

text, this has been added the word 'little'which can describe the meaning of the

word gadis.

Table 3.10

Atta girl :: hebat

Chapt.

Par. Source Text Target Text

3.25

“Atta girl, Ramona,” said

Howie, seating himself on his

unicycle and pedaling ahead of

her.

“Hebat, Ramona,” kata Howie,

duduk sendiri di sepeda beroda

satunya dan mengayuh di depan

Ramona.

The word ‘atta girl’ here, refers to Ramona which is addressed by Howie.

Based on Marriam Webster Dictionary¸ the word ‘atta girl’ is used to express

encouragement, approval, or admiration to a woman or girl. Other definition is

taken from Urban Dictionary which means an expression of congratulation or

praise directed at a female. The translator uses synonymy to translate this

addressing term. Based on the definition of synonymy which means there is no

clear one-to-one equivalent. It means that the source language and target language

has a similarity of meaning. The translator translated the word ‘atta girl’ become

hebat. The word hebat itself is used to praise someone both women and men who

successfully perform or do something well.So, there is a similarity meaning of the

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word ‘atta girl’ and hebat, which means it is used to praise someone who has done

something well.

3. Transposition

Newmark (1988:86) states that transposition is a translation procedure

involving a change in the grammar from source language to target language.

There are four types of this translation procedure. First, the change from singular

to plural. Second, requirement when an source language grammatical structure

does not exist in the target language. Third, the one where literal translation is

grammatically possible but may not accord with natural usage in the target

language. The last, the replacement of a virtual lexical gap by a grammatical

structure. Table 3.11 shows how the translator translated addressing term ‘You

girls’ become kalian by using this procedure.

Table 3.11

You girls :: kalian

Chapt.

Par. Source Text Target Text

2.37

“You girls will have to come

straight home from school,” said

Mrs. Quimby, “and promise to

behave yourselves. No fighting,

and never, never, open the door

to strangers.”

“Sepulang sekolah kalian harus

langsung pulang ke rumah,” kata

Nyonya Quimby, “dan berjanjilah

menjaga tingkah laku kalian.

Jangan bertengkar dan jangan

pernah membukakan pintu untuk

orang asing.”

The ‘You girls’ refers to Ramona and Beezus which is addressed by Mrs.

Quimby. The translator uses transposition to translate this addressing term. From

those four types of transposition, the translator chooses the third one which means

literal translation is grammatically possible but may not accord with natural usage

in the target language. It is not neutral if the word ‘You girls’ is translated literally

become kalian para gadis. So, the translator translated the word ‘You girls’

become kalian. The word kalian in the target language means someone more than

one. There is a grammatical change between the word ‘You girls’ and kalian i.e

the word 'You girls' consists of two words whereas the word kalian consists of one

word, but both have the same meaning.

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Based on the data above about endearment expressions, it can be concluded

that there are four addressing terms which are translated using three translation

procedures, cultural equivalent, synonymy, dan transposition.

E. Nominal form

Braun (1988:10) states that some forms of address define addressees as father,

brother, wife, or daughter of someone else by expressing the addressee’s relation to

another person. It means that the speaker addresses someone else without using her or

his name, but relationship that someone else have with the addressee. There is only

one addressing term which existed in this form. This form of addressing term is

translated by using transposition procedure.

Newmark (1988:86) states that transposition is a translation procedure

involving a change in the grammar from source language to target language. There are

four types of this translation procedure. First, the change from singular to plural.

Second, requirement when an source language grammatical structure does not exist in

the target language. Third, the one where literal translation is grammatically possible

but may not accord with natural usage in the target language. The last, the

replacement of a virtual lexical gap by a grammatical structure. Table 3.12 shows how

the translator translated addressing term ‘the girls’ parents’ become orang tua mereka

by using this procedure.

Table 3.12

the girls’ parents :: orang tua mereka

Chapt.

Par. Source Text Target Text

3.8

Of course, the girls’ parents,

when they came home, were

delighted to see what

wellbehaved daughters they had.

The girls looked closely at their

mother’s waistline to see if she

had gained weight since

breakfast.

Saat pulang, orang tua mereka

sangat senang melihat sikap

anak-anaknya. Beezus dan

Ramona mendekat dan melihat

pinggang ibu mereka untuk

memastikan apakah berat

badannya sudah bertambah sejak

sarapan tadi pagi.

The ‘the girls’ parents’ mengacu pada Mr. dan Mrs. Quimby. The translator

uses a transposition procedure that focused on the third type to translate the word.

73

Based on the definition of a third type transposition procedure which means

thatliteral translation is grammatically possible but may not accord with natural

usage in the target language. The translator translated the word ‘the girls’ parents’

become orang tua mereka. The word ‘the girls’ refers to Ramona and Beezus and

the word ‘parents’ refers to Mr. and Mrs. Quimby. So, the word ‘the girls’

parents’ means orang tua Ramona and Beezus. But, the translator translated the

word ‘the girls’ become mereka because the translator wants to prevent repetition

of words which has been mentioned in the preceding paragraphs (3.1-3.7). Beside

that, the word ‘the girls’ has a function as a substitute for Ramona and Beezus.

So, there is a grammatical change between ‘the girls’ parents’ and orang tua

mereka, but both of them have same meaning which refers to Mr. and Mrs.

Quimby.

From the explanation above, it can be concluded that nominal form of

addressing forms can be translated using one procedure that is transposition.

74

Chapter

IV

CONCLUSION AND SUGGESTION

A. Conclusion

Thus, from the results above, it can be concluded that Ramona Forever's book

has many addressing terms that can be analyzed. It is known that addressing terms

have a variety of forms, including pronouns of address, verb forms of address, nouns

of address, and bound and free forms of address. From those four forms, there is only

one form of addressing terms used in this thesis, namely nouns of address. Nouns of

address itself has been divided into names, kinships, general forms, titles, abstracts,

occupational terms, relationship expressions, endearment expressions, and nominal

forms. From these forms, there are five of them used in this thesis, such as kinships,

general forms, relationship expressions, endearment expressions, and nominal forms.

In accordance with the data already created, the analysing is divided according

to the form of addressing terms. The first form is kinship. From the existing data,

there is only one data that can be used and translated by using paraphrase procedure.

The second form is the general forms. The data can be found in accordance with this

form there are five data. In translating this form of addressing term, the translatoris

using four procedures, such as synonymy, through-translation, transposition, and

modulation. The third form is relationship expressions. According to the study, there

is only one annotation for this type of addressing term which is translated using

functional equivalent procedure. The fourth form is endearment expression. Based on

the above study, there are four addressing terms translated using three procedures,

such as cultural equivalent, synonymy, and transposition. The last form is nominal

form. For this type of addressing terms, there is only one addressing terms to be found

translated using a single procedure namely transposition.

B. Suggestion

In this section, the writer wants to give suggestionsto all other students who

want to write a thesis of annotated translation types. In this thesis, the translator only

translates three chapters out of ten existing chapters. From here,the writer would like

to suggest to other students to translate more than three chapters so that they would

find more addressing terms or problem for better annotation.

75

Furthermore, this thesis only analyzes the addressing term as the subject

matter. In addition, the writer uses only one form of addressing term of the four

existing forms. The writer's suggestion for other students is that, it may be possible to

add other forms that needs to be annotated, such as idiom, cultural term, etc.

76

REFERENCES

Baker, M. In Other Words. A Coursebook on Translation. New York: Routledge, 2011.

Braun, F. Terms of Address: Problems of Patterns and Usage in Various Languages and

Cultures. Berlin: Mouton de Gruyter, 1988.

Cambridge Dictionary.Web. 12 Mei 2018. <http://dictionary.cambridge.org>.

Cleary, Beverly.Ramona Forever. United States: Scholastic Inc, 1984.

Cleary, Beverly. Interview by Barbara Lalicki. Beverly Cleary Author Interview. Beverly

Cleary Author Interview, 2011. Web. 6 Okt. 2011.

Febriyanto, Rian. “Address Terms, Translation Strategies, And Meaning Equivalence in

Doyle’s The Adventures of Sherlock Holmes and Dianasari’s Petualangan Sherlock Holmes.”

Quill 5.2 (2016): 29-33. Web.

Kamus Besar Bahasa Indonesia. Web. 7 Juni 2018. <https://kbbi.web.id>

Larson, M. L. Meaning Based Traslation: A Guide to Cross-Language. Lenham:University

Press of America, 1984.

Macmillan Dictionary. Web. 27 Juni 2018.<https://www.macmillandictionary.com/>.

Merriam Webster Dictionary.Web. 12 Mei 2018. <https://www.merriam-webster.com/>.

Newmark, Peter. A Textbook of Translation. Hongkong: Pearson Education Limited, 1988.

The Free Dictionary. Web. 27 Juni 2018. <https://www.thefreedictionary.com/>.

Urban Dictionary. Web. 27 Juni 2018. < https://www.urbandictionary.com/>.

Williams, J. dan Chesterman, A. The Map: A Beginner’s Guide to Doing Research in

Translation Studies. Manchester: St. Jerome Publishing, 2002.

_______. “Biography.” Beverly Cleary Biography. A&E Television Networks., 6 Apr. 2016.

Web. 3 Agust. 2018.

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Website :

http://slangterms.tumblr.com/post/34413712923/dribble-puss

https://kuncitts.com/jawaban-tts/orang-yang-menyebalkan

https://www.babla.co.id/bahasa-inggris-bahasa-indonesia/doll

https://

www.google.com/search?q=kleenex&source=lnms&tbm=isch&sa=X&ved=0ahUKE

wj0qpLDvLXcAhVMIIgKHe-xCZEQ_AUICigB&biw=1366&bih=662

78

GLOSSARY

A bear hug A tight, strong, loving, breath taking embrace, that makes one

feel safe.

Atta girl An expression of congratulation or praise directed at a female.

Doll A term of endearment used to talk about/to a pretty girl.

Eats like a bird To not eat very much.

Kleenex A brand of tissue.

Moneybags A rich person.

Pizzaface A person whose face has a lot of spots and pimples on it.

Pusspuddy A brand of cat’s food.

79

ACKNOWLEDGEMENT

Firstly, I want to deliver thanks to Jesus Christ for His bless and kindness.Because of

His grace I can complete this thesis entitled “An Annotated Translation of Addressing Terms

in Beverly Cleary's Ramona Forever” which is one of the requirements that must be met in

obtaining a Bachelor of Literature. In order to complete this thesis, I get various support,

guidance, and information from lecturers, parents, and friends. Therefore, I would like to say

thank you to:

1. Ms. Esriaty Sega Kendenan, M. Hum, my supervisor, who has taken the time to lead

and guide me in doing this final project.

2. Mr. Wahyu Seno Aji, M. Hum, my examinerand academic advisor for the corrections

and suggestions for my translation, so that the results are even better.

3. My father, mother and brother who have always supported and encouraged me to

remain diligent and able to finish this thesis.

4. My boarding house friends, especially Mbak Ida, for the advice and motivation given

to me.

5. All of my friends of English Literature Program, who always support me.

My hope is this thesis can be useful for the development of translation studies for the

community, especially the students of English Literature.

Salatiga, 24 Juli 2018

Writer