as well as numerous editorials and articles in the newspaper Soerapati. In their 1979 review of the author, Kartini et al. were able to find only six extant titles. It is difficult to determine the original year of publication for these works, for although Joehana's books generally included a year of publication, the printing number was not recorded. As such, sources list works as having been published in different years; for instance, Tjarios Agan Permas is variously dated 1923, 1926, and 1928. The following list is based on the one compiled by Kartini et al. in their 1979 study. It does not include any of Joehana's work as a journalist, nor does it include works he published through his Romans Bureau. (based on wayang stories) (three volumes; 148 pages total) (three volumes) (joke book; 31 pages) (at least two volumes) (one volume; 44 pages) (two volumes; 74 pages) (a dangding) (two volumes) (unpublished) (one volume; with Soekria) Style Joehana appears to have been familiar with the traditional literatures of Maritime Southeast Asia, drawing on the Ramayana for Nangis Wibisana. Wayang characters such as the clown Cepot are referred to in his writings, and he draws on traditional Sundanese storytelling techniques, such as the pantun form of poetry common in wayang golek performances. However, there are significant shifts. His writings depart from the traditional forms of literature such as wawacan, instead embracing the novel, a European literary form. Unlike the formal language used in traditional literature, Joehana wrote in everyday Sundanese. The grammar and structure shows evidence of influence from other languages, and the vocabulary is likewise not purely Sundanese; some Dutch (the language of the colonial government) is mixed in. The Sundanese author M. A. Salmoen classifies Joehana as a realist. Rosidi writes that a sense of realism was promoted in Joehana's writings through the use of references to existing (and often popular) brands of products, including cigars, salted fish, and biscuits (though, as Joehana wrote for persons in contemporary Bandung who were expected to know these products, they are not given any in-text explanation). Joehana used real-life Bandung locations in his novels, and local figures prominent in the news (such as the pickpocket Salim) are mentioned in passing. There is also the possibility that the use of such names are a form of product placement, in which Joehana was paid to include the names of the products in his