Krakatoa Crater is presented as a destination in Uncle Bunny’s talk of removing people from conflicts. The references connect the place not to a described journey or landscape, but to the reach of his influence: he considers sending someone there over a strike, then invokes the same possibility while discussing revenge with Iteung.

A Destination in Uncle Bunny’s Threat

Uncle Bunny asks Ajo Kawir whether he wants to send anyone else to Krakatoa Crater. He frames the question through the case of a woman employed at a yarn factory, whom he describes as a nuisance because she first refused to work for a day, then for two days, and eventually for several days. Her action has grown into a strike involving more than a thousand workers.

Ajo Kawir asks whether Uncle Bunny owns the factory. Uncle Bunny says he does not, but dismisses ownership as beside the point and asks whether Ajo Kawir understands what the issue is. The exchange leaves the proposed use of Krakatoa Crater hanging over a labor dispute whose scale is made explicit: an individual worker’s refusal has become collective action.

Power Beyond Ownership

The factory episode suggests that Uncle Bunny’s authority does not depend on formally owning the workplace. His question about sending someone to Krakatoa Crater places the location within a language of coercive control, while the strike’s size makes clear why it has drawn his attention. The passage does not say that anyone is actually sent there, or establish what happens at the crater; its significance lies in the threat and in the power implied by the option.

Revenge and Ajo Kawir’s Refusal

Later, Iteung studies photographs of the two policemen, which Uncle Bunny has given her. Uncle Bunny says he has found them and told her husband, but Ajo Kawir has changed during prison and through the transformation associated with his bird: he no longer wants to kill or fight. He asks Iteung why she does not kill the policemen herself, then explains that he could arrange their deaths through someone else, but considers that beside the point.

Uncle Bunny insists that Ajo Kawir himself should kill them, because he believes revenge should belong to the person who holds the grievance and that this act might awaken Ajo Kawir’s bird. In this conversation, Krakatoa Crater is not named again; rather, the earlier question about sending people there resonates with Uncle Bunny’s stated willingness to have others kill on his behalf. The passages place that capacity beside Ajo Kawir’s refusal, exposing a conflict between Uncle Bunny’s instrumental use of violence and Ajo Kawir’s changed commitment not to use it.