Born in Bengkalis, Riau, Dutch East Indies, to a family of farmers, Soeman studied to become a teacher and, under the author Mohammad Kasim, a writer.

He began working as a Malay-language teacher after completing normal school in 1923, first in Siak Sri Indrapura, Aceh, then in Pasir Pengaraian, Rokan Hulu, Riau.

During the Japanese occupation of the Dutch East Indies (1942–1945) and subsequent revolution, Soeman—though he remained a teacher—became active in politics, serving first on a representatives' council and then as part of the Indonesian National Committee for Pasir Pengaraian in Pekanbaru.

As an author, Soeman wrote stories which emphasized suspense and humour, drawing on Western detective and adventure fiction as well as classical Malay literature.

Soeman's most popular work was his novel Mentjahari Pentjoeri Anak Perawan (1932), whereas his short story collection Kawan Bergeloet (1941) has been considered his most interesting from a literary perspective.

[3] Though considered a minor author of the Poedjangga Baroe period, Soeman has been recognized with an eponymous library and his books have been taught at schools.

In a 1989 interview, Soeman stated that he was not sure of the conflict's source, but he suspected that his father, who was descended from a Mandailing king, felt as though his honour had been impugned.

[8] Outside of class, Soeman would listen to Kasim's stories about authors and the creative writing process; this sparked his interest in becoming a writer.

Soeman and several other teachers joined him for discussion and to furtively play the song "Indonesia Raya", which was under a ban from the Dutch colonial government.

Despite repeated requests for transfer, Soeman remained in Pasir Pengaraian until the Japanese occupation of the Dutch East Indies began in 1942, eventually being made principal.

[12] Soeman was married to Siti Hasnah and has had six son, Syamsul Bahri, Syamsiar, Faharuddin, Mansyurdin, Burhanuddin, and Rosman, and two daughters, Sawitri and Najemah Hanum.

[16] This was followed by Pertjobaan Setia (A Test of Faithfulness) in 1931, a novel about a young man named Sjamsoeddin who is required to go on the hajj before he can marry Hajjah Salwiah, a rich merchant's daughter.

[24] Soeman also published thirty-five short stories and poems, mostly in the magazine Pandji Poestaka but also in Pedoman Masjarakat and Poedjangga Baroe.

[31] Once the revolution concluded following the Dutch–Indonesian Round Table Conference of 1949, Soeman was recalled to Pekanbaru and made the head of the regional branch of the Department of Education and Culture.

Over the next three years Soeman led communal work projects dedicated to restoring Riau's education facilities, relying on voluntary contributions from the populace.

Though Yamin objected to Soeman's rhetoric and did not send any teachers to Setia Dharma, he did arrange for a state senior high school to be opened in Riau.

[i] He also maintained ties with the provincial government; in 1966, he formally became part of the Regional Representatives' Council, and in 1976, at the recommendation of Governor Arifin Achmad, he went on the hajj using state funds.

[37] According to the cultural critic Sutan Takdir Alisjahbana, Soeman, in his construction of suspense, mimicked that of Western detective stories, rather than adapt the style for an Eastern setting.

He credited his short stories' comedic elements to the humorous aspects of Malay folk literature such as the "Lebai Malan" (Unfortunate Quranic Teacher) tales.

[37] The poet Eka Budianta notes that a common theme in Soeman's works was the strength of love and its ability to overcome obstacles.

[40] Some of Soeman's characters are not identified as indigenous Indonesians, including Nona (her name being common among the ethnic Chinese) and Sir Joon (a Eurasian).

[43] However, as with his fellow writers of the Poedjangga Baroe generation, he avoided frequently using classical Malay terms such as alkisah ('it is told') and maka ('thus').

The Dutch scholar of Indonesian literature A. Teeuw writes that, though Soeman's poetry maintained a conventional form,[54] his detective stories were "unpretentious but pleasantly written".

However, he considers Soeman's short story collection, Kawan Bergeloet, his most interesting contribution to literature, owing to its "well observed and realistically described" sketches.

[3] Alisjahbana, meanwhile, praised Soeman's innovative use of Malay but considered the author's plotlines to be at times inconsequential and illogical, with the narrative acting as "a child who quick as lightning shows his toys, then hides them again to pique his friends' curiosity".