DJ Guiyab

AA - 2021-50282
ENG 12

Essay on The Nation in Pramoedya Ananta Toer's This Earth of Mankind

Pramoedya Ananta Toer’s This Earth of Mankind is one of the most prominent
Indonesian reading being critiqued upon, read, discussed, and used as a reference in many
institutions because of its unapprehensive and protracted exposition of the ills of Dutch
Colonialism in Indonesia. It has sparked various discussions on different facets of inequality as a
breaking point in defining nationalism, from the basic grounds of racism in Colonial Indonesia to
diving into the question of sexuality and gender as a foundation of a revolutionary sense in
building a nation. In previous courses, we have also analyzed This Earth of Mankind on a literary
sense in ENG 11. We evaluated characters, the setting it was written upon, the underlying literary
values that the novel emphasizes, and the use of literature in having a better grasp on social
issues.

To have a better understanding of the open-ended question of what is a nation in This

Earth of Mankind, this essay will try to explain the facets of building one: understanding the
dynamics and complexities in the Indonesian struggle for self-determination. At the same time,
actively write on how does the novel engage readers in answering the “The Nation” and the
question of Nationalism at the aide of two supplementary texts namely: The Rise of Dunia
Modern (Modern World) in Pramoedya Ananta Toer’s Bumi Manusia (This Earth of Mankind)
by Ramon Guillermo of the University of the Philippines, and Modernity, Sexuality, and Gender
in Pramoedya Ananta Toer’s This Earth of Mankind by Carl Niekerk of the University of Illinois.
However, the essay will also construct clear contrasts and similarities within the supplementary
texts and the novel itself. At most, it will try to reveal a sharp point of view of a Filipino’s sense
of nationalism using the perspectives of different characters in the novel.

Firstly, we dive into the conventions of Modern and Modernity in the primary text. To
give a brief background on the character used to primarily symbolized the allure of modernity in
Colonial Indonesia, Pramoedya used the character Minke, the main protagonist of the story, as
well as the active voice in narrating it. Minke’s rare social status, a descendant of Javanese
Royalty, gave him access to the benefits of their colonial rulers, the Dutch. In the novel, Minke’s
exposition in the Western-centric practices of Dutch have taught him what is deemed to be
“modern” during their period. Dutch education gave Minke the chance to have a better world
view on scientific progressions, technological advancement, the evolution of arts and humanities,
and many more. This exposition was deemed by him as something that gives him liberty, the
power of individual expression. To Minke, this was the definition of a “Modern” Indonesia.
Pramoedya also introduced characters that would further expand the definition of “Modernity”
through lenses rooted in definition of modern as complex as a multifaceted idea. Nyai and Raden
Mas, for one, rejects the idea of modernity that Minke has been exposed to. Nyai deems that this
kind of modernity, defined by the accessibility of the ruling class to have, is superficial and
inherently materialistic in terms of robbing one’s self its determination to define modernity
rooted in ethnicity; that is, the Dutch definition of modernity without a grasp of Javanese culture.
This is further emphasized using Raden Mas, in which defined this model of modernity as a tool
of Western dominance in Indonesia. Modernity that is not grounded upon the indigenous values
and traditions of the Javanese is modernity that would only benefit the ruling class and the
colonialists. While they both have a meeting point, Nyai offers a synthesis of these modern ideals
while Raden Mas completely rejects it. Albeit it, they become a vital tool for Minke in
recognizing modern and modernity in a better perspective using characters that are both rooted in
indigenous culture.

This becomes a buoy in questioning one’s self on what does modern and modernity
actually mean in the novel. For one, it means freedom of expression, in the sense of the shackles
of “old values” in indigenous culture. This has been an important aspect for Minke coming from
a royal background, it becomes more complex through characters that have absolute experiences
in indigenous culture. Modernity could also mean freedom to express one’s self using indigenous
culture as a foot base. Modern ideals could thrive hand-in-hand with the heritage of the land that
they are built upon, after all, the Dutch are only colonizers, they assert their dominance through
superficial means like western-centric education, whitewashing culture and traditions, and an
absolute erasure of one’s national determination.
 In Carl Niekerk’s Modernity, Sexuality, and Gender in Pramoedya Ananta’s This Earth of
Mankind, he explicitly defines the tenets of modern using the scope of sexuality and gender. To
define modern, is also a resistance to define sexuality from its colonial control, grappling away
from the sexual exploitation of Dutch colonizers to the vulnerability of Indigenous women.
Minke also explored this “modern” freedom in the trajectory of romance and how interracial
romance have become a symbol of resistance and challenge against the hierarchy. Modern views
of gender roles have also become prominent, like how the novel challenges the patriarchal norms
through Nyai Ontosoroh, not only in the context of Indonesian society, but also in Dutch Society.
Minke’s emotional vulnerability also becomes a waking view in how “modernity” includes
reimagining society’s view of masculinity.

This view of modern and modernity becomes a spark in a prairie fire of nationalism in
Minke’s point of view, helped by a number of characters which have helped him redefine his
love for the nation. Across the novel Minke has rediscovered his views through inspecting
inconsistencies in various parts of its pursuit of knowledge. Minke’s education is a vital turning
point in his reignited love for the nation, he projects his love for the nation in his desire for
having a system that is not dictated by Western Colonial ideologies in education and culture. This
is also deeply rooted in Nyai’s demonstration of strength and resilience, by providing
opportunities not just for Minke but also fellow Indonesians. One of perhaps the biggest material
demonstration of Nyai for the love of the nation is her act of buying back a piece of her land, an
act clearly resisting Dutch colonial rule in Indonesia and owning a part of her indigenous land to
herself. In terms of cultural assertion, she also organized a cultural festival to protract a symbol
of resistance against western cultural assimilation.

The book however did not give out a definitive description of nationalism and love for
the nation, it rather engages the reader to have a sense of connection with the characters in
defining national love and nationalism. The books multifaceted pursuit through characters have
shown different examples on the rootedness of national love. For Minke, it is his heritage and
memories that connects him to his roots, ultimately leading him into the journey of discovering
his nationalism through education and his journey to find what is “modern”. He also urges
education in his native language, Bahasa, and the use of cultural heritage in bringing about a
sense of belongingness and self-determination in one’s own nation.

The novel suggests that national love is not rooted on individualistic goals of each
character, but rather a collective effort in envisioning a nation where people regardless of race,
sex, and class could thrive all together without any force that stops cultural heritage from
evolving alongside the definition of “modernity”. National love in the novel is a collective
aspiration from characters that belong from different facets of society ultimately melting into one
big resistance against colonial rule in determining the future of a land that they stole.

On another note, nationalism also goes hand-in-hand with national love. Various
characters have different sentiments and views on nationalism rooted from their love of the
nation, Minke, as another leading example, displays his nationalism through his journey to
discover more about his heritage and using it to develop a better understanding of a free and
independent Indonesia – he devotes one’s self in a rather Marxist process of Theory and Practice,
although not explicitly said. He's both eager to learn and act to have a clearer view of his culture.
From this, he collectively forms solidarity with different characters through their shared
experiences of oppression, ultimately building a community where language and traditions puts a
spark in nationalism. While national love and nationalism is well understood as something that
goes hand-in-hand together, critical aspects of nationalism are also present in the novel. One for
example is the risk of manipulative exploitation, like how the Dutch colonial rule uses political
rhetoric and propaganda to further advance their goal of stealing the land. This is best portrayed
by Robert Mellema where he used his mixed heritage to exploit Minke’s cause for personal
exploits. If we also look closely into Minke’s and Nyai’s characters, we can also recognize the
importance of individual agency to change in the novel for the push of nationalism. Their
characters dynamics in intellectual awakening have helped them shape the community that they
have built from the collective love of the nation that they continuously strive to emanate.
 The supplementary text by Guillermo argues however that the community rooted from
the love of the nation has been catalyzed by the faux modernity that Minke experienced first-
hand in the Dutch educational system. Minke’s exposure in this rather Western ideologies of
modernity have rather opened his eyes with the inconsistencies that it holds through the
treatment of colonies to the people of the land that they stole. Quoting Guillermo “These changes
in his thinking could no longer allow him to tolerate the blind submission to age and authority
demanded by the Javanese tradition. Because of his unwillingness to submit to traditional
authority, his mother calls him a “pembantah” (protester, rebel).” Guillermo also crituqed
Pramoedya using Ollman’s seven levels of generality in Marx in which he mentioned that
“Pramoedya roughly corresponds to levels two and three dealing with ”life under capitalism” and
”capitalism” itself. On the other hand, ”bumi manusia” roughly corresponds to level five which
deals with the so-called ”human condition.” These critiques by Guillermo speaks a lot on how
This Earth of Mankind becomes a prominent work in relieving one’s nation under the ills of
Capitalistic greed during the its Colonial Era. In which, nationalism was based upon through the
resistance of various characters in different ways, may it be from the rejection of modernity in
education, or how they redefine sexuality, up to how they want to protract a violent revolutionary
wager against colonialists.

“We’ve been defeated, Mama” were one of the last words in the novel. Albeit
discouraging as it may sound, it becomes an echo for all to continuously fight for what is right
and fight for nationalistic goals through the collective community that they build. “We’ve been
defeated, Mama” is not a call for help but rather something that lets readers reflect upon how
they can also become part of the collective action that Minke have sparked. It was followed by
“We fought back, child, Nyo, as well and honorably as possible”. Always turn grief into
revolutionary courage.

Pramoedya’s struggle in the Buru Island detention camp in Maluku have furthered her
interest in writing about the ills of the Dutch colonial rule. As an introduction to these ills and a
question to all people on Nationalism and the Love of Nation as well as the question of
Modernity, he started Buru Quartet with This Earth of Mankind, an ever-living World Literature
that highly criticizes colonialists. This Earth of Mankind is a work that sparks engagement from
the reader, questioning various characters if they have made the correct choice, like how Minke
have trusted Robert Mellema so easily albeit the obviously crude way Robert have treated him
across the novel, easily highlighting how Rob have only come with Minke for his own personal
cause. Because of its highly critiqued writing, the Buru Quartet, including This Earth of
Mankind, was banned for quite some time, and was only lifted in 2000.
Those who say literature isn't political are
not reading literary works that reveal the
political aspects of life.
– Pramoedya Ananta Toer