Ahmad’s classic post-independence era novel is an exposition of peasant struggle, a gruesome celebration of the rural Malay livelihood and its associated pitfalls. The story follows the family of Lahuma, a padi farmer in a northern Malaysian village, throughout one disastrous padi cycle. After encountering a snake in their field (an indisputable bad omen), Lahuma later pierces his foot on a nibong thorn and is unable to continue working after it becomes infected. His body gradually swells up with pus, and he dies an ignominious death. It is left to his wife, Jeha, and their seven daughters to work the padi field. But the physical and mental strain causes Jeha to slowly go mad, and she must eventually be imprisoned in a makeshift cage in their tiny home, lest she endangers her youngest children or the padi harvest itself. The novel ends with the eldest daughter contemplating her future working the fields, and Jeha, caged, “screaming through the night” (Ahmad 1991 [1966]:177). This simple plot is thickened through the detailed description of everyday life in this rural community: its social stratifications and behavioural norms; the place of women; the peasant as “existentially involved in cultivation” (Wolf 1969:xiv) and essentially connected to the soil; the constant toil and hardship of the farmer; his cosmology, his fears. Ahmad frequently narrates from the perspective of his central characters as well as taking on a more omniscient third-person style of prose, giving a very full, almost ethnographic depiction of peasant life.
Vulnerability and anxiety are entrenched in this portrayal. Lahuma worries constantly about the day-to-day work at the rice field, and about his family’s future subsistence as their small plot of land decreases in size. When he dies, this anxiety passes to Jeha; after she goes mad, it is their daughters who then shoulder the burden. The village as a whole is subject to the whims of nature: to its floods, its attacking birds, its infestations of crabs, its thorns, its snakes. The peasantry is also constrained by the limited agricultural land upon which ever greater demographic pressure is exerted, exemplified by Lahuma’s concern about the insufficiency of his plot of fourteen relongs. There are hints at the social stratifications leaving the family dependent on the help of the Tok Penghulu (the head of the village), as well as at the presence of Chinese to whom Lahuma is loth to relinquish any more land. The village seems to fit Wolf’s characterisation of the peasantry’s “basic dilemma” as a constant, conscious effort to maintain its “precarious balance” against forces threatening to undermine it (1966:16). It is this vulnerability that leaves the most enduring impression.
Prayer and perseverance: the peasant hero
The novel’s constant and deepening anxiety about the future and the struggle for subsistence is (paradoxically) combined with a total and unshakeable trust in divine providence. It starts by anchoring Lahuma’s existence firmly within the land in “both a liturgical and genealogical charter” (Aveling 2000:112). Lahuma (whose very name is significant: huma, as Ahmad has acknowledged (1991:473), means ‘field’) remembers his own grandfather in the earth and silently repeats the mantra: “Life and death, dearth and plenty, are in the hands of God. In the hands of Allah the almighty” (Ahmad 1991 [1966]:1). Evident here is the rhythmic, repetitious quality characteristic of the book as a whole, which serves to create the sense of timelessness and inevitablity exemplified in the following passage:
Lahuma’s struggle for the children’s survival – sheer survival – would not end. It was going to be carried on by Jeha. Carried on by Sanah. Carried on by Milah. Carried on by Jenab. Carried on by Semek. Carried on by Liah. Carried on by Lebar. Carried on by Kiah. They would survive with the rice. Or die with the rice.
(Ahmad 1991 [1966]:95)
Ahmad also uses repetition to convey the determination of his characters in the face of desperate circumstances, constructing them as archtypal hardworking “peasant heroes” (Tahir 1982):
I will go down to the rice field… I will not come up again until all the plots are completed. I will pull up the seedlings at the belukar when the time comes. I will carry the bundles of seedlings down to the rice-field. I will plant the seedlings row by row. I will replace and rice-stems that may break. I will pull up the weeds that vie with the rice-plants. I will chase away the tiaks when the rice turns gold. I will harvest the rice in gemals. I will cary the gemals into the rice-barn. I will thrash the rice until the stalks come off. I will sun the rice until it is dry. I will pound the rice until the husks come off. I will cook the rice into hot steaming food…
(Ahmad 1991 [1966]:49)
Whilst the novel is incredibly effective at communicating the hardship and labour involved in rice production, as the very notion of the ‘peasant hero’ might suggest, such characterisations of the Malay peasantry are not ideologically or morally neutral. It is a commonplace within studies of rural Malay societies that a simplistic, conservative Islam prevails, which is associated with “a simple series of truths… A good man was one who worked hard and was wary of strangers” (Banks 1983:28). Moral status is highly dependent on hard work and acceptance of one’s rezeki (what one has been alloted by God). Some commentators have interpreted Lahuma’s total subservience to the will of God as passive, even fatalistic (see for example Banks 1987:118), indeed reflecting many anthropological readings. Swift, for example, has observed that in the Malay peasant cosmology, “[i]f someone dies an untimely death, “their span was up”… [there is] a predisposition to explain everything in terms of luck, and to neglect trying to improve one’s position, for after all one has very little control over it” (2001:91). However, the seemingly paradoxical combination of trust in fate and commitment to hard work is reconciled both in Islamic theology (see for example Basri and Zarkashi 1992:399, 401), and in Ahmad’s characters, who do not once question God’s wisdom and purpose, yet at the same time do not cease in their toil. It seems as if Ahmad is seeking to present a model ‘peasant’ response to circumstances of great hardship and suffering; indeed, he is not shy of generalisations:
The yield of rice was very poor. And the people of Banggul Derdap were plunged in gloom. But their gloom was not confined to themselves. They did not connect it with Allah the Almighty. They did not curse God. It was their habit to accept with resignation the disasters which so often befell them. Such was their life. Never to know full satisfaction. And they accepted the disasters of crabs and tiaks with fresh determination and spirit; to plant rice again next year if Allah the Almighty willed that they should survive till then.
(Ahmad 1991 [1966]:171)
It is difficult to read this passage without noting the implicit moral approval.
The construction of the peasant
Seen in the historical context of a newly independent Malaysia and contemporaneous discourses around ‘modernisation’ and ‘underdevelopment’, the anxiety that characterises the novel’s tone takes on a broader significance. For Ahmad, the peasant lifestyle and subsistence is cyclical in nature – in addition to the constant use of repetition, the novel’s time frame is one rice cycle from beginning to end, and the final chapter is entitled “The Cycle Continues” – denoting a certain stability, an enduring quality. This stability is reinforced by constant reference to elements of ‘tradition’. For example, the position of women is deemed unchanged by the possiblity of secular education: as Jeha says, “Girls needn’t know how to read. Doesn’t change the market value. I never even went to school” (Ahmad 1991 [1966]:18). Given that the area of peninsular Malaysia in which the novel is set has in the twentieth century “been transformed from an isolated and largely self-sufficient region into an administrative unit of a modern nation-state, and its residents are tied into the cash economy of rubber production” (Bailey 1983:8), we can ascribe a clear intent to Ahmad’s insistence on tradition; on the unchanging aspects of the peasant cosmology. He has made clear elsewhere his belief that wage labour, rubber tapping for the cash economy and collecting jungle products are not real farming, and that most Malays in the village of Banggul Derdap were “not real farmers” (cited in Aveling 2000:53); Ranjau Sepanjang Jalan, then, articulates the traditional ‘real farmer’.
Yet this representation obscures a great deal. Firstly, the very notion of a ‘real farmer’ or ‘authentic peasant’ tradition must be interrogated. Ahmad’s unsubtle rendering of Lahuma and family as existentially connected with the soil cannot be separated from its ideological buttressing of Malaysian society’s explicitly racialised division of labour. Twentieth century anthropologists such as Swift have also uncritically employed this form of social categorisation: “To know a person’s race is to know that he will probably perform one of a few economic functions. The Malay is primarily a peasant” (2001:88). This essentialises historically contingent social permutations, obfuscating the constructedness of the ‘Malay peasant’ (1) and how the peasantry initially came to work the land in such a way, as migrants, pioneers and settlers (2). Ahmad’s undeniably grim portrayal also obscures the wry humour that has been noticeably present in every kampung I’ve ever visited, unwittingly denying one of the ways in which the subordinated peasant may express his interpretation of contemporary events – his “hidden transcript” or “partial transcript” that may well constitute a form of resistance (Scott 1985:284-6). For example, though the Islamic worldview of the Malay peasant is presented as both profound and profoundly uncritical, there is no mention of the cynicism with which local religious leaders are often received (3).
Modernist ambivalence: the “babble and roar”
However, beyond the role of the author or anthropologist in disciplining the rural population, Ahmad’s reification of the Malay peasantry is also indicative of a broader anxiety – a “babble and roar about what Malay life style should be” (Nash 1974:65) – that characterised the Malay population during the postwar period and its associated social upheavals. ‘Modernity’ and later ‘development’ was seen as something external, foreign; both desired and feared (Johnson 2007:13). Nash also cites the rural expression, that if we don’t change we’ll be driven to hanging from the trees, which “sums up the poignancy of a peasantry who are the lagging members of a modernizing nation” (1974:67). This conception of the peasant is not mere paranoia; key anthropologists have also encouraged such a view (4). Other commentators have also noted the rapid de-kampung-isation of the Malays (see for example Sardar 2004). Viewed in social-historical context both the anxiety which is so intrinsic to the novel, and the simple, steadfast souls who inhabit its cyclical peasant universe, can be seen as symbolic of the endemic ambivalence of the period. Ahmad, at one point the national laureate of Malaysia, attempts to discursively ‘fix’ the peasant in his traditional lifestyle, asserting a permanence to Malay peasant culture in the face of existential threat. As Foucault (1970:290) argues, “if language expresses, it does so not in so far as it is an imitation and duplication of things, but in so far as it manifests… the fundamental will of those who speak it”.
Though Ranjau Sepanjang Jalan certainly provides a meticulous and moving depiction of peasant life, preserving it somewhat in the context of large-scale social change; ultimately its value must be seen in its exemplary construction (and simultaneous obfuscation) of ‘the Malay peasant’, and the reification of tradition in response to the perceived threat of ‘development’.
(1) The Malayan colonial economy was structured according to (and dependent on) this racialised division of labour; when Malays began to sell their land to Chinese, Indian and European buyers, threatening the organisation of the rural Malay population in their kampungs (villages), colonial administrators adopted a paternalistic discourse of protection. To prevent the “extinction” of Malay “tradition” – seen as “a race of yeoman-peasantry… deluded by visions of present but transitory wealth” (cited in Ong 1987:19-20) – they actively prevented such sales from taking place, whilst also restricting Malays who wanted to cultivate cash crops instead of food (1987:21). Clearly the essentialisation of peasant identity can be seen as a strategy of “containment” (Kearney 1996:60). During the period in which the novel was written there are further ideological implications of constructing the Malay as ‘native’ to and hence bound to the land itself, considering the political motives behind state and legal discourses according certain rights to bumiputera (lit. ‘sons of the soil’).
(2) (see also Walker 2001 and Tan 2000 for examples from Thai and Vietnamese contexts respectively).
(3) For example, Nash (1974:60) recounts one common anecdote in the village in which his research was based: “A man catches a strange fish. He brings it to a Tok Guru asking if it is halal (lawful) to eat. The Tok Guru hesitates in replying. The fisherman says it would be a shame to throw it away since he wanted to give the Tok Guru half of it. The Tok Guru immediately says that the fish is of course halal.”
(4) Wolf, for example, places the peasantry “midway between the primitive tribe and industrial society… They are important historically, because industrial society is built upon the ruins of peasant society. They are important contemporaneously, because they inhabit that “underdeveloped” part of the world whose continued presence constitutes both a threat and a responsibility for those countries which have thrown off the shackles of backwardness” (1966:vii). He clearly understands the peasant existence as both threatened and threatening in equal measures – and additionally, as a social permutation whose ultimate decline and replacement by modern industrial society is inevitable (and even desirable).
Bibliography
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Tan, S. B-H. 2000. ‘Coffee frontiers in the Central Highlands of Vietnam: networks of connectivity’ in Asia Pacific Viewpoint, 41 (1): 51-67
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