Multatuli [Eduard Douwes Dekker], Max Havelaar: Or the Coffee Auctions of the Dutch Trading Company, trans. Roy Edwards, (London: Penguin, 1987).
[This is a somewhat imitative, tongue-in-cheek review of Max Havelaar which I originally addressed to fellow seminar participants upon our completion of Multatuli’s work.]
Max Havelaar is an angry bitter indictment of the colonial project in toto and not, as has been claimed, a reformist depiction of the evils of misguided colonial officials. Lies and tomfoolery!
Max Havelaar must be read in its entirety – in its ironic, bitter entirety – without privileging one of the many narrative voices over the others. To take Havelaar/Scarfman and identify him with Dekker/Multatuli would be a tremendous mistake. While it may be granted that Havelaar represents the past experiences of Multatuli, his naivete and his compassionate, paternalistic colonial project no longer represent Dekker’s own beliefs.
The book is deliberately nested in the writings of Droogstoppel, then Stern, then Scarfman and finally Havelaar. The tone of the work is bitingly sardonic. The colonial project, from its capitalist origins – here the merchant ‘Change – to its representative officials – from Verbrugge to Slymering – to its deliberate manipulation of existing elite exploitation, stands up to savage indictment. Havelaar is well-intentioned, yes, but utterly ineffectual.
Is the reader truly left with the hope that William the Third will respond any differently than Slymering? The ethical indictment of the text, like Havelaar’s letter, is reinforced by the silence with which those in power greet it.
Further, are we truly to believe all of the ideas of that ‘half-baked dreamer’ Havelaar? Havelaar, like Droogstoppel or Slymering, is a character type rather than the protagonist with whom we are to identify. He represents the idealist, to their capitalist and colonial official. Witness, Multatuli urges, the ineffectuality of even the best intentioned. If a Havelaar cannot save the colonial venture, no one can.
Continue reading ‘Multatuli’s Max Havelaar: a review.’