Footsteps by Pramoedya Ananta Toer

How hard is Footsteps to read?

Footsteps scores 57 out of 100 for difficulty on ReadingRate, making it quite demanding. The score is a weighted composite of nine measures: four of how hard the prose is to parse, five of how hard the meaning is to extract.

Vocabulary: 70 out of 100

The text frequently integrates untranslated Malay, Javanese, Dutch, and Chinese terms, including honorifics (e.g., 'sinyo,' 'Oma,' 'Mas,' 'Ibu,' 'Tuan,' 'Encik'), place names, and cultural items (e.g., 'destar,' 'sarong,' 'guling,' 'keris,' 'gamelan'). While many are clarified by context or the translator's note, their sheer volume and the inclusion of specialized historical and medical jargon (e.g., 'satyriasis,' 'gonococcus,' 'Treponema pallidum') demand a high level of reader engagement. This places it above '2666' but below 'Moby-Dick' due to less archaic English and more direct contextualization of foreign terms.

Sentence structure: 68 out of 100

Sentences are generally long and often feature multiple clauses, particularly during philosophical discussions or detailed descriptions of political events. While not reaching the extreme hypotaxis of James or Faulkner, the narrative frequently employs complex structures to convey Minke's internal monologues and the nuances of colonial society. The dialogue, however, is typically direct and more accessible, balancing the overall complexity to be below '2666' but significantly above '1984'.

Abstraction: 72 out of 100

Beyond the concrete narrative of Minke's personal journey, the novel delves deeply into abstract concepts such as colonialism, modernity, freedom, justice, national identity, and the 'awakening of a people's consciousness.' Characters engage in extensive philosophical debates about societal structures, moral debts, and the nature of progress, often through allegorical discussions (e.g., 'bacteria' of imperialism, 'dalang' of fate). This sustained engagement with theoretical content places it higher than '2666' and closer to 'Brothers Karamazov' in its intellectual demands.

Information density: 75 out of 100

The text is dense with historical context, political theory, and cultural details, often interwoven into Minke's personal experiences and observations. Readers must process multiple plotlines (Minke's studies, his relationships, political events, historical figures) and abstract arguments simultaneously. The rapid introduction of concepts like the Ethical Policy, various Chinese organizations, and the Russo-Japanese War, alongside detailed character backstories, requires continuous attention, making it comparable to '2666' in its demands.

Narrative indirection: 40 out of 100

The narrative is largely direct, with Minke explicitly stating his thoughts, feelings, and interpretations of events, such as his declaration, 'I am here to triumph, to do great things, to succeed.' While Minke's understanding evolves, the text clearly presents his internal monologues and observations, requiring less inference than works with highly unreliable narrators or fragmented perspectives. Philosophical discussions, though complex, are articulated directly through dialogue or Minke's reflections, similar to the direct exposition in '1984' (35).

Symbolic density: 70 out of 100

The text is rich with recurring motifs and allegories that carry meaning beyond literal events, often explicitly explained within the narrative. Examples include Mei's comparison of imperialism to 'Treponema pallidum and gonococcus,' the 'wild animals' metaphor for colonial powers, and Minke's 'dented suitcase' symbolizing his intellectual and emotional journey. These symbols are integral to the political and personal themes, making the density higher than 'To Kill a Mockingbird' (45) and closer to 'The Great Gatsby' (75) in its use of significant, often elucidated, symbolic elements.

Ironic distance: 30 out of 100

The narrative maintains a largely sincere and earnest tone, reflecting Minke's evolving perspective rather than a consistent ironic gap between author and narrator. Minke's initial naivete, such as his view of van Kollewijn as a 'god,' is presented as a stage in his personal growth, which the text later directly corrects through his disillusionment. The author's voice, particularly in the framing introduction, aligns with the anti-colonial themes, indicating a direct engagement rather than an ironic critique of the narrative's core message, placing it closer to 'It Ends with Us' (35) than 'Lolita' (75).

Resolution withholding: 80 out of 100

The excerpt concludes with significant personal and political non-closure, explicitly stating the continuation of struggles and the dissolution of Minke's marriage. Mei's departure to pursue revolutionary work and Minke's reflection on their marriage entering its 'final stage' leave their relationship unresolved, while the broader anti-colonial movements are presented as ongoing. This open-endedness, coupled with the introduction's note that the 'story of struggle... continues today,' creates a strong resistance to narrative closure, similar to the unresolved mysteries in '2666' (92) or the continuous cycles of 'Infinite Jest' (88).

Structural complexity: 35 out of 100

The narrative maintains a consistent first-person point of view from Minke and follows a largely linear chronology. While there are flashbacks, such as Minke recalling past events in Surabaya, they are clearly signposted and integrated into the main narrative flow without disorienting the reader. There are no significant shifts in perspective, formal experiments, or multiple narrators, making the structure straightforward and conventional, comparable to the chronological epic 'War and Peace' (40) rather than the fragmented narratives of 'Flights' (88) or 'Ulysses' (98).

How Footsteps is regarded

Footsteps holds a literary regard score of 72 out of 100, weighing its place in the canon, its critical reception, its influence on other writers, and the standing of its author. Regard is measured separately from difficulty: a demanding book is not necessarily an admired one.

About the author

Pramoedya Ananta Toer