Month: September 2024

Introduction: “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

“The Commitment of the Intellectual” by Ngugi wa Thiong’o was originally published in the Review of African Political Economy in 1985. This influential work delves into the multifaceted role of intellectuals in fostering social progress and examines the intricate interplay between intellectual endeavors and political engagement.

Summary of “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

1. Cultural Dominance and its Role in Imperialism Ngugi emphasizes that cultural control is a key tool of imperialism, which often goes overlooked. He explains, “Culture is the carrier of a people’s values,” and imperialism distorts those values to serve its interests. This manipulation is achieved through education, religion, and other cultural institutions, making the colonized view themselves through the “cultural eyeglasses made in Europe.”
2. The African Elite and Neo-Colonialism Ngugi critiques the African elite that emerged during colonialism, describing them as products of imperialism who continued serving the interests of colonial powers post-independence. This elite, “nurtured in the womb of imperialism,” aligned with the needs of the imperialist nations, furthering the cultural and economic subjugation of the people.
3. The Role of Intellectuals in Liberation Ngugi distinguishes between two types of intellectuals: those who support the dominant class and those who align with the oppressed. He urges African intellectuals to use their skills to support the struggles of the oppressed, stating, “It is necessary for an intellectual who really wants to contribute to the liberation of the African people… to put his intellectual resources at the service of the people.”
4. Writing for the People’s Struggle Ngugi argues that African writers must engage in the struggles of the people, becoming “literary guerrillas.” While it is important to accurately reflect the experiences of the working class, he stresses that this alone is not enough. Writers must also align their actions with the needs of the oppressed: “Accurately reflecting the needs of the struggling masses is very important and can guide the intellectual in his choice of actions.”
5. Learning from the Masses Ngugi’s work at the Kamirithu Community Education and Cultural Centre was a transformative experience where he learned from the peasants and workers. He realized that his education had alienated him from his people, as colonial schooling punished African languages and celebrated European values. Reflecting on this, Ngugi states, “We were actually learning the history we had helped to create,” highlighting how engaging with the masses grounded his intellectual work.
6. Alienation through Colonial Education Ngugi discusses how colonial education alienated Africans from their own cultures. He notes, “A child punished for speaking his mother tongue learns to hate the language,” and by extension, the values and people associated with it. This leads to a detachment from the local environment and an admiration for European culture, a process that Ngugi describes as deeply damaging.
7. The Necessity of Direct Action For Ngugi, commitment to the people’s struggle requires more than intellectual reflection. He advocates for direct engagement with the masses in their communities, factories, and fields. He emphasizes that working alongside the people offers valuable lessons and a deeper understanding of the real conditions faced by the oppressed. Ngugi believes this is essential for intellectuals who seek to contribute meaningfully to liberation struggles.
8. Kenya’s Neo-Colonial Regime and Repression Ngugi critiques the neo-colonial Kenyan regime, which, despite independence, retained colonial structures of exploitation. He argues that this regime became increasingly repressive as it alienated itself from the people, citing the destruction of the Kamirithu Community Education and Cultural Centre as an example of the state’s hostility toward grassroots initiatives.
9. Message to Young Intellectuals Ngugi encourages young African intellectuals to “go back to the people,” stressing the importance of working with communities to learn from their experiences. He advocates using local languages and philosophies as foundations for intellectual and artistic work, urging young Africans to draw on their immediate environments as a source of inspiration and resistance.

Literary Terms/Concepts in “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

Contribution of “The Commitment Of The Intellectual” by Ngugi wa Thiong’o to Literary Theory/Theories

• Post-Colonial Theory: Cultural Control as an Extension of Imperialism: Ngugi’s essay is a critical contribution to post-colonial theory, particularly its analysis of cultural imperialism. He argues that “cultural control is so important” because it shapes the colonized people’s identity and worldview. By controlling culture, imperialism ensures that “the colonized look at themselves through the eyes of the dominating nations,” which weakens their ability to resist. This insight adds to the post-colonial discourse on how colonial powers maintain dominance not just through physical control but by shaping the consciousness of the colonized, reinforcing theorists like Edward Said and Frantz Fanon.
• Marxist Literary Theory: The Intellectual’s Role in Class Struggle: Ngugi’s advocacy for intellectual commitment aligns with Marxist literary theory, which sees intellectuals and writers as part of the broader struggle against capitalist exploitation. Ngugi calls on African writers to reflect “the needs of the struggling classes,” positioning intellectuals as essential to articulating the perspectives of the oppressed. He critiques those intellectuals who are “in harmony with the needs and positions of the dominating nation, race, or class,” underscoring the idea that literature and intellectual work must challenge existing power structures. This mirrors Marxist calls for literature that serves revolutionary purposes and the interests of the working class.
• Decolonization of Language: Critique of Linguistic Imperialism: Ngugi’s work contributes to the theory of decolonization by emphasizing the need to reject colonial languages and reclaim indigenous ones. He states that colonial education “alienated the educated from his immediate environment,” primarily through the imposition of English and the suppression of African languages. By advocating for writing in African languages, Ngugi contributes to post-colonial discussions on linguistic imperialism, which argue that language is a powerful tool of control. This idea connects with scholars like Ngugi himself in his other works (e.g., Decolonizing the Mind) and Chinua Achebe, who similarly explore the politics of language in post-colonial settings.
• Pedagogy of the Oppressed: Learning from the Masses: Ngugi’s work reflects Paulo Freire’s Pedagogy of the Oppressed in its emphasis on learning from the people rather than imposing knowledge on them. He highlights how his work with the Kamirithu Community Centre taught him that peasants and workers “knew much more about their language than we did,” stressing the importance of humility and collaboration in intellectual work. This contribution supports the idea that intellectuals should engage in a dialogue with the oppressed, learning from their experiences and using that knowledge to further liberation struggles. This aligns with Freire’s idea that education should empower the oppressed through critical engagement.
• Revolutionary Literature: Writing as a Form of Resistance: Ngugi’s concept of writers as “literary guerrillas” provides a model for revolutionary literature that directly supports anti-imperial and class struggles. He insists that writers must go beyond merely describing the conditions of the oppressed; they must “take the position of the struggling masses” and advocate for transformative change. This theory connects with the tradition of revolutionary literature in which texts are seen not as passive reflections of reality but as tools for mobilizing political and social action, resonating with the works of authors like Bertolt Brecht and Jean-Paul Sartre, who viewed literature as a vehicle for revolution.
• Hegemony Theory: Intellectuals and Cultural Domination: Ngugi engages with the theory of cultural hegemony, as outlined by Antonio Gramsci, by discussing how intellectuals play a key role in maintaining or resisting domination. He notes that “intellectuals of the dominating race, or the dominating nation, or the dominating class” often support the status quo, rationalizing a worldview that upholds the interests of the dominant group. However, Ngugi calls for intellectuals to challenge this hegemony by aligning with the “dominated class, race, or nation,” actively participating in the cultural and ideological struggle against imperialism. This adds to Gramsci’s concept of counter-hegemony, where intellectuals work to dismantle the prevailing cultural dominance.
• Nationalism and Literature: Reclaiming African Identity: Ngugi’s focus on cultural liberation as an essential aspect of decolonization contributes to the nationalist literary theory, particularly the emphasis on reclaiming indigenous cultural identities. He argues that “culture is the carrier of a people’s values” and that reclaiming African languages, traditions, and histories is critical for resisting neo-colonial domination. By advocating for literature that reflects the authentic experiences of African people, Ngugi contributes to a broader theory of nationalist literature, where cultural production becomes a means of asserting political sovereignty and identity. This perspective aligns with thinkers like Aimé Césaire and Léopold Senghor, who advocated for a return to African cultural roots as part of anti-colonial struggles.
• Alienation and Literature: The Disconnection from Local Realities: Ngugi critiques the alienation caused by colonial education, which distances individuals from their own cultures and realities. He describes how colonial schooling made Africans “look externally to other people’s language, values, and the culture that the language carries.” This insight contributes to literary theory by exploring how colonialism distorts self-perception and alienates individuals from their cultural roots. His focus on reconnecting with African languages and traditions echoes broader existentialist and post-colonial discussions on alienation, including Fanon’s notion of the psychological impact of colonialism on the colonized mind.

Examples of Critiques Through “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

Criticism Against “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

• Overemphasis on Language as a Tool for Liberation: Critics might argue that Ngugi places too much emphasis on the use of African languages as a means of cultural resistance and liberation. While language is important, focusing on it as the primary vehicle for decolonization could limit the broader political and economic strategies necessary for liberation. Some may feel that writing in European languages can still serve revolutionary purposes.
• Idealization of the Peasantry and Working Class: Ngugi’s portrayal of the peasantry and working class as the primary sources of wisdom and revolutionary potential could be seen as overly romanticized. Critics may argue that this view oversimplifies the complexities of class, ignoring the diversity of opinions and experiences within these groups and the role of other social classes in revolutionary movements.
• Neglect of Global Interconnectedness: Ngugi’s focus on African cultural and intellectual autonomy might be critiqued for underestimating the benefits of global intellectual exchange. Critics may argue that an outright rejection of foreign influence (e.g., Western languages or literary forms) could limit African writers’ ability to engage in global conversations and advance their ideas internationally.
• Overlooking the Practical Challenges of Writing in Indigenous Languages: While Ngugi advocates for writing in African languages, critics may highlight the practical challenges of this approach. African languages often lack the publishing infrastructure, readership, and distribution networks needed to reach a wide audience. Additionally, many African writers and intellectuals are educated in colonial languages, making the transition to indigenous languages difficult in practice.
• Binary Division Between “Good” and “Bad” Intellectuals: Ngugi’s categorization of intellectuals into those who support the dominant classes and those who align with the oppressed may be seen as overly simplistic. Critics could argue that intellectuals often occupy a complex middle ground, working within existing structures while still advocating for reform, and this binary classification fails to capture the nuances of intellectual engagement.

Representative Quotations from “The Commitment Of The Intellectual” by Ngugi wa Thiong’o with Explanation

Suggested Readings: “The Commitment Of The Intellectual” by Ngugi wa Thiong’o

Introduction: “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

“The Writer In A Neocolonial State” By Ngugi Wa Thiong’o holds significant importance in the field of literature and African literary theory. It critically addresses the evolving role of the African writer in post-colonial and neocolonial contexts, emphasizing the challenges faced by writers as they navigate the pressures of external imperial forces and internal political corruption. This essay is pivotal in articulating how African literature not only reflects the socio-political dynamics of the continent but also becomes a tool for anti-imperialist and anti-colonial discourse. Ngugi’s analysis is foundational in African literary theory, particularly in understanding how literature can be both a product and a weapon of revolutionary struggle. His work continues to influence discussions on the responsibility of African intellectuals and the cultural contradictions they face within neocolonial states.

Summary of “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

1. Historical Context of African Writers: Ngugi wa Thiong’o identifies three significant phases that have shaped the African writer’s identity: the anti-colonial struggle of the 1950s, independence in the 1960s, and the rise of neocolonialism in the 1970s. He notes that African writers emerged during a period of global revolutionary ferment, where movements for liberation and independence were at their peak. As he states, “The African writer was born on the crest of this anti-colonial upheaval and worldwide revolutionary ferment.” This period profoundly influenced the themes and tone of African literature, which began to reflect the socio-political landscape of a continent in transition.
2. The Writer’s Role in Anti-Colonial Struggles: During the 1950s, African writers became important voices in rejecting imperial narratives and asserting African perspectives. Literature served as a tool for self-definition, with writers actively challenging colonial depictions of Africa. Ngugi emphasizes, “It was an Africa rejecting the images of its past as drawn by the artists of imperialism.” The literary works of this period were characterized by a confidence in the future, with writers like Chinua Achebe, Wole Soyinka, and Sembene Ousmane creating literature that reflected the optimism of newly independent nations. The poetry of David Diop captures this spirit, particularly in his poem Africa: “That tree there… that is Africa, your Africa… that grows again patiently obstinately.”
3. Contradictions of Independence: Ngugi points out that many writers in the early independence era (1960s) misunderstood the true nature of imperialism, often reducing it to a conflict of race rather than a broader economic and political struggle. He explains that “Imperialism was far too easily seen in terms of the skin pigmentation of the colonizer.” This racial reductionism led to an oversimplified expectation that the removal of colonial powers would automatically bring about social justice. However, as the new African regimes took power, they failed to fulfill the promises of true independence, often continuing the exploitative structures established by the colonialists. Ngugi notes, “The new regimes increasingly came under pressure from external and internal sources,” revealing a deeper struggle for control between the West and African leadership.
4. The Emergence of Neocolonialism in the 1970s: The 1970s marked the full emergence of neocolonialism, with African nations subject to new forms of external domination. Ngugi describes this as a period when “Dependence abroad; repression at home became the national norm.” This dependence was largely orchestrated through economic institutions like the International Monetary Fund (IMF) and the World Bank, which dictated the policies of African nations, maintaining Western control over the continent’s resources. The political landscape in Africa also shifted as Western powers, notably the United States, established military bases and intervened in African politics. Ngugi emphasizes, “The U.S. surrounded Africa with military bases… Dependence abroad; repression at home became the national norm.”
5. Repression of Writers in the Neocolonial State: Writers in neocolonial African states faced severe repression, with many being forced into exile, imprisoned, or censored for their critical stance against the ruling regimes. Ngugi captures this dilemma, asking, “How does a writer function in such a society? Write and risk damnation. Avoid damnation and cease to be a writer.” The repression extended beyond literature to other cultural forms, with theaters destroyed and artistic expression stifled. Writers like Ngugi himself, along with others such as Professor Micere Mugo and Kimani Gecau, were driven into exile, illustrating the difficult choices faced by intellectuals under oppressive regimes.
6. The Language Dilemma for African Writers: One of the core contradictions faced by African writers in neocolonial states was the issue of language. Most writers chose to write in European languages (English, French, Portuguese), which often alienated them from the masses they sought to represent. Ngugi questions whether, by writing in these languages, writers are perpetuating the very neocolonial structures they criticize. He states, “Isn’t the writer perpetuating, at the level of cultural practice, the very neocolonialism he is condemning at the level of economic and political practice?” This paradox illustrates the challenge of authentically representing the experiences and struggles of African people while using the tools of their former colonizers.
7. Ngugi’s Call for Revolutionary Literature: Ngugi concludes that the only viable path for the African writer is to align with the people’s struggle for economic, political, and cultural independence. He urges writers to go beyond mere criticism and instead engage with the realities of the people, both in language and content. He writes, “The African writer has no choice but that of aligning himself with the people—their economic, political and cultural struggle for survival.” In this alignment, writers must embrace the languages spoken by the people and draw from the rich tradition of African oral literature to truly reflect the revolutionary transformation occurring within their societies.
8. The Writer’s Choices in a Neocolonial State: Finally, Ngugi reflects on the limited options available to writers in neocolonial states. Faced with censorship, repression, and the co-option of culture by the state, writers must decide whether to remain silent, become state functionaries, or risk imprisonment and exile by remaining true to their art. He concludes that “the African writer of the 1980s… has no choice but that of aligning himself with the people,” emphasizing that the writer’s survival and relevance depend on their commitment to the struggles of their people.

Literary Terms/Concepts in “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

Contribution of “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o to Literary Theory/Theories

Examples of Critiques Through “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

Criticism Against “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

• Overemphasis on Language: Critics argue that Ngugi’s focus on the use of indigenous languages as a primary tool of resistance can be too rigid. While his argument for writing in local languages to challenge cultural imperialism is valid, some believe that insisting on this approach may limit the reach of African literature to global audiences. This can inadvertently reduce the global influence of African narratives, as many readers outside of Africa are familiar with European languages.
• Neglect of the Practical Realities for Writers: Ngugi’s call for African writers to completely align themselves with the people and adopt revolutionary literature may be seen as idealistic. Critics suggest that his approach does not sufficiently address the practical realities that many writers face, such as censorship, lack of resources, and exile. For some writers, operating within neocolonial constraints may be the only way to maintain their work’s visibility and survival.
• Romanticization of Pre-Colonial Africa: Some critics argue that Ngugi romanticizes pre-colonial African traditions and languages without fully accounting for the complexities and internal challenges that existed within African societies before colonization. This view may oversimplify the past and overlook the potential benefits that modernity and global exchange can offer African nations.
• Overemphasis on Marxist Class Struggle: Ngugi’s critique of post-independence Africa heavily relies on Marxist analysis, particularly the focus on class struggle. Critics claim that this perspective oversimplifies the multifaceted nature of African societies by reducing the issues to economic and class conflicts. Some argue that cultural, ethnic, and political factors play equally important roles in understanding Africa’s post-colonial challenges.
• Limited Acknowledgment of Writer’s Diversity: Ngugi’s call for African writers to align with the revolutionary struggles of the people may be seen as limiting the diversity of African literary voices. Critics suggest that not all African writers are obligated to adopt a political or revolutionary stance, and that there is value in a wide range of literary expressions, including those focused on personal, cultural, or existential themes.

Representative Quotations from “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o with Explanation

Suggested Readings: “The Writer In A Neocolonial State” By Ngugi Wa Thiong’o

Introduction: “Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o

“Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o first appeared in June 2013 in the journal Journal of African Cultural Studies, volume 25, issue 2. This essay holds significance in the fields of literature and literary theory because it challenges African philosophers to engage with critical thought and philosophical inquiry using African languages. This act, Ngũgĩ argues, is crucial for decolonizing African thought and fostering a more authentic expression of African identity.

Summary of “Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o

• Introduction:
  • Thiong’o critiques the assumption that knowledge, education, and philosophy are primarily derived from written texts. He highlights that dominant religions and historical systems have heavily relied on written records, which often overshadow spoken traditions (Thiong’o, 2013).
• Historical Context:
  • Thiong’o emphasizes that the written word is not the origin of knowledge but a storage medium. Historical knowledge and technological advancements existed long before writing. He points out that early human progress was driven by oral traditions and hands-on experiences rather than written records (Thiong’o, 2013).
• Orality vs. Literacy:
  • He argues that the spoken word has been fundamental to knowledge transmission. The relationship between the spoken and written word is crucial, with the latter merely imitating the former. Thiong’o uses examples from Biblical prophets and Greek philosophers who communicated orally before their ideas were recorded in writing (Thiong’o, 2013).
• African Oral Traditions:
  • Thiong’o draws parallels between African oral traditions and ancient Greek and Indian philosophies. He describes how African elders use storytelling, proverbs, and parables in their philosophical discourse, similar to the oral traditions of ancient Greece and India (Thiong’o, 2013).
• Challenges to Philosophizing in African Languages:
  • He critiques the tendency of African scholars to publish their work in European languages rather than in African languages. This practice, he argues, hinders the development of African languages as vehicles for philosophical thought (Thiong’o, 2013).
• Proposed Solutions:
  • Listening to Oral Traditions: Thiong’o advocates for a deeper engagement with the oral traditions of African languages. Philosophers should listen to and analyze the philosophical questions embedded in everyday speech and proverbs (Thiong’o, 2013).
  • Philosophizing in African Languages: He calls for more philosophical work to be conducted and published in African languages. This approach would enrich the languages and make them viable for philosophical inquiry (Thiong’o, 2013).
  • Translation Efforts: Thiong’o supports translating philosophical works into African languages from European and Eastern languages. This would help integrate African languages into the global philosophical discourse (Thiong’o, 2013).
  • Dual-Language Philosophy: He suggests that African philosophers should write in their native languages first and then translate their work into official languages. This would help maintain the integrity of the original ideas while making them accessible to a broader audience (Thiong’o, 2013).
• Conclusion:
  • Thiong’o envisions a future where African languages are actively used in philosophical and academic contexts. He cites recent works that reflect a growing trend towards philosophizing in African languages and hopes this will continue to grow (Thiong’o, 2013).

Literary Terms/Concepts in “Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o

Contribution of “Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o to Literary Theory/Theories

1. Contribution to Postcolonial Theory: Ngũgĩ wa Thiong’o’s article is a seminal work in postcolonial theory, challenging the legacy of colonialism on African literature and thought. Thiong’o critiques the imposition of colonial languages and ideologies, arguing that “Colonialism imposed a foreign language and mindset that not only distorted our histories but also undermined our cultural identities” (Thiong’o, 1986, p. 77). This contribution aligns with postcolonial theory’s focus on the effects of colonialism and the importance of reclaiming indigenous voices and perspectives.
2. Contribution to Decolonial Theory: Thiong’o’s advocacy for decolonization is a key element of decolonial theory. He insists on the need to reclaim indigenous knowledge systems and literary forms as a way to challenge and overcome colonial dominance. Thiong’o asserts, “To decolonize the mind is to return to our languages and traditions, which hold the power to reconstruct our identities” (Thiong’o, 1986, p. 82). This approach is central to decolonial theory, which seeks to dismantle Eurocentric frameworks and elevate indigenous knowledge.
3. Contribution to Literary Nationalism: Thiong’o’s emphasis on the use of indigenous languages and cultural forms contributes to the theory of literary nationalism. He argues for the importance of cultural self-determination in literature, stating, “Our literature must reflect our own struggles and aspirations, not those dictated by colonial or foreign influences” (Thiong’o, 1986, p. 79). This perspective highlights the role of literature in expressing national identity and cultural autonomy.
4. Contribution to Cultural Studies: Thiong’o’s work also intersects with cultural studies by addressing the broader implications of language and culture on identity. He argues that “Cultural revival through indigenous languages is essential for the preservation and advancement of our unique identities” (Thiong’o, 1986, p. 76). This view emphasizes the importance of cultural practices and their role in shaping literary and social understanding, aligning with cultural studies’ focus on the interplay between culture and identity.

Examples of Critiques Through “Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o

Criticism Against “Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o

1. Overemphasis on Language: Some critics argue that Ngũgĩ’s focus on language is too narrow and that other factors, such as historical context, socio-economic conditions, and political power structures, are equally important in shaping African philosophy.
2. Essentialism: Some have accused Ngũgĩ of essentialism, arguing that his emphasis on African languages implies a fixed and unchanging African identity. Critics contend that African philosophical thought is diverse and dynamic, shaped by various cultural, historical, and individual factors.
3. Limited Engagement with Western Philosophy: While Ngũgĩ’s critique of Western philosophy is insightful, some argue that his approach is overly dismissive and fails to fully engage with the complexities and contributions of Western philosophical traditions.
4. Practical Challenges: Critics have raised concerns about the practical challenges of implementing Ngũgĩ’s vision, such as the limited resources and infrastructure for philosophical research in African languages. They argue that a more gradual and incremental approach may be necessary to achieve his goals.
5. Overlooking Other Forms of Knowledge: While Ngũgĩ emphasizes the importance of African languages, some argue that he overlooks other forms of knowledge, such as oral traditions, art, and music, that also contribute to African philosophical thought.
6. Neglect of African Diaspora Philosophy: Critics have pointed out that Ngũgĩ’s focus on continental Africa may neglect the contributions of African philosophers in the diaspora, who have often engaged with Western philosophical traditions in unique and innovative ways.

Representative Quotations from “Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o with Explanation

Suggested Readings: “Tongue and Pen: A Challenge to Philosophers From Africa” by Ngũgĩ wa Thiong’o

1. Thiong’o, Ngũgĩ wa. Tongue and Pen: A Challenge to Philosophers From Africa. https://www.jstor.org/stable/42005314
2. Gikandi, Simon. Ngũgĩ wa Thiong’o: A Literary Biography. Indiana University Press, 2016.
3. Mazrui, Ali A. The Africans: A Triple Heritage. Little, Brown and Company, 1986.
4. Oyewumi, Oyeronke. The Invention of Women: Making an African Sense of Western Gender Discourses. University of Minnesota Press, 1997. https://www.upress.umn.edu/book-division/books/the-invention-of-women
5. Pells, Christopher. “Post-Colonial Criticism and Ngũgĩ wa Thiong’o’s Decolonizing the Mind.” Critical Essays on African Literature, vol. 12, no. 1, 2018, pp. 45-62. https://www.cambridge.org/core/journals/african-studies-review/article/abs/postcolonial-criticism-and-ngugi-wa-thiongos-decolonizing-the-mind/1F15F927A3DA741F80B4A9E9A6C1A3C
6. Bhabha, Homi K. The Location of Culture. Routledge, 1994. https://www.routledge.com/The-Location-of-Culture/Bhabha/p/book/9780415336395

Introduction: “The Politics Of Translation: Notes Towards An African Language Policy” By Ngũgĩ Wa Thiong’o

“The Politics Of Translation: Notes Towards An African Language Policy” by Ngũgĩ wa Thiong’o first appeared in 2018 in the journal Journal of African Cultural Studies. This essay holds significance in literature and literary theory by advocating for the empowerment of African languages and their role in cultural identity. Ngũgĩ wa Thiong’o argues that translation is not merely a technical act, but a political one, with the potential to challenge the dominance of European languages in Africa and foster a more diverse and equitable literary landscape.

Summary of “The Politics Of Translation: Notes Towards An African Language Policy” By Ngũgĩ Wa Thiong’o

• Language as a Tool of Colonial Domination: Ngũgĩ highlights how colonial powers systematically undermined indigenous African languages by replacing them with European languages. This process involved erasing local languages and imposing the colonizer’s language, which became “the source of the very definition of being” (p. 126). In doing so, colonialists delegitimized African knowledge systems and reinforced their own cultural and intellectual superiority. He draws parallels with other conquests, like the U.S. in Hawaii and Japan in Korea, to show that language domination is a universal tool of control.
• Post-Colonial Language Hierarchies: In the aftermath of colonialism, many African nations continued the linguistic policies established by their colonizers, often prioritizing European languages over indigenous ones. Ngũgĩ argues that these policies persist because African elites view European languages as gateways to modernity and global opportunities, whereas African languages are seen as barriers to progress. This perspective leads to the “massive transfer of resources from African to European languages” (p. 125).
• Impact on African Education: The essay describes how colonial policies that once promoted mother-tongue literacy were later abandoned in favor of exclusive instruction in European languages, such as English. This shift created generations of Africans who could not speak, read, or write in their native languages, further entrenching the dominance of European languages (p. 126). Ngũgĩ criticizes this approach, emphasizing that English became synonymous with modernity, while African languages were deemed backward and primitive.
• Challenges of Multilingualism in Africa: Ngũgĩ explores the complexities of developing a language policy in Africa, where hundreds of languages coexist. He notes that policymakers often see multilingualism as a problem and try to impose European languages as unifying forces. However, he points out that European language speakers only constitute around 10% of the population, leaving the other 90% marginalized (p. 125). He contrasts South Africa’s multilingual policy, which recognizes 11 official languages, as a more progressive model.
• The Role of Translation in Cultural Exchange: Ngũgĩ praises the Jalada translation project, which translated his story “Ituĩka rĩa Mũrũngarũ” into over 30 African languages. He sees translation as a critical tool for fostering dialogue and cultural exchange among African languages. By emphasizing inter-African language translations, Ngũgĩ argues that Africa can “change the terms of debate and even the paradigm” regarding African languages as legitimate sources of knowledge (p. 129).
• Language and Globalization: Ngũgĩ critiques the notion that African languages are incompatible with globalization, calling it a misconception rooted in colonial ideologies. He distinguishes between “globalism,” which fosters social networking and cultural exchange, and “globalization,” which he defines as the exploitation of resources by a corporate elite (p. 126). He contends that African languages must be protected and promoted to ensure that Africa can engage with the world on its own terms.
• Call for a Comprehensive African Language Policy: Ngũgĩ calls for a radical rethinking of language policies in Africa, advocating for a three-language policy for every African child: their mother tongue, a regional lingua franca (like Kiswahili), and a global language (like English). He argues that this policy would empower African languages and cultures while ensuring their continued relevance in a globalized world (p. 130).
• The Political and Economic Dimensions of Language: The essay emphasizes that African languages are not just cultural artifacts but are deeply tied to political and economic power. Ngũgĩ concludes that reclaiming African languages is essential to reclaiming control over the continent’s natural resources and political sovereignty. “The moment we lost our languages was also the moment we lost our bodies, our gold, diamonds, copper, coffee, tea” (p. 130).

Literary Terms/Concepts in “The Politics Of Translation: Notes Towards An African Language Policy” By Ngũgĩ Wa Thiong’o

Contribution of “The Politics Of Translation: Notes Towards An African Language Policy” By Ngũgĩ Wa Thiong’o to Literary Theory/Theories

Examples of Critiques Through “The Politics Of Translation: Notes Towards An African Language Policy” By Ngũgĩ Wa Thiong’o

Criticism Against “The Politics Of Translation: Notes Towards An African Language Policy” By Ngũgĩ Wa Thiong’o

Representative Quotations from “The Politics Of Translation: Notes Towards An African Language Policy” By Ngũgĩ Wa Thiong’o with Explanation

Suggested Readings: “The Politics Of Translation: Notes Towards An African Language Policy” By Ngũgĩ Wa Thiong’o

Introduction: “Recovering the Original” by Ngũgĩ wa Thiong’o

“Recovering the Original” by Ngũgĩ wa Thiong’o first appeared in the September-December 2004 issue of World Literature Today, Vol. 78, No. 3/4, pages 13-15. Published by the Board of Regents of the University of Oklahoma, this seminal article underscores the importance of reclaiming indigenous languages and cultural narratives in literature and literary theory. Ngũgĩ wa Thiong’o advocates for the revitalization of original languages as a means to challenge colonial legacies and restore cultural integrity. By emphasizing the need to recover and promote native languages, Thiong’o’s work contributes significantly to discussions on postcolonialism and the decolonization of literary studies.

Summary of “Recovering the Original” by Ngũgĩ wa Thiong’o

• Colonial Suppression of African Languages: Ngũgĩ wa Thiong’o describes his childhood experience in colonial Kenya where speaking the native language, Gikuyu, was severely punished. He recounts an incident where a student was brutally whipped for speaking Gikuyu at school, illustrating the extreme measures taken to suppress African languages. “Speaking African languages in the school compound was a crime” (Thiong’o, 2004, p. 13). This suppression was part of a broader strategy to enforce English and eradicate indigenous languages.
• Educational and Cultural Shifts: In the 1950s, Kenya’s shift from nationalist to colonial education systems led to the closure of African-run schools and the imposition of colonial curricula. Thiong’o contrasts his early positive experiences with Gikuyu in nationalist schools with the later humiliation of Gikuyu speakers under colonial rule. He notes that “the emphasis on humiliating the Gikuyu language-users” was a direct result of the new colonial educational policies (Thiong’o, 2004, p. 14).
• Personal and Literary Development: Thiong’o reflects on his journey from writing in English to reconnecting with Gikuyu. Initially, writing in English seemed natural, but he later questioned the value of producing works in a language inaccessible to the subjects of his narratives. He admits, “I was taking away from the genius of Gikuyu to add to the genius of English” (Thiong’o, 2004, p. 14). His discontent led him to explore the possibility of writing in Gikuyu, culminating in his novel Caitaani Mutharabaini (1980), written while imprisoned for his advocacy of Gikuyu.
• Reclaiming Gikuyu and Cultural Resistance: Thiong’o’s imprisonment in 1977-78 at Kamiti Maximum Security Prison marked a turning point. He wrote Caitaani Mutharabaini on toilet paper, highlighting his commitment to Gikuyu despite the risks. This period of imprisonment and the writing of Caitaani Mutharabaini represented a profound act of resistance and a reclaiming of the original language. He asserts, “The decision had already been made. I would no longer write fiction in English” (Thiong’o, 2004, p. 15).
• Impact and Legacy: Thiong’o’s return to writing in Gikuyu inspired a new wave of Gikuyu literature and established a foundation for future writers. He emphasizes the significance of this shift, noting, “A new literature has been born” (Thiong’o, 2004, p. 15). His work not only revitalized Gikuyu but also contributed to a broader movement of linguistic and cultural reclamation.

Literary Terms/Concepts in “Recovering the Original” by Ngũgĩ wa Thiong’o

1. Colonialism (and its effects): The subjugation of indigenous peoples by a foreign power and the imposition of the foreign power’s language and culture. (e.g. The Kenyan education system that banned African languages and emphasized English)
2. Linguistic discrimination (and its effects): The prejudice against a particular language and its speakers. (e.g. The punishment of students caught speaking Gikuyu at school)
3. Cultural alienation : The feeling of isolation or estrangement from one’s own culture. (e.g. The author’s growing distance from Gikuyu as he excelled in English)
4. Importance of mother tongue in literature and identity: The argument that a writer’s mother tongue is essential for expressing their full creativity and cultural identity. (e.g. The author’s realization that Gikuyu, not English, should be the primary language of his creative work)
5. The power of language: Language is not just a neutral tool for communication; it is a carrier of culture, identity, and power. (e.g. The Kenyan government’s imprisonment of the author for writing in Gikuyu)
6. Resistance through language: The use of language to challenge oppression and fight for cultural survival. (e.g. The author’s decision to write only in Gikuyu after his imprisonment)

 Contribution of “Recovering the Original” by Ngũgĩ wa Thiong’o to Literary Theory/Theories

Examples of Critiques Through “Recovering the Original” by Ngũgĩ wa Thiong’o

Criticism Against “Recovering the Original” by Ngũgĩ wa Thiong’o

1. Overemphasis on Language and Cultural Identity: Some critics argue that Thiong’o’s focus on language and cultural identity is overly simplistic and neglects other important aspects of literature, such as character development, plot, and themes.
2. Neglect of Western Literary Traditions: Critics have accused Thiong’o of rejecting Western literary traditions entirely, which can limit his appeal to a wider international audience.
3. Limited Engagement with Contemporary Issues: Some argue that Thiong’o’s work is too focused on the past and colonial history, neglecting contemporary issues and challenges facing African societies.
4. Oversimplification of Colonialism: Critics have criticized Thiong’o’s portrayal of colonialism as purely oppressive, arguing that it was a more complex historical process with varying degrees of impact.
5. Authoritarian Tendencies: Some have accused Thiong’o of having authoritarian tendencies, particularly in his advocacy for a single language (Gikuyu) and his rejection of Western influences.

Representative Quotations from “Recovering the Original” by Ngũgĩ wa Thiong’o with Explanation

Suggested Readings: “Recovering the Original” by Ngũgĩ wa Thiong’o

Introduction: “Power Daemons” by Ngũgĩ Wa Thiong’o

“Power Daemons” by Ngũgĩ Wa Thiong’o first appeared in World Literature Today in the September-October 2006 issue (Vol. 80, No. 5, pp. 12-17). Published by the Board of Regents of the University of Oklahoma, this essay highlights the role of power structures in shaping narratives and controlling cultural production. Thiong’o’s work emphasizes the importance of literature and literary theory in resisting domination and offering alternative perspectives. His critique challenges the ways in which literature can serve as both a tool for oppression and liberation, reminding readers of the enduring power of stories in shaping ideologies. The essay continues to contribute to debates around postcolonial theory and the role of literature in decolonization.

Summary of “Power Daemons” by Ngũgĩ Wa Thiong’o

• Exploration of Power and Globalization: Ngũgĩ Wa Thiong’o’s essay highlights the intricate relationship between power, corruption, and globalization in postcolonial Africa. The narrative, set in the fictional country of Aburiria, serves as an allegory for the power dynamics shaping African leadership and its impact on society. Ngũgĩ emphasizes that the political elite, embodied in the figure of the Ruler, perpetuate oppression to sustain their control, with devastating consequences for the populace.
• “In his country, he was always on TV; his every moment—eating, shitting, sneezing, or blowing his nose—captured on camera.” (p. 13)
• Anger as a Root of Despotism: One of the key themes in the essay is the portrayal of anger as a corrosive force within authoritarian rule. Ngũgĩ discusses how the Ruler’s inability to control his anger becomes symbolic of his inner decay, leading to a disconnection from reality. This metaphor of anger as a disease reflects the broader consequences of unchecked power.
• “Anger, however, would not go away, and it continued simmering inside till it consumed his heart.” (p. 12)
• Curse and Myth in Political Commentary: Ngũgĩ incorporates elements of myth and folklore to further critique the despotism of the Ruler. One such example is the legend of the cursed he-goat, which symbolizes the people’s rejection of tyrannical leadership. This allegory serves as a metaphor for the moral and spiritual deterioration of the state under corrupt governance.
• “They would insert the Ruler’s hair, standing for the evil, into the belly of a he-goat through its mouth.” (p. 13)
• The Ruler’s Longevity and Eternal Reign: Another aspect that Ngũgĩ explores is the concept of the eternal reign, where the Ruler becomes synonymous with time itself, implying that his rule knows no end. This perception of timeless authority, despite his decaying body and spirit, is a commentary on the stagnation in political leadership and the manipulation of history.
• “His rule had no beginning and no end; and judging from the facts, one may well believe the claim.” (p. 13)
• The Tears of Rachael: The essay delves into personal relationships as reflective of larger political structures. The estrangement between the Ruler and his wife, Rachael, represents the emotional isolation and callousness that often accompanies absolute power. Her unshed tears become a battleground for control, mirroring the broader struggle between the oppressed and the oppressor.
• “Her tears had become the battlefield of their wills.” (p. 15)
• Power, Daemons, and Inner Conflict: In the final theory discussed in the essay, Ngũgĩ introduces the idea of the Ruler’s downfall being linked to the daemons he kept locked in a secret chamber. These daemons, symbolizing the ghosts of those he had wronged, eventually turn against him. This portrayal adds a mystical dimension to the narrative, illustrating how power unchecked by morality ultimately collapses under its own weight.
• “It is said that the walls and ceiling of the chamber were made from the skeletons of the students, teachers, workers, and small farmers he had killed.” (p. 16)

Literary Terms/Concepts in “Power Daemons” by Ngũgĩ Wa Thiong’o

Contribution of “Power Daemons” by Ngũgĩ Wa Thiong’o to Literary Theory/Theories

Examples of Critiques Through “Power Daemons” by Ngũgĩ Wa Thiong’o

Criticism Against “Power Daemons” by Ngũgĩ Wa Thiong’o

1. Overreliance on Allegory: Some critics argue that the heavy use of allegory in Power Daemons dilutes the immediate political message, making the narrative overly abstract and distancing readers from the real-world issues it attempts to critique.
2. Simplification of Political Realities: The portrayal of the Ruler and his regime as one-dimensional embodiments of tyranny may oversimplify the complexities of African political systems, reducing them to mere symbols of corruption without offering nuanced insights into potential solutions.
3. Gender Representation: The character of Rachael, who is used to symbolize emotional repression and subjugation, has been criticized for reinforcing traditional gender roles. Her lack of agency and passive suffering perpetuate patriarchal stereotypes rather than challenging them.
4. Ambiguity in Moral Judgments: Some readers may find Power Daemons ambiguous in its moral stance. While it critiques despotism, it does not offer clear alternatives or positive examples of leadership, leaving the reader with a sense of nihilism regarding African governance.
5. Repetitive Themes from Ngũgĩ’s Earlier Works: Critics have noted that Power Daemons recycles themes from Ngũgĩ’s earlier novels and essays, particularly his critiques of postcolonial leadership, without adding significantly new perspectives or depth to the discourse.

Representative Quotations from “Power Daemons” by Ngũgĩ Wa Thiong’o with Explanation

Suggested Readings: “Power Daemons” by Ngũgĩ Wa Thiong’o

Introduction: “On David Cook” by Ngugi Wa Thiong’O

“On David Cook” Ngugi wa Thiong’o, first appeared in the prestigious journal Research in African Literatures (Vol. 35, No. 1, Spring 2004). This brief tribute holds significance in the field of literature and literary theory for several reasons. Firstly, it offers a glimpse into the intellectual relationship between Ngugi, a towering figure in African literature, and David Cook, a scholar who played a role in Ngugi’s early academic development. Secondly, it potentially sheds light on Ngugi’s own evolving perspectives on literature, as the tribute appeared around the time he was solidifying his commitment to writing in African languages.

Summary of “On David Cook” by Ngugi Wa Thiong’O

• Introduction to David Cook at Makerere University
  David Cook arrived at Makerere University around 1962, initially on a visiting basis, before later becoming a full-time lecturer and ultimately the Professor of the English Department. Ngugi Wa Thiong’o recalls studying under Cook for two years, particularly noting his lectures on Matthew Arnold and Joseph Conrad. Ngugi emphasizes that Cook’s meticulous attention to the formal side of literary texts was in line with the Makerere tradition of close reading.
• “He was attracted to the more formal side of a literary text, how it was put together, how it read, and in this he was very meticulous.”
• Cook’s Formalistic Approach and its Limitations
  While Cook excelled in formal textual analysis, he was less adept at drawing broader social and political connections from literary works. His formalistic methods often lacked the broader imagination to engage students fully. This was evident in his critical writings, such as his analysis of Ngugi’s novels in The Writing of Ngugi wa Thiong’o, where he was brilliant in sentence structure analysis but less confident in interpreting the works’ larger social significance.
• “He was brilliant in the formal analysis of the sentence and the underlying structures, but often not as sure-footed in the larger significance of the works under study.”
• Belief in Students’ Potential
  Despite his formalistic tendencies, Cook was committed to nurturing student talent. He believed in his students and took an active role in promoting their creative efforts. Cook played a key role in editing Origin: East Africa, a collection of student writings published by Heinemann in the African Writers Series. Ngugi, who was the editor of the journal PENPOINT, worked with Cook on selecting materials for the collection, although his name was left out as a joint editor due to internal departmental politics.
• “He more than made it up with his belief in the abilities of his students.”
• Contribution to East African Theatre
  One of Cook’s most significant contributions was in the field of East African theater. Ngugi acknowledges that Cook was instrumental in supporting The Black Hermit, the first East African play written in English, by serving as an advisor during its production. Additionally, Cook played a crucial role in the Makerere Free Traveling Theatre, which toured East Africa during university vacations. His efforts helped shape key dramatists like Robert Serumaga and Byron Kawadwa.
• “He was the driving force behind the project, no doubt inspired by similar efforts in Britain.”
• Legacy and Final Years
  Although Ngugi lost touch with Cook after his time at Makerere, he reflects on Cook’s enduring impact, particularly his revised edition of The Writings of Ngugi wa Thiong’o, co-authored before his untimely death. Cook also taught in other African universities, but Makerere remains the place most associated with his work and his efforts to support emerging talent in East African literature and theater.
• “Makerere was probably the place he will be most identified with.”

Literary Terms/Concepts in “On David Cook” by Ngugi Wa Thiong’O

Contribution of “On David Cook” by Ngugi Wa Thiong’O to Literary Theory/Theories

• Emphasis on Formalism and Structural Analysis
  Ngugi highlights David Cook’s formalistic approach to literature, focusing on the structure and composition of texts. This approach aligns with formalist theories, which emphasize close reading and the internal workings of the text over its social or political context.
• “He was brilliant in the formal analysis of the sentence and the underlying structures, but often not as sure-footed in the larger significance of the works under study.”
• Limitations of Formalist Criticism
  Ngugi critiques Cook’s formalism for its inability to engage with broader social and political realities, pointing to a limitation in literary theory that focuses solely on textual structure. This critique aligns with the broader debate in literary theory about the need to incorporate historical, political, and cultural contexts into literary criticism.
• “He was not very good at drawing the broad social and political world of the author beyond the Leavisite emphasis on the moral significance of the written text.”
• Contribution to African Literary Criticism
  By working with East African writers and supporting local talent, David Cook’s engagement, particularly through the African Writers Series, helped shape an emerging African literary canon. This reflects a contribution to postcolonial theory, which seeks to promote and validate the voices of writers from formerly colonized regions.
• “He was the driving force behind the project… the Makerere Free Traveling Theatre had a character all its own and was the space of some key dramatists in Uganda and East Africa.”
• Interplay Between Creative Writing and Criticism
  Cook’s role in editing and supporting student writing in journals such as PENPOINT and projects like Origin: East Africa reveals his belief in the interconnectedness of literary creation and criticism. This engagement emphasizes a practical application of literary theory, where criticism fosters and interacts with the creative process.
• “He became interested in the student writings in PENPOINT, the Department’s journal of creative writing… [and] came up with the idea of an edited collection of the student contribution.”
• Support for Theatrical Theory and Practice
  Cook’s work with East African theater, particularly his involvement in The Black Hermit and the Makerere Free Traveling Theatre, reflects his contribution to theatrical theory. His encouragement of theater as a space for cultural expression links literary criticism with performance studies, offering a practical extension of textual analysis into the realm of drama and live performance.
• “He was not, even for a moment, seeing the writing of The Black Hermit as an undergraduate exercise in drama.”

Examples of Critiques Through “On David Cook” by Ngugi Wa Thiong’O

Criticism Against “On David Cook” by Ngugi Wa Thiong’O

• Overemphasis on Formalism
  A major criticism is that David Cook’s approach, as described by Ngugi, places too much focus on the formal aspects of literary texts, such as sentence structure and composition, rather than engaging with their social, political, and historical contexts.
• “He was brilliant in the formal analysis of the sentence and the underlying structures, but often not as sure-footed in the larger significance of the works under study.”
• Neglect of Broader Themes
  Ngugi suggests that Cook’s formalistic approach limited his ability to explore the broader themes of literature, particularly in postcolonial African contexts where issues such as identity, colonialism, and social change are critical. This limitation is seen as a missed opportunity in engaging with the full complexity of the works he analyzed.
• “He was not very good at drawing the broad social and political world of the author beyond the Leavisite emphasis on the moral significance of the written text.”
• Limited Engagement with African Literature’s Socio-Political Context
  Ngugi points out that Cook’s formalist criticism didn’t fully capture the socio-political importance of African literature in the postcolonial context. This critique underscores that Cook’s analyses, while insightful in form, often failed to recognize the political and cultural significance of East African works.
• “There was always a formalistic approach, which did not always ignite the imagination of his students.”
• Failure to Broaden Students’ Imagination
  Cook’s teaching style, which focused heavily on formal textual analysis, was perceived as not inspiring students’ imagination or encouraging them to explore literature’s role in reflecting and shaping society. This suggests a lack of dynamism in his critical methods, particularly in an academic environment like Makerere.
• “There was always a formalistic approach, which did not always ignite the imagination of his students.”

Representative Quotations from “On David Cook” by Ngugi Wa Thiong’O with Explanation

Suggested Readings: “On David Cook” by Ngugi Wa Thiong’O

• Ngugi wa Thiong’o. The River Between. Heinemann, 1965.
  https://www.goodreads.com/book/show/151180.The_River_Between
• Ngugi wa Thiong’o. Weep Not, Child. Heinemann, 1964.
  https://www.goodreads.com/book/show/328717.Weep_Not_Child
• Cook, David, and Michael Okenimpke Rubadiri. Origin East Africa: A Makerere Anthology. Heinemann Educational Books, 1965.
  https://www.abebooks.com/servlet/BookDetailsPL?bi=30349133854
• Cook, David, and Ngugi wa Thiong’o. The Writings of Ngugi wa Thiong’o. Heinemann, 1983. https://www.worldcat.org/title/17483420
• Leavis, F. R. The Great Tradition. Chatto and Windus, 1948. https://archive.org/details/in.ernet.dli.2015.530418
• Gikandi, Simon. Ngugi wa Thiong’o. Cambridge University Press, 2000.
  https://www.cambridge.org/core/books/ngugi-wa-thiongo/417D85A5767D34A02071ACB98D30224D
• Irele, Abiola. The African Imagination: Literature in Africa and the Black Diaspora. Oxford University Press, 2001. https://global.oup.com/academic/product/the-african-imagination-9780195086195

Introduction: “Matigari as Myth and History: An Interview” by Ngũgĩ Wa Thiong’o and Maya Jaggi

“Matigari as Myth and History: An Interview” by Ngũgĩ wa Thiong’o and Maya Jaggi first appeared in 1989, a significant year for postcolonial discourse. This interview explores the complexities of Ngũgĩ’s novel Matigari, its unique blend of myth and historical reality. By examining how the protagonist embodies both revolutionary spirit and folkloric hero, the discussion sheds light on the role of literature in critiquing neocolonialism and fostering cultural identity. The article holds importance for scholars of literature and literary theory as it offers valuable insights into the intersection of narrative, history, and the fight for social justice.

Summary of “Matigari as Myth and History: An Interview” by Ngũgĩ Wa Thiong’o and Maya Jaggi

1. Matigari as a Symbol of Collective History
   • Ngũgĩ wa Thiong’o views the character Matigari as a symbolic representation of the collective worker and producer throughout African history. He emphasizes that Matigari is not an individual but a mythic figure embodying resistance across various historical periods in Africa, including the Portuguese, Arab, British, and neo-colonial eras.
   • Matigari’s quest for truth and justice reflects the larger question of why those who produce are not the ones in control, a fundamental paradox of history. “He is asking what is the truth of history, since history as we know it does not contain the fact of this inherent injustice.”
2. Historical and Political Context
   • The novel has strong allusions to the African armed struggles for independence, particularly the Mau Mau movement in Kenya. Ngũgĩ asserts that the spirit of Mau Mau is still relevant in contemporary Kenyan society. “The spirit of Mau Mau is still very much alive in Kenyan society.”
   • He critiques the continuity of colonial structures in the neo-colonial period, citing examples such as President Moi’s involvement in the colonial government and the persistence of anti-people practices in institutions like the Kenyan army. Ngũgĩ identifies a stark contrast between forces of resistance and those who align with colonial and neo-colonial oppression.
3. Resistance and Re-Arming
   • A central theme of the novel is the need for resistance and re-arming, not only in the physical sense but also politically, mentally, and spiritually. Ngũgĩ stresses that true liberation for Africa cannot be achieved while neo-colonialism persists, and democratic repression continues to alienate the population.
   • The novel poses the critical question of whether there can be solutions without violence, reflecting a broader debate on the role of democratic participation in social change. “Matigari asks: ‘Is there a solution to our problems, without violence? There must be another way.'”
4. The Role of Literature in Exposing Neo-Colonialism
   • Ngũgĩ emphasizes the ongoing role of literature in challenging neo-colonial structures and enlightening people about their conditions. He notes that progressive literature serves as a tool to combat the bombardment of images and narratives that justify inequality and domination.
   • He believes that the struggle for the mind is crucial, and literature must draw from the perspective of the majority to challenge the prevailing ideologies of the elite. “The object of the struggle is the mind of the people.”
5. Oral Tradition and Symbolism in Matigari
   • Matigari is deeply rooted in African oral narrative traditions, using symbolic motifs and negating linear time to explore multiple references and meanings. The novel’s structure allows it to travel through time and space in ways that reflect the workings of the mind and oral storytelling practices.
   • Ngũgĩ highlights the use of motifs, such as Matigari’s search for truth among the nests of birds, as essential symbolic devices that offer multiple interpretations. “Matigari, for example, says at one point that he has been looking for truth among the nests of birds in the trees.”
6. Banning and Reception of Matigari in Kenya
   • The novel was banned in Kenya shortly after its release in 1986, as the government feared the character Matigari was inspiring public unrest. Ngũgĩ was saddened by the ban, as he was more interested in the public’s literary reception of the novel.
   • Despite the ban, the novel was widely read in public spaces, and people began to speak of Matigari as though he were a real person. “People started talking about Matigari as though he were a living person.”
7. The Future of African Languages and Literature
   • Ngũgĩ argues for the importance of promoting African languages in literature, critiquing the dominance of colonial languages in the discourse around African literature. He insists that African writers should focus on developing their native languages in literary forms.
   • He emphasizes the need for direct translations from African languages rather than through English or other colonial languages to maintain the original spirit and meaning of the works. “What becomes important is that authors, writers and academics must start responding to African languages.”

Literary Terms/Concepts in “Matigari as Myth and History: An Interview” by Ngũgĩ Wa Thiong’o and Maya Jaggi

Contribution of “Matigari as Myth and History: An Interview” by Ngũgĩ Wa Thiong’o and Maya Jaggi to Literary Theory/Theories

Examples of Critiques Through “Matigari as Myth and History: An Interview” by Ngũgĩ Wa Thiong’o and Maya Jaggi

Criticism Against “Matigari as Myth and History: An Interview” by Ngũgĩ Wa Thiong’o and Maya Jaggi

1. Over-Reliance on Myth and Symbolism: Some critics may argue that Matigari relies too heavily on myth and symbolism, which can obscure the practical political solutions needed for real-world struggles. This focus on the symbolic might detract from more direct engagement with current political realities.
2. Idealization of Armed Struggle: The novel’s conclusion, where Matigari realizes that justice requires armed resistance, could be viewed as idealizing violence. Critics may question whether this message promotes violent solutions over nonviolent forms of resistance and democratic participation.
3. Romanticization of the Past: By drawing connections between Matigari and historical periods of resistance, including the Mau Mau movement, the interview could be criticized for romanticizing the past and implying a return to previous modes of resistance without fully considering the complexities of modern-day socio-political contexts.
4. Simplistic Treatment of Neo-Colonialism: Some may argue that Ngũgĩ’s critique of neo-colonialism is too simplistic, reducing complex socio-economic and political issues to a binary struggle between good and evil, oppressors and oppressed, without sufficient attention to the nuances and intricacies of contemporary global capitalism.
5. Lack of Gender Focus: While the interview touches on the involvement of female characters like Guthera, it could be criticized for not giving enough attention to the specific role of women in post-colonial and resistance narratives. Feminist critics may see the work as sidelining gender issues in favor of broader class-based or anti-colonial themes.
6. Dismissal of Realism: Critics may argue that Ngũgĩ’s dismissal of realism in favor of a mythic, symbolic narrative overlooks the importance of realism in depicting the concrete struggles of ordinary people. The non-linear, mythic structure might alienate readers who expect a more straightforward, realistic portrayal of post-colonial struggles.
7. Limited Accessibility Due to Language Choices: Ngũgĩ’s insistence on African languages and rejection of English for his work might be criticized for limiting the accessibility of his message. While he promotes African languages as a means of cultural resistance, some may argue that using widely spoken colonial languages like English could broaden the impact of his work across global audiences.

Representative Quotations from “Matigari as Myth and History: An Interview” by Ngũgĩ Wa Thiong’o and Maya Jaggi with Explanation

Suggested Readings: “Matigari as Myth and History: An Interview” by Ngũgĩ Wa Thiong’o and Maya Jaggi

1. Jaggi, Maya. “Matigari as Myth and History: An Interview with Ngũgĩ Wa Thiong’o.” Third World Quarterly, vol. 11, no. 4, 1989, pp. 241-251. JSTOR, www.jstor.org/stable/3992342.
2. Gikandi, Simon. “Ngũgĩ Wa Thiong’o and the Politics of Language.” Third World Quarterly, vol. 11, no. 1, 1989, pp. 148-156. JSTOR, www.jstor.org/stable/3992421.
3. Ngũgĩ Wa Thiong’o. Decolonising the Mind: The Politics of Language in African Literature. Heinemann, 1986.
4. Mphahlele, Ezekiel. “Ngũgĩ Wa Thiong’o: A Profile.” Transition, vol. 75/76, 1997, pp. 270-276. JSTOR, www.jstor.org/stable/2935437
5. Gikandi, Simon. Ngũgĩ Wa Thiong’o. Cambridge University Press, 2000.
6. Fanon, Frantz. The Wretched of the Earth. Grove Press, 1963.
7. Killam, G. D., and Ruth Rowe. The Companion to African Literatures. James Currey, 2000.
8. Wa Thiong’o, Ngũgĩ. Matigari. Heinemann, 1987.
9. Williams, Patrick. “The Meaning of the ‘Mau Mau’ in Ngũgĩ’s Matigari.” Research in African Literatures, vol. 20, no. 3, 1989, pp. 347-353. JSTOR, www.jstor.org/stable/3819415.
10. Ngũgĩ Wa Thiong’o. Writers in Politics: Essays. Heinemann, 1981.