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

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

Literary Term/Concept	Explanation	Reference/Usage in the Interview
Myth	A traditional or legendary story that conveys deeper truths about culture, society, or human nature.	Matigari is described as a mythic figure representing the collective struggle of African workers and oppressed people across history.
Symbolism	The use of symbols to represent ideas or qualities, giving deeper meanings beyond the literal sense.	Matigari himself is a symbol of collective resistance, and various motifs in the novel, such as the search for truth, are repeated to reflect symbolic layers.
Oral Tradition	Cultural material and traditions transmitted orally from one generation to another, often emphasizing narrative forms and folklore.	Ngũgĩ highlights the oral narrative style of Matigari, where events transcend linear time, and the story resonates with African oral storytelling conventions.
Neo-Colonialism	A concept referring to the continued influence and control of former colonial powers in the political, economic, and cultural affairs of former colonies.	Ngũgĩ critiques neo-colonialism throughout the interview, stating that Matigari represents a challenge to the persistence of colonial structures in post-independence Kenya and Africa.
Collective Character	A literary figure that embodies the experiences and struggles of a group rather than an individual.	Matigari is described as a collective character, representing the history of African workers and the oppressed from different periods of history, rather than a single, individualized hero.
Resistance Literature	A genre of literature that focuses on themes of resistance against oppression, often advocating for political and social change.	Ngũgĩ emphasizes that Matigari is a work of resistance literature, challenging neo-colonial repression and calling for mass action and intervention in history.
Revolutionary Struggle	The concept of collective action aimed at overthrowing oppressive systems or governments to achieve social, economic, and political justice.	The novel is linked to revolutionary struggles like the Mau Mau rebellion in Kenya, and it discusses the need for resistance, including armed struggle, in the face of continued oppression.
Democratic Participation	The active involvement of citizens in the political process and decision-making to ensure fair governance and representation.	Ngũgĩ relates Matigari’s quest for Truth and Justice to the broader theme of democracy and the challenges of achieving true democratic participation under neo-colonial regimes.
Non-linear Narrative	A narrative technique that does not follow a chronological order but instead moves freely through time and space, often blurring past, present, and future.	Ngũgĩ uses non-linear narrative techniques in Matigari, influenced by oral traditions, allowing events to unfold outside the constraints of time and space, reflecting the mind’s workings.
Allegory	A narrative that operates on multiple levels of meaning, often representing abstract ideas or conveying political or moral messages through symbolic characters or events.	Matigari functions as an allegory of post-colonial African societies, critiquing political elites and the continued oppression of the masses despite formal independence from colonialism.

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

Literary Theory	Contribution from the Interview	References from the Interview
Postcolonial Theory	The interview underscores the role of literature in critiquing and resisting neo-colonialism. Ngũgĩ emphasizes how Matigari challenges post-independence oppression and the continued dominance of colonial structures in Kenyan society. This contribution aligns with postcolonial theory’s focus on decolonization and cultural resistance.	Ngũgĩ critiques the persistence of colonial structures, even in post-colonial Kenya, stating: “The continuity between the colonial period and the neo-colonial period is very stark.” He highlights how Matigari addresses neo-colonial exploitation, portraying Matigari as a symbol of African resistance.
Marxist Literary Criticism	Ngũgĩ’s focus on class struggle, the exploitation of the producer, and the control of wealth by the elite ties directly to Marxist literary criticism. The novel critiques the capitalist systems that impoverish workers and empowers elites, reflecting Marxist concerns with class, labor, and ownership of means of production.	Ngũgĩ discusses how Matigari asks, “Why are the producers seldom the ones who control their own wares?” and explores the themes of wealth inequality and the exploitation of the working class. He connects these themes to a broader critique of capitalism and the global division between labor and capital.
Resistance Literature	The interview contributes to the theory of resistance literature, which examines how literature can serve as a tool for political and social liberation. Ngũgĩ positions Matigari as a work that critiques oppressive regimes and calls for the masses to intervene in their own history through political and social action.	Ngũgĩ states that “Matigari is saying that people have to intervene in their own history one way or another,” emphasizing that the novel is a call for mass intervention and resistance against undemocratic structures, echoing the goals of resistance literature theory.
Oral Tradition and Myth in Literature	Ngũgĩ highlights the importance of oral tradition in African literature, which often uses myth and non-linear storytelling to convey complex truths. He describes Matigari as a novel that draws on the oral narrative form, connecting it to African cultural traditions and emphasizing its symbolic and mythic qualities.	Ngũgĩ explains that Matigari uses “the conventions of the oral narrative” to solve problems of time and space, and the character is not “a highly individualized character inhabiting a specific historical period,” but a mythic figure representing broader social forces and collective experiences.
Myth Criticism	The novel’s use of myth and symbolic characters contributes to myth criticism, a theory that explores how myths function within literature to express universal human experiences or cultural values. Matigari is a mythic hero whose journey reflects collective struggles and timeless questions of justice and truth.	Ngũgĩ describes Matigari as a mythic figure: “Matigari can be seen… as representing the collective worker in history,” and explains that the character “was there at the time of the Portuguese, back in the fifteenth century,” representing a timeless struggle against oppression.
Postmodernism	By negating linear time and space, Matigari contributes to postmodern literary theory, particularly through its rejection of traditional narrative structures and its blending of reality and myth. The novel’s non-linear structure and symbolic narrative break down the boundaries between past, present, and future.	Ngũgĩ states that Matigari “negates the linear sequence of events,” allowing characters to travel through time and space in a non-linear fashion. This postmodern approach is further reinforced by his emphasis on the symbolic treatment of time and space in the novel.
Feminist Literary Criticism	Although not a central focus of the interview, Ngũgĩ does touch on feminist concerns through the depiction of Guthera, a prostitute who aids Matigari. The novel critiques the exploitation of women within the broader system of oppression and aligns with feminist literary criticism’s focus on gender dynamics and power.	Ngũgĩ includes women as part of the collective struggle, noting that Guthera, a prostitute, plays a key role in Matigari’s quest. Her involvement highlights the role of women in resistance and critiques their marginalized position in society, which is a theme aligned with feminist literary criticism.
Cultural Nationalism	Ngũgĩ’s emphasis on the use of African languages in literature contributes to cultural nationalism, a theory advocating for the promotion of indigenous languages and cultural expressions as a form of resistance to colonial dominance. He calls for more literature to be written and translated directly from African languages.	Ngũgĩ criticizes the dominance of English and other colonial languages in African literature and argues that “African writers must start responding to African languages” to reclaim cultural identity and resist the cultural hegemony imposed by colonialism. He insists on translations from the original Gikuyu.
Translation Theory	Ngũgĩ discusses the challenges of translating works from African languages into English and other colonial languages. He advocates for direct translations from Gikuyu to other languages to preserve the spirit and meaning of the original text, contributing to translation theory, particularly regarding fidelity in translation.	Ngũgĩ emphasizes that “Matigari must be translated directly from the Gikuyu,” expressing concerns about the way translation can dilute the meaning of a text when done through a colonial language like English. He sees translation as both an interpretation and a way to preserve cultural integrity.

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

Literary Work	Critique Through “Matigari as Myth and History”	Reference from the Interview
Things Fall Apart by Chinua Achebe	Achebe’s novel critiques the cultural and social impact of colonialism on African society, much like Matigari challenges neo-colonialism. Both works highlight the destruction of indigenous systems and the rise of oppressive foreign structures.	Ngũgĩ emphasizes how Matigari critiques the continuity of colonial oppression in the neo-colonial era: “The continuity between the colonial period and the neo-colonial period is very stark.”
The Wretched of the Earth by Frantz Fanon	Fanon’s work on decolonization and the role of violence in the liberation of the oppressed mirrors the theme in Matigari, where Ngũgĩ suggests that justice for the oppressed may require armed struggle.	Ngũgĩ highlights Matigari’s realization that “Justice for the oppressed comes from a sharpened spear,” reflecting Fanon’s assertion that colonial powers cannot be overthrown without the use of force.
The Tempest by William Shakespeare	The Tempest has been critiqued through postcolonial lenses, focusing on the themes of colonization and power dynamics between Prospero and Caliban. Ngũgĩ’s ideas in Matigari parallel the power struggles between the colonizers and the colonized.	Ngũgĩ discusses the lingering effects of colonialism, stating, “Mau Mau is one of the highest aspirations of that theme of resistance,” emphasizing the persistent power struggle between colonial forces and the oppressed.
One Hundred Years of Solitude by Gabriel García Márquez	García Márquez’s use of magical realism to depict the cyclical nature of history and oppression resonates with the mythic qualities of Matigari, where oral traditions and symbolic characters convey deeper truths about societal struggles.	Ngũgĩ speaks of Matigari’s mythic narrative and how it “negates the linear sequence of events,” similar to how García Márquez blurs time and space in his narrative, reflecting cyclical patterns of history.

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

Quotation	Explanation
“Matigari can be seen first in a general sense as representing the collective worker in history.”	This emphasizes Matigari as a symbolic figure, embodying the collective struggles of oppressed workers across different historical periods. The character represents the universal experience of exploitation, not just a single individual’s story.
“Justice for the oppressed comes from a sharpened spear.”	Ngũgĩ suggests that armed resistance might be necessary for achieving justice in the face of oppression. This reflects his belief in the potential need for revolutionary violence when peaceful means are ineffective against neo-colonial and capitalist structures.
“The continuity between the colonial period and the neo-colonial period is very stark.”	This highlights Ngũgĩ’s critique of how colonial structures of power and oppression continue to persist in post-colonial Kenya, illustrating the failure of independence to bring true social and economic justice.
“Mau Mau is one of the highest aspirations of that theme of resistance.”	Ngũgĩ praises the Mau Mau movement as a symbol of resistance against colonialism, underscoring its significance in Kenya’s history and its continued relevance as a model for current struggles against neo-colonialism.
“People have to intervene in their own history one way or another.”	Ngũgĩ argues that oppressed people must actively participate in shaping their own history, whether through mass movements or other forms of resistance. This reinforces the theme of self-determination and the necessity of people taking control of their own destinies.
“The novel is not set in any particular country, though it is clearly set in Africa.”	This reflects the universal nature of Matigari, which, though rooted in African history, transcends specific national boundaries. Ngũgĩ uses the character and setting as metaphors for the broader experience of post-colonial struggles across the continent.
“Without a real commitment to social change… people will inevitably become increasingly alienated.”	Ngũgĩ critiques regimes that fail to bring about genuine social, political, and economic reform, stating that repression only leads to greater alienation and resistance from the oppressed. This quote underscores the necessity for governments to address the needs and voices of their citizens.
“The object of the struggle is the mind of the people.”	This statement reflects Ngũgĩ’s belief in the importance of ideological battles in resisting oppression. He emphasizes that controlling narratives and shaping people’s consciousness are central to maintaining power, making literature and education crucial tools in the fight against neo-colonialism.
“I address a particular theme in all my works: the liberation of the people.”	Ngũgĩ defines the overarching theme of his literary works as the pursuit of freedom—economically, politically, culturally, and psychologically. This encapsulates his lifelong commitment to writing as a tool for resistance and social change.
“Matigari is a symbolic poem with multiple references.”	This highlights the symbolic and poetic nature of Matigari, a novel that uses myth and symbolism to layer multiple meanings within its narrative. Ngũgĩ rejects a purely realist interpretation, instead embracing a more symbolic, open-ended reading of the novel’s themes and characters.

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.