“On David Cook” by Ngugi Wa Thiong’O: Summary and Critique

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

Literary Term/Concept	Description	Context in the Text
Formalism	A method of literary analysis that focuses on the structure, form, and language of a text rather than its broader social or political contexts.	David Cook emphasized close reading and the formal aspects of literature, paying attention to how a text is constructed.
Close Reading	A careful, detailed interpretation of a brief passage of text, emphasizing its structure and language.	Cook’s teaching focused on close reading, particularly how literary works were put together, as mentioned by Ngugi.
Leavisite Criticism	A form of literary criticism associated with F.R. Leavis, focusing on the moral seriousness and formal qualities of literature.	Ngugi notes that Cook’s approach was influenced by Leavisite criticism, focusing on the moral significance of texts.
Creative Writing	The act of producing original written works, often involving artistic expression.	Cook supported student writing, particularly in the journal PENPOINT and later the Origin: East Africa anthology.
African Writers Series	A series of publications by Heinemann focusing on African literature and writers.	Origin: East Africa, edited by Cook, was published as part of this series, showcasing emerging East African writers.
Drama	A genre of literature intended for performance, often involving dialogue and action.	Cook was involved in the production of The Black Hermit, one of the first East African plays written in English.
Theatre	The art of writing and producing plays.	Cook’s contribution to the Makerere Free Traveling Theatre helped to develop a space for East African dramatists.
Textual Analysis	The process of closely examining a text to understand its meaning, structure, and themes.	Cook’s work in analyzing the sentence structures of Ngugi’s novels is a key example of his focus on textual analysis.
Literary Criticism	The study, evaluation, and interpretation of literature.	Cook co-authored The Writing of Ngugi wa Thiong’o, offering a critical analysis of Ngugi’s works.

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

Quotation	Explanation
“He was attracted to the more formal side of a literary text, how it was put together, how it read…”	This highlights Cook’s formalist approach, focusing on the structure and technical elements of literature.
“He was brilliant in the formal analysis of the sentence and the underlying structures…”	Ngugi praises Cook’s strength in close reading and sentence-level analysis, a hallmark of his formalist criticism.
“He was not very good at drawing the broad social and political world of the author…”	Ngugi critiques Cook’s inability to connect literature with its broader social, political, and historical context.
“There was always a formalistic approach, which did not always ignite the imagination of his students.”	This reflects Ngugi’s concern that Cook’s formalism was limited in inspiring creativity or critical thinking in students.
“He more than made it up with his belief in the abilities of his students.”	Despite Cook’s limitations, Ngugi acknowledges his deep commitment to nurturing student potential.
“On joining Makerere, he became interested in the student writings in PENPOINT…”	This quotation illustrates Cook’s active role in supporting student creativity through engagement with their writing.
“He was the driving force behind the project… Makerere Free Traveling Theatre…”	Ngugi credits Cook with being instrumental in promoting theater in East Africa, showing his contribution beyond formalism.
“He also worked closely with Miles Lee… as an ‘editor’ in the Uganda Radio drama series.”	This highlights Cook’s involvement in radio drama, expanding his influence in East African cultural production.
“The fact that my name was not there as joint-editor was not his fault but more to do with the internal politics…”	Ngugi notes the politics behind publishing decisions, indicating Cook’s good intentions in supporting student projects.
“Makerere was probably the place he will be most identified with, the place where he spent considerable energies…”	This affirms Cook’s lasting legacy at Makerere University, where his contributions to literature and theater are remembered.

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