“The Making Of A Rebel” by Ngugi wa Thiong’o: Summary and Critique

1.     Postcolonial Theory: Resistance to Colonial Narratives: Ngugi wa Thiong’o’s account provides a significant contribution to postcolonial theory by challenging the dominance of colonial narratives and asserting the importance of indigenous voices. His critique of the British colonial education system demonstrates how literature and education were used as tools of cultural imperialism. As Ngugi states, “We were being trained to become obedient servants of Her Majesty the Queen,” which reflects the colonial strategy to suppress nationalist thought and local identity. His rebellion against these narratives, both in his literature and activism, aligns with postcolonial scholars’ call to decolonize knowledge and restore the cultural agency of formerly colonized peoples.

2.     Language and Power in Postcolonial Discourse: One of the most profound contributions to literary theory in Ngugi’s text is his stance on language, which intersects with postcolonial discourse on the relationship between language and power. Ngugi argues that “African literature can only be written in African languages,” critiquing the use of colonial languages like English and French in African literature. This argument resonates with the theoretical discussions in postcolonial studies about how language can either serve as a tool of colonial domination or a medium of resistance when reclaimed by indigenous peoples. By advocating for writing in Gikuyu, Ngugi promotes linguistic decolonization as central to cultural and political independence.

3.     Nationalism and Cultural Identity in Literary Theory: Ngugi’s narrative contributes to theories of nationalism and cultural identity by emphasizing the role of literature in constructing a national consciousness. His belief that writers must return to “the roots in the lives of the peasants and workers” reflects the idea that national literature should be rooted in the experiences of the local population, not the colonial elite. This aligns with Frantz Fanon’s argument in The Wretched of the Earth that cultural nationalism is essential to the decolonization process. Ngugi’s works and his commitment to writing in Gikuyu aim to create a literary tradition that reflects the authentic experiences and struggles of the Kenyan people.

4.     Marxist Literary Theory: Literature as a Reflection of Class Struggle: Ngugi’s reflections on literature as a “reflection of social reality” and the class-based struggles of the Kenyan people contribute to Marxist literary theory. He asserts that literature must depict “the totality of forces affecting the lives of the people,” particularly the struggles of the working class and peasants. Ngugi’s perspective mirrors the Marxist view that literature should serve as a tool for social change by raising class consciousness and exposing the economic forces that shape society. His insistence on aligning literature with the needs of oppressed classes demonstrates his alignment with Marxist ideas about the role of art in revolutionary movements.

5.     Third World Literature and the Critique of Eurocentrism: Ngugi’s personal narrative of discovering African and West Indian writers at Makerere University contributes to the critique of Eurocentrism in literary theory. He recalls that African literature “had no place in the syllabus” of his formal education, which reflects the broader marginalization of non-Western literatures in academic discourse. His advocacy for including African, West Indian, and Third World writers in the literary canon challenges the traditional Eurocentric focus of literary studies, aligning with theorists like Edward Said, who called for a more inclusive understanding of world literature. Ngugi’s emphasis on the importance of Third World literature helps broaden the scope of literary theory to include voices from historically marginalized regions.

6.     Decolonizing Literary Forms: Theatre as a Political Tool: Ngugi’s discussion of the role of theatre in the Kamirithu Community Educational and Cultural Centre contributes to the theory of decolonizing literary forms. He describes how the performance of Ngahiika Ndenda became a collective act of resistance, as peasants and workers took ownership of the play and adapted it to reflect their lives. Ngugi’s use of theatre as a “relevant literary form of ideological communication” aligns with theories that promote the decolonization of literary forms by emphasizing participatory, communal, and performative aspects of storytelling over Eurocentric narrative structures. His approach to theatre as a tool for political education and empowerment resonates with decolonial efforts to reclaim indigenous forms of expression.

7.     Frantz Fanon’s Influence on Anti-Colonial Thought: Ngugi’s exposure to Frantz Fanon’s The Wretched of the Earth at Leeds University shaped his understanding of colonialism, resistance, and the role of literature in liberation struggles. Ngugi’s alignment with Fanon’s ideas contributes to anti-colonial literary theory, particularly the idea that literature can serve as a tool for revolutionary consciousness. He recalls that Fanon’s work was an “eye-opener” and, like Fanon, Ngugi sees the importance of literature in fostering resistance against colonial and neocolonial oppression. This connection strengthens the theoretical framework of anti-colonialism in literature.

8.     Reclaiming African Oral Traditions in Literary Theory: Ngugi’s emphasis on Gikuyu oral traditions, such as “songs, stories, proverbs, and riddles,” reinforces the importance of reclaiming indigenous forms of storytelling within literary theory. He critiques the colonial dismissal of African oral traditions as inferior to Western written forms, arguing that these traditions are vital to preserving cultural identity and transmitting values. Ngugi’s work contributes to the theory that oral traditions should be recognized as legitimate and valuable components of national literatures, challenging the dominance of written, Western literary norms.

·       Over-Romanticization of Indigenous Culture: Some critics argue that Ngugi wa Thiong’o overly romanticizes the Gikuyu peasant culture, portraying it as a pure, untouched ideal, while ignoring the complexities and internal struggles within indigenous communities. His emphasis on the “songs, stories, proverbs” of his childhood may overlook the challenges faced by the Gikuyu people even before colonialism.

·       Rejection of English as Limiting: Ngugi’s stance on writing exclusively in African languages, while powerful, has been critiqued for potentially limiting the global reach of African literature. By rejecting English, which he refers to as creating “Afro-Saxon literature,” some critics argue that Ngugi’s work may exclude a broader international audience that could benefit from understanding African struggles through a common language.

·       Neglect of Gender Issues: Critics note that Ngugi’s reflections in “The Making of a Rebel” focus almost entirely on the political and social struggles of colonialism and class, but largely ignore the role of gender in these dynamics. His narratives seldom address the specific struggles of women within both the colonial and postcolonial context, which some argue is a significant oversight in his critique of oppression.

·       Idealization of the Working Class: Ngugi’s emphasis on the working class and peasants as the central agents of revolutionary change has been critiqued as idealistic. Some critics argue that his portrayal of the Kenyan peasantry as inherently progressive ignores the internal divisions, struggles, and contradictions within these social groups, and may downplay the complexities of class dynamics in postcolonial Kenya.

·       One-Dimensional View of Colonial Education: Ngugi’s critique of colonial education as purely oppressive and indoctrinating has been challenged for its lack of nuance. Some critics suggest that he downplays the ways in which colonial education also provided opportunities for Africans to engage with global ideas and technologies, which many used to resist and subvert colonial power.