“The Writer In A Neocolonial State” By Ngugi Wa Thiong’o: Summary and Critique

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

Literary Term/Concept	Description	Context in Ngugi’s Essay
Neocolonialism	The continued economic, political, and cultural domination of formerly colonized nations by imperial powers.	Ngugi discusses how African nations, despite political independence, remain under the economic and cultural influence of Western powers, particularly through institutions like the IMF and World Bank. Neocolonialism affects the political autonomy of African nations.
Post-colonial Literature	Literature that addresses the effects of colonialism and the challenges of independence in formerly colonized nations.	Ngugi positions African literature as part of the struggle against both colonial and neocolonial forces, and post-colonial literature as a reflection of the disillusionment with the promise of independence.
Colonial Discourse	The body of thought and language that justified and perpetuated colonial domination.	Ngugi explains how African writers used literature to counter colonial discourse, creating works that assert African identities and reject imperialist portrayals of Africa, particularly in the early stages of anti-colonial struggle.
Cultural Hegemony	The dominance of one group’s values and beliefs over others, especially through culture, education, and media.	Ngugi critiques the cultural domination of the West in post-independence Africa, where even language (English, French, Portuguese) used by African writers reflects ongoing cultural hegemony.
Language and Identity	The relationship between language and cultural/national identity.	Ngugi questions the use of European languages in African literature, arguing that it perpetuates neocolonialism by alienating African writers from the masses who speak indigenous languages. He calls for writers to embrace local languages to authentically represent African experiences.
Revolutionary Literature	Literature that promotes social, political, or cultural revolution, often aligned with the struggles of the oppressed.	Ngugi emphasizes that African writers must align their work with the revolutionary struggles of the people against neocolonialism. He believes literature should inspire change and reflect the collective will of the people to resist exploitation and oppression.
Anti-Imperialism	Opposition to imperialist policies and practices, especially in the context of economic and political domination.	A major theme in Ngugi’s essay, where he critiques the continuation of imperialist practices in post-colonial Africa, calling on writers to expose and challenge the forces of imperialism that persist through neocolonial structures.
Political Allegory	A narrative in which characters and events represent political ideas and movements.	Ngugi often uses allegory in his broader literary works to represent the political situation in Africa. In this essay, he discusses how African literature has served as a political allegory for the struggles of independence and the failure of African leadership in the neocolonial era.
Class Struggle	The conflict between different classes in society, often framed in terms of the exploitation of the working class by the ruling class.	Ngugi critiques the African bourgeoisie for allying with Western imperialist powers and continuing the exploitation of the African proletariat. He argues that African literature must address this class struggle and the need for true independence, which involves social and economic justice.
Disillusionment	The feeling of disappointment following the failure of independence to deliver on its promises.	Ngugi discusses how many African writers experienced disillusionment in the post-independence period when they realized that political freedom did not lead to economic or social equality, but rather to continued exploitation under neocolonial regimes.

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

Literary Work and Author	Critique Through Ngugi’s Lens	Key Concepts from Ngugi’s Essay
Things Fall Apart by Chinua Achebe	Ngugi would commend Achebe’s work for rejecting colonial stereotypes of Africa and portraying an authentic African experience. However, he might critique Achebe’s use of English, suggesting that the use of indigenous languages would more effectively challenge cultural imperialism.	Cultural Hegemony: The choice of English as a medium perpetuates the linguistic dominance of colonial powers, despite its anti-colonial themes.
A Man of the People by Chinua Achebe	Ngugi praises Achebe’s A Man of the People for its prophetic portrayal of post-independence corruption, but he might argue that Achebe’s critique does not fully address the systemic nature of neocolonialism and class exploitation.	Class Struggle and Political Allegory: Achebe captures the disillusionment with African leadership but may not focus enough on imperialist structures.
The Beautyful Ones Are Not Yet Born by Ayi Kwei Armah	Ngugi would likely agree with Armah’s depiction of the moral and political decay in post-independence Ghana but might critique the novel’s tone of despair and individualism, urging a more collective, revolutionary response to neocolonialism.	Revolutionary Literature: Ngugi advocates for literature that not only critiques but also mobilizes revolutionary transformation.
Song of Lawino by Okot p’Bitek	Ngugi would appreciate Song of Lawino for using the indigenous Acholi language and oral traditions, which aligns with his argument for African writers to embrace local languages to resist cultural imperialism. He would see it as a strong example of rejecting neocolonial cultural practices.	Language and Identity: The use of indigenous language reinforces cultural independence and resists neocolonial cultural hegemony.

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

Quotation	Explanation
“The African writer was born on the crest of this anti-colonial upheaval and worldwide revolutionary ferment.”	This quote underscores the context in which the African writer emerged: during the anti-colonial movements of the mid-20th century. Ngugi highlights how African literature was influenced by global revolutions and struggles for independence.
“It was an Africa rejecting the images of its past as drawn by the artists of imperialism.”	Ngugi emphasizes the rejection of colonial narratives that painted Africa in a negative light. African writers aimed to reclaim and redefine African history and culture from a post-colonial perspective.
“Imperialism was far too easily seen in terms of the skin pigmentation of the colonizer.”	Ngugi critiques the simplistic view of imperialism as merely a racial struggle. He argues that imperialism is an economic and political system that transcends race, and the focus should be on the structures of power and exploitation.
“Dependence abroad; repression at home became the national norm.”	This quote highlights Ngugi’s critique of neocolonialism, where African nations, despite political independence, remain economically dependent on Western powers, leading to continued repression within their own societies.
“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?”	Ngugi questions African writers’ use of colonial languages, arguing that by writing in European languages, they may inadvertently continue the cultural domination they are seeking to resist.
“The African writer has no choice but that of aligning himself with the people—their economic, political and cultural struggle for survival.”	Ngugi calls for African writers to align their work with the struggles of the common people, advocating for literature that supports revolutionary and anti-imperialist causes rather than remaining neutral or detached.
“The new regimes increasingly came under pressure from external and internal sources.”	This reflects Ngugi’s observation that post-independence African governments faced challenges from both the international community (neocolonial forces) and internal discontent due to unfulfilled promises of independence.
“How does a writer function in such a society? Write and risk damnation. Avoid damnation and cease to be a writer.”	Ngugi describes the difficult choices faced by African writers in repressive regimes, where speaking truth to power often results in exile, imprisonment, or censorship, yet remaining silent undermines the essence of being a writer.
“A neocolonial regime is, by its very character, a repressive machine.”	Ngugi argues that neocolonial governments, despite being led by African leaders, often resort to authoritarian measures to maintain control, aligning with Western imperialist interests rather than the needs of their own people.
“In that situation, he will have to confront the languages spoken by the people in whose service he has put his pen.”	Ngugi emphasizes the importance of language in the struggle for cultural independence, advocating that writers embrace indigenous languages to better serve the people and the revolution, rejecting the cultural dominance of the West.

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