By Simon Gikandi
Simon Gikandi's learn bargains a entire research of the entire released works of the influential Kenyan dramatist, novelist, and critic Ngugi wa Thiong'o. Gikandi strains Ngugi's literary occupation from the Nineteen Sixties via to his function in shaping a thorough tradition in East Africa within the Nineteen Seventies and his imprisonment and exile within the Eighties. Focusing additionally on Ngugi's engagement with nationalism, empire and postcoloniality, this e-book presents clean perception into the author's existence and the old and cultural context surrounding his paintings.
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Extra info for Ngugi wa Thiong’o
Sample text
Njoroge lay on the dusty floor. The face of the grey eyes had turned red. He never once spoke except to call him Bloody Mau Mau. A few seconds later Njoroge was taken out by the two homeguards at the door. He was senseless. 66 Until this point in the novel, Njoroge had hoped that he could Introduction: reading texts and contexts maintain his "vision of boyhood" and beat back "the chaos that had come over the land" (p. 84); through education and his belief in "the righteousness of God" (p. 94), he could survive the chaos around him and become a properly civil subject.
That she had remained a landless squatter all her life: on European farms, on Munira's father's fields, and latterly a landless rural worker for anybody who would give her something with which to hold the skin together! "Why? " he moaned inside. "I have failed," and he felt another teardrop fall to the cement floor. Then suddenly he hit the cell wall in a futile gesture of protest. What of all the Mariamus of Kenya, of neocolonial Africa? What of all the women and men and children still 34 Ngugi wa Thiong'o weighed down by imperialism?
Ngugi's middle works, especially Petals of Blood and The Trial of Dedan Kvmathi, can be read as attempts to find a narrative form for these transformations and reversals. Clearly, one can begin to understand the changes taking place in Ngugi's notion of the relation between aesthetics and ideology by comparing the treatment of the theme of disillusionment in A Grain of Wheat and Petals of Blood. For while the two novels were written under the Fanonist ideology discussed above, their discernible differences, especially in techniques of representation, tell us a lot about the changes Ngugi was undergoing as the decade of independence and its euphoria were eclipsed by radical disenchantment.