British Colonialism in Nigeria and Kenya: a Post-Colonial Study Through Things Fall Apart and the River Between»
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Imagining Kenya in Ngugi's Fiction
AN ABSTRACT OF THE THESIS OF Ram Prasansak for the degree of Master of Arts in English presented on July 29, 2004 Title: Imagining Kenya in Ngugi's Fiction Abstract approved: /-( Laura Rice The relationship between literature and nation-building has been one of the most crucial issues in postcolonial studies. The novel in particular is regarded as a means by which writers forge national consciousness among the colonized during the time of colonization. Many African writers themselves, for example, conceive of their work as an arena of resistance to European colonialism which disfigures the identities of Africans and denies their history. In this study, I investigate how Ngugi wa Thiong'o, the foremost Kenyan writer, attempts to construct what Benedict Anderson calls "imagined communities" in Kenya during the colonial era, decolonization, and the post-independence period as reflected in three of his novels: The River Between (1965), A Grain of Wheat (1967), and Petals of Blood (1977). Far from being an unchanging entity, nationalism is a social construct that is constantly redefined and historically contingent. In The River Between, Ngugi draws upon Gikuyu cultural practices, especially the contested and value-laden rite of female circumcision, as sources of collective identity on which Kenyans might build to construct a nation. As he moves toward A Grain of Wheat, he identifies Kenyan nationhood with the Mau Mau struggle against British rule. In this novel, Ngugi not only contests the British account of the national liberation movement as barbaric, criminal and tribal, but also critiques the government that urges the Kenyan to forget about the Mau Mau because of its violence. -
Chinua Achebe — It Is the Storyteller Who Makes Us See What We Are
caryl phillips Chinua Achebe — It is the Storyteller who makes us see what we are ’d like to say a few things about Chinua Achebe, which hope- Ifully resonate somewhat with our title — “It is the Storyteller who makes us see what we are.” I’ve been thinking about this title and have come to the conclusion that in the case of Chinua Achebe he was also a Storyteller who made us see who we are, or at least he certainly did in my case. I make the distinction between “what” and “who” as a way of suggesting that a personal encounter with him is likely to engender a transformation that is at least as profound as one we might receive by reading the remarkable body of his work. He was such an extraordinarily charismatic man, and having had the privilege of knowing him a little I would like to speak about both “what we are” because of his example, and more specifically “who we are” — or “who I am” — because of a personal encounter. First, Chinua Achebe is a storyteller whose very existence made it possible for a whole generation of writers to imagine that it might be possible for them to begin to think of themselves as writers. From 1958 onwards, his face was there on book jackets, in the newspaper columns, as part of an ongoing global literary conversation, and he established a presence at a very young age for a writer. As we know, Things Fall Apart quickly became a worldwide publishing sensation and not too long after- wards there was a canonical intervention; syllabi and university courses had to be — sometimes reluctantly — cantilevered into new shapes and groupings to include Achebe and his work, and the work of others like him. -
Achebe's Defense of Civilized Ibo Culture Via Proverbial Language In
International Journal of English Literature and Social Sciences (IJELS) Vol-2, Issue-6, Nov - Dec, 2017 https://dx.doi.org/10.24001/ijels.2.6.12 ISSN: 2456-7620 Achebe’s defense of civilized Ibo culture via proverbial language in Things Fall Apart Gohar Ayaz1, Nadia Anjum2 1HEC PhD Scholar, BZ University, Multan, Pakistan 2Fauji Foundation Model School, Abbottabad, Pakistan Abstract— This paper is an attempt to explore the the story of an Ibo village and one of its great men, proverbial language of Chinua Achebe in Things Fall Okonkwo, who is a very high achiever being a champion Apart in support of the civilized Ibo culture. Chinua wrestler, a wealthy farmer, a husband to three wives, and Achebe has put many proverbs in his mouth pieces. All a man with titles. Okonkwo's world is disrupted with the the proverbs used in this novel belong to the Ibo culture. appearance of the first white man who tries to inflict his The proverbs used by Ibo people in the novel are worthy religion on the Umuofia natives. Okonkwo, a high enough to claim that they have a strong heritage and tempered man, later kills a British employed man and history which is symbol of civilized culture. The language eventually takes his own life. of the Ibo people when compared with whites, it becomes Proverbs could be described as short, popular crystal clear that whatever they say is proved or followed witty sayings with words of advice or warning. Proverbs by strong arguments of proverbs. Whites say things could also be viewed as a repository of native intelligent, imperatively and lack strong arguments in their talks. -
A Critique of Ngugi Wa Thiong'o's the River Between
ISSN 2394-9694 International Journal of Novel Research in Humanity and Social Sciences Vol. 4, Issue 5, pp: (35-50), Month: September-October 2017, Available at: www.noveltyjournals.com A CRITIQUE OF NGUGI WA THIONG'O'S THE RIVER BETWEEN AVOMAH OSCAR MAC AKAMPIRIGE Abstract: Most novels written by Africans a reflections of their various societies or communities. In The River Between, Ngugi, in a similar manner, brings out vividly the life and tradition of his rural a Kenyan society. The novel is set in Central Kenya in pre-independent days, dating as far back as the 1930’s when Kenya was under colonial rule. The themes of the novel – a struggle for leadership and the influence of European culture and religion on the African – are very realistically delineated. The novel, one may say, could be set in any other African country; for the incidents of power struggle, cultural and religious clashes are common characteristics of the coming of Europeans to Africa. The main reason for choosing to critique Ngugi’s work for study is to critically look at it, analyze and assess its values and contribution to the world of literature. Writers and critics of African writing hold different views as to what African Literature really is. It is for this reason that most African writers strive to find suitable definitions for the terms "African Literature". One renowned Nigerian novelist, Cyprian Ekwensi, for instance, holds the view that: "African Literature is literature based on African characters and psychology. This means that the main theme may be anthropological, traditional or modern, but the traits, temperaments, and reactions of the characters will be peculiarly African due to influence by tribe, culture and history". -
Ngugi Wa Thiong'o's the River Between and Matigari
Allegory and the Retrieval of History: Ngugi wa Thiong’o’s The River Between and Matigari Eriks Uskalis There is a need for analysis of postcolonial writing which, instead of as- suming dissent as a given, locates its forms and conditions of possibility within contexts that both determine and set limits on its expression. If dissent is defi ned by the effects of the power against which it reacts, it follows that different contexts will call for varied expressions of dissent. In terms of literary production the effects of dissent are often seen as shifts in form and genre. Through acts of dissemination and interpella- tion, the state, as well as the relative hegemonic strength of colonial and postcolonial discourse, have signifi cant ramifi cations on the formation of the context of dissent. I would argue, then, that an analysis of dissent which takes these factors into consideration should “study what was able to emerge within, and against, what seems at fi rst glance to be a domi- nant fi eld of social perception” (Polan qtd. in Lipseitz 31). It should come as no surprise that class plays a major part in the con- ditions out of which literature is produced, but the tenets set out in the above statements work against dismissals of texts which do not express dissent in terms of class. Class formations, in postcolonial times, are often too overdetermined to provide coherent forms of dissent. This can be fl eshed out by a discussion of Ngugi Wa Thiong’o’s novels The River Between and Matigari. -
Ngũgĩ Wa Thiong'o's Wizard of the Crow and Postcolonial Pedagogy
Ngũgĩ wa Thiong’o’s Wizard of the Crow and Postcolonial Pedagogy RAPHAEL DALLEO Florida Atlantic University [email protected] ABSTRACT The encyclopedic nature of Ngũgĩ’s Wizard of the Crow makes it an overt summing up of the author’s previous work. At the same time, the novel explicitly positions itself as a break from what came before by rethinking the anticolonial ideologies contained in the earlier work in light of what Wizard of the Crow references as an expanding postcoloniality. This shift can be seen in the philosophy of pedagogy the novel puts forward. Unlike the radical oppositionality of the anticolonial stance, postcolonial pedagogy is depicted as contingent, conflicted, but because of its decentralized, nonhi- erarchical nature potentially better able to redefine the field of possibili- ties than a radicalization of the master’s tools. Wizard of the Crow refuses to retreat from the intellectual’s obligation to oppose and critique global exploitation and inequality, positioning postcolonialism not as an abandon- ment or surmounting of anticolonialism as much as a re-imagining of its goals in changed circumstances. The novel seeks to imagine a decolonizing form of education that can stand against without replicating patriarchy and colonial hierarchy. n his review of Wizard of the Crow, Simon Gikandi notes the way the novel invokes Ngũgĩ wa Thiong’o’s previous work, most obviously by introducing one of the novel’s main characters while she reads Devil on the Cross. This Iintertextual clue leads Gikandi to argue that “Wizard of the Crow is a repetition of Ngũgĩ’s later novels, especially Petals of Blood and [. -
A Personal History of Biafra
BOOK REVIEWS Chinua Achebe, There Was a Country: A Personal History of Biafra. Penguin Books, 2013. 352pp, ISBN-10: 014312403X There once was a country called the Republic of Biafra. Its brief existence, from May 1967 to January 1970, was an affront to the leaders of Nigeria, from which Biafra, occupying the nation's southeast corner, had seceded. Nigeria, which had gained independence from Britain just seven years prior, took military action to suppress Biafra's bid for sovereignty. In a brutal civil war that lasted thirty months, perhaps as many as 2 million Biafrans perished -- directly from the violence or from the starvation and disease resulting from a blockade imposed by Nigerian forces. The Biafran War was, according to the most famous Biafran, the writer Chinua Achebe, "a cataclysmic experience that changed the history of Africa." Before the humanitarian disasters in Congo, Liberia, Rwanda, Sierra Leone, Somalia, Sudan, and elsewhere, it was one of the first dirty wars to run its course on the world's TV screens. One of the authors of the Ahiara Declaration, proclaiming the new nation's liberal founding principles, Achebe also served Biafra as a diplomatic envoy. His absorbing new memoir, There Was a Country, recounts the doleful history of Biafra from the perspective of a disappointed partisan and within the context of the author's life through 1970. Although Achebe has been living in the United States -- currently resident at Brown University -- for more than twenty years, this is a book about Africa and its author's experiences there. He begins by recalling his childhood at the crossroads of traditions, in the town of Ogidi, where he was open to the influences of his father, a Christian teacher and evangelist, as well as to the ambient Igbo culture. -
A Portrayal of Nigerian After Civil War in Chinua Achebe's Civil Peace
Anjar Dwi Astuti – A Portrayal of Nigerian after Civil War A PORTRAYAL OF NIGERIAN AFTER CIVIL WAR IN CHINUA ACHEBE’S CIVIL PEACE (1971) Anjar Dwi Astuti Program Studi Pendidikan Bahasa Inggris Fakultas Keguruan dan Ilmu Pendidikan Universitas Mulawarman Jalan Harmonika Nomor 1, Samarinda, Kalimantan Timur Pos-el: [email protected] ABSTRACT African literature has strong relation with colonialism, not only because they had ever been colonized but also because of civil war. Civil Peace (1971), a short story written by Chinua Achebe, tells about how Nigerian survive and have to struggle to live after Nigerian Civil War. It is about the effects of the war on the people, and the “civil peace” that followed. The Nigerian Civil War, also known as the Nigerian-Biafran War, 6 July 1967–15 January 1970, was a political conflict caused by the attempted annexation of the southeastern provinces of Nigeria as the self-proclaimed Republic of Biafra. The conflict was the result of economic, ethnic, cultural and religious tensions among the various peoples of Nigeria. Knowing the relation between the story and the Nigerian Civil War, it is assured that there is a history depicted in Civil Peace. In this article, the writer portrays the history and the phenomenon of colonization in Nigeria by using new historical and postcolonial criticism approaches. Keywords: history, colonization, civil war ABSTRAK Karya sastra Afrika memiliki hubungan yang kuat dengan kolonialisme. Hal tersebut bukan hanya karena Afrika pernah dijajah oleh bangsa lain tetapi juga karena terjadinya perang saudara. Civil Peace (1971), sebuah cerp6en yang ditulis oleh Chinua Achebe, menceritakan tentang bagaimana orang-orang Nigeria korban perang saudara yang selamat dan kemudian berusaha berjuang untuk bertahan dan melanjutkan hidup seusai perang. -
William Shakespeare and Chinua Achebe: a Study of Character and the Supernatural
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2010 William Shakespeare and Chinua Achebe: A Study of Character and the Supernatural Kenneth N. Usongo University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the African Languages and Societies Commons, Classical Literature and Philology Commons, and the Comparative Literature Commons Recommended Citation Usongo, Kenneth N., "William Shakespeare and Chinua Achebe: A Study of Character and the Supernatural" (2010). Electronic Theses and Dissertations. 1387. https://digitalcommons.du.edu/etd/1387 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WILLIAM SHAKESPEARE AND CHINUA ACHEBE: A STUDY OF CHARACTER AND THE SUPERNATURAL __________ A Dissertation Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Kenneth N. Usongo June 2011 Advisor: Linda Bensel-Meyers ©Copyright by Kenneth N. Usongo 2011 All Rights Reserved Author: Kenneth N. Usongo Title: WILLIAM SHAKESPEARE AND CHINUA ACHEBE: A STUDY OF CHARACTER AND THE SUPERNATURAL Advisor: Linda Bensel-Meyers Degree Date: June 2011 Abstract This study examines how Shakespeare and Achebe use supernatural devices such as prophecies, dreams, beliefs, divinations and others to create complex characters. Even though these features are indicative of the preponderance of the belief in the supernatural by some people of the Elizabethan, Jacobean and traditional Igbo societies, Shakespeare and Achebe primarily use the supernatural to represent the states of mind of their protagonists. -
Translation, Transculturation and Diasporic Images In
Prague Journal of English Studies MD ABU SHAHID ABDULLAH Volume 6, No. 1, 2017 ISSN: 1804-8722 (print) South African Novel.” 2011. Web. http://othes.univie.ac.at/14477/1/2011- '2,10.1515/pjes-2017-0006 ISSN: 2336-2685 (online) 05-10_0506703.pdf. Tal, Kali. Worlds of Hurt: Reading the Literatures of Trauma. Cambridge: New Transatlantic African Writing: Cambridge University Press, 1996. Print. Translation, Transculturation and Diasporic van der Kolk, Bessel A. and Rita Fisler. “Dissociation and the Fragmentary Nature of Traumatic Memories: Overview and Exploratory Study.” Journal Images in Chimamanda Ngozi Adichie’s The 1 of Traumatic Stress. 8.4 (1995): 505-525. Print. Thing Around Your Neck and Americanah Vickroy, Laurie. Trauma and Survival in Contemporary Fiction. Charlottesville and London: University of Virginia Press, 2002. Print. Whitehead, Anne. Trauma Fiction. Edinburgh: Edinburgh University Press, Elena Rodríguez Murphy 2004. Print. Described as one of the leading voices of her generation, Nigerian writer Chimamanda MD ABU SHAHID ABDULLAH is a Ph.D. Fellow at Otto-Friedrich Ngozi Adichie has become one of the many African authors who through their narratives University Bamberg, Germany. He completed his M.A. in the European have succeeded in challenging the literary canon both in Europe and North America Joint Master’s Degree in English and American Studies programme from the while redefi ning African literature from the diaspora. Her specifi c use of the English same university in 2014, including one exchange semester at the University of language as well as transcultural writing strategies allow Adichie to skilfully represent Graz (Karl-Franzens University) in Austria. -
(LALIGENS), Ethiopia Vol. 4 (2), Serial No 10, May, 2015: 31-44 ISSN: 2225-8604(Print) ISSN 2227-5460 (Online) DOI
LALIGENS, Vol.4 (2), May, 2015 An International Journal of Language, Literature and Gender Studies (LALIGENS), Ethiopia Vol. 4 (2), Serial No 10, May, 2015: 31-44 ISSN: 2225-8604(Print) ISSN 2227-5460 (Online) DOI: http://dx.doi.org/10.4314/laligens.v4i2.3 The Non-Conformist Intellectual’s Role as a Socio-Political Activist in Ngugi wa Thiong’o’s Wizard of the Crow Akani, Julius Nsirim Department of English Studies, University of Port Harcourt Choba, Port Harcourt Tel : +2348038746350 E-mail: [email protected]; [email protected] Abstract The study of the intellectual character in the African novel can be done in two parts, namely: the conformist intellectual, on one part and the non-conformist intellectual on the other. This paper focuses on the non-conformist intellectual. Generally, the paper is basically an analysis of the non-conformist intellectual’s role as a socio- political activist in Ngugi’s Wizard of the Crow. The obvious absence of critical attention on Wizard of the Crow gives this study a special place in Ngugi’s scholarship. Indeed, this paper is pathbreaking and it is meant to open up discussions on Ngugi’s classic of postcolonial African experience, Wizard of the Crow. This is clearly visible in this present researcher’s attempt at paying adequate attention to the intellectual perspective in the novel. The paper gives us an insight into the roles of the non-conformist intellectual in the novel. The role of Kamiti, the non-conformist intellectual in the novel, is appreciated more through a study of his alienation from the socio-political values of the power structure in the novel; and in his desire to play an important part as a leader in the fight for the liberation of the poor masses of Aburiria. -
Igbo Naming Cosmology and Name Symbolization in Chinua Achebe's Tetralogy
Journal of Language and Literary Studies 39 IGBO NAMING COSMOLOGY AND NAME- SYMBOLIZATION IN CHINUA ACHEBE’S TETRALOGY Ali Salami, University of Tehran, [email protected] Bamshad Hekmatshoar Tabari, University of Tehran, [email protected] Original scientific paper DOI: 10.31902/fll.33.2020.2 UDC: 821.42/.45.09-31 Abstract: Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization. Keywords: Achebe, postcolonial discourse, Igbo cosmology, Tetralogy, hybridity, Name-symbolization Introduction The proper language crafted by Achebe and exposed through his first novel, Things Fall Apart, is very successful indeed as it can put into practice what he theorized once in an article titled “The African Writer and the English Language”.