This blog is written in response to the thinking activity assigned by Megha ma'am to explain articles on 'Petals of Blood' by Ngugi Wa Thiongo. So as a part of that, I will try to explain the article named 'History, Intertextuality, and Gender in Ngugi’s Petals of Blood' by Brendon Nicholls.
About Ngũgĩ wa Thiong'o:
Ngũgĩ wa Thiong'o, originally named James Ngugi, is a prominent Kenyan author and academic, often acclaimed as "East Africa's leading novelist."
Born on 5 January 1938, he initially wrote in English but later transitioned to predominantly writing in Gikuyu, his native language. Ngũgĩ's literary repertoire encompasses a diverse range of works, including novels, plays, short stories, and essays that span from literary and social criticism to children's literature. Notably, he founded and serves as the editor of the Gikuyu-language journal Mũtĩiri. One of his acclaimed short stories, "The Upright Revolution: Or Why Humans Walk Upright," has achieved translation into a remarkable 100 languages.
Major Works:
- Weep Not, Child (1964),
- The River Between (1965),
- A Grain of Wheat (1967)
- Petals of Blood (1977)
History, Intertextuality, and Gender in Ngugi’s Petals of Blood by Brendon Nicholls
In this article, Brendon Nicholas tries to explain that in 'The Petals of Blood', Ngugi Wa Thiong'o presents two models for anti-imperial history:
Black World Historical Struggle:
In Caribbean literature and the black diaspora, Ngugi explores a shared history with global significance, uniting the struggles of Caribbean, African-American, and African liberation. Petals of Blood embodies a theme of reconnection, merging these narratives in an epic, almost biblical structure. This is not an exaggeration; Ngugi acknowledges a resonance with the Jewish and biblical experience in his work. The novel envisions socialist liberation as realizing faith in collective human potential and portrays black world history reaching apotheosis, where freedom forms a deity seen in the inherent dignity of individuals. Petals of Blood can be seen as a kind of bible for African world-historical experiences, engaging deliberately with global Cold War politics and opposing anti-Communist Christian evangelism. It challenges evangelical Christianity's role during the Cold War with a theological belief rooted in worldly institutions.
Kenyan National Struggle:
In Petals of Blood, the second historical model focuses on Kenyan national history as a generational narrative of struggle. The novel draws from Gikuyu customary institutions, using the concept of generational history to explore democratic forms of political power. This idea is rooted in indigenous practices, particularly Gikuyu mechanisms of naming associated with circumcision and clitoridectomy. Gikuyu oral history relied on significant names given to each circumcision age-set annually, linking each generation to key historical events accompanying their rite of passage into manhood or womanhood. These practices served as a way to remember and retell Gikuyu oral history. An example of this mnemonic history is evident when Munira recounts his experiences of attending school at Siriana.
In Petals of Blood, the naming of age-sets followed an annual cycle, aligning with the harvest season and contributing to the Gikuyu oral history's seasonal and cyclical pattern. Many of these names, although Anglicized, carry references to colonial conflict. For instance, the Hitira age-set expressed solidarity with Hitler, an enemy of British colonial power. The novel prioritizes a generational history by filtering communal history through these age-sets, emphasizing a lineage of struggle.
The narrative also incorporates the Gikuyu custom of itwika, where power transferred peacefully between generations approximately every 30 years, ensuring a form of 'democratic' governance. Petals of Blood revives this idea of itwika as a cyclical and revolutionary form of democracy. The introduction of itwika occurred when the iregi age-set rebelled against a despotic king, leading to the peaceful transfer of power to the ndemi age-set. Karega's association with the iregi age-set and Nyakinyua and her husband's connection to the ndemi age-set further underscore this narrative.
The novel's blueprint for the revolutionary overthrow of the Kenyan government involves heroes like Ndemi, Kimathi, and Karega, arguing for the establishment of a 'democratic' Gikuyu government to replace colonial and neocolonial misrule. History, in this context, is generational and ultimately democratic. However, this generational theory of political power relies on a rhetoric of reproduction, with women's mothering capacities at its core. Yet, this rhetoric is complicated as paternity remains unsettled in the novel, with the father's name undergoing multiple shifts. Petals of Blood's connection to broader struggles introduces a proliferation of signs that disrupt the conventional act of naming, challenging the establishment of a stable male lineage.
Abdulla's real name, meaning 'one who asks,' prompts questions, while his self-given name, initially considered a mistake, fortuitously echoes the dissident Kenyan Swahili poet Abdilatif Abdalla, known for a pamphlet critical of the government. Ole Masai, Abdulla's Mau Mau comrade, has a name with plural origins. Popularly called 'Muhindi' in Gikuyu, he is the son of Njogu's daughter and Ramjeeh Ramlagoon Dharamshah. 'Ramlagoon' alludes to 'Ramlogan' in V.S. Naipaul's The Mystic Masseur. Ole Masai despises himself, his mother, and his father, with a name suggesting 'son of a Maasai.' His character draws inspiration from Joseph Murumbi, half-Maasai and half-Goan, the first vice-president of Kenya.
Ole Masai's complex heritage raises questions about his father's identity—Dharamshah, Murumbi, or Ramlogan? Was his name given by a Maasai, a Goan, or Mau Mau comrades? The irony surfaces when considering why Ole Masai harbors self-hatred for his 'divided self,' especially when Abdulla's name is a mistaken Christian baptism and Ole Masai's lineage includes influences from a Caribbean novelist, V.S. Naipaul.
Gender:
Petals of Blood grapples with two models of history—generational and epochal—that struggle to coexist. The challenge arises from their failure to address a crucial element: femininity in all its facets and potentialities. The novel's generational struggle hinges on a stable concept of lineage, requiring a patriarchal society with a fixed idea of paternity. However, this stability depends on unequivocal naming, a challenge in a narrative with diverse literary allusions and political affiliations. Compounding this is the portrayal of Wanja, a key female character who transforms into a successful prostitute in the novel's conclusion.
While these challenges are not insurmountable, Petals of Blood's depth allows for profound exploration.
Conclusion:
One approach is to consider a clandestine intertext in the novel—the covert history of female struggle in Kenya, particularly the hidden narrative of prostitutes contributing their revolutionary sexuality to the Mau Mau movement. By reading against the grain and exploring this hidden history, we may move beyond narrow discussions of reproduction, gaining insights into new forms of revolutionary agency.
Fanonism and Constructive Violence in Petals of Blood by Tasnim Amin
Introduction:
"Petals of Blood" by Ngugi Wa Thiong'o condemns Kenyan elites for exploiting people and criticizes institutions like Christianity and politics. It highlights the importance of collective action against oppression and justifies violence as a means of resistance, aligning with Franz Fanon's views. The novel depicts the struggles of four protagonists in post-independence Kenya, reflecting the ongoing challenges despite achieving freedom in 1963.
1. Fanon's View on Violence:
Fanon sees violence as a positive force for freeing nations from colonial rule. He believes that decolonization is always accompanied by violence, symbolized by bullets and bloodshed. The intensity of colonized people's violence corresponds to the oppression they face from colonial regimes. Fanon views the native's violence as a unifying and liberating force, cleansing individuals from feelings of inferiority and despair.
2. Ngugi's Perspective on Constructive Violence:
Ngugi supports the idea that violence can be constructive when used to change an unjust social order. Violence aimed at preserving an oppressive system is considered criminal and degrading for humanity. Ngugi believes that violence, in the context of resisting injustice, purifies individuals rather than being savagery. He argues that imperialism, in its neo-colonial form, cannot destroy the resilient fighting culture of African peasantry and working class, which reflects real-life struggles.
In simpler terms, both Fanon and Ngugi agree that violence can be a force for positive change when fighting against injustice and colonial oppression. They see it as a means to liberate people and cleanse them from feelings of inferiority. Ngugi, in particular, emphasizes that violence becomes a problem when used to protect unjust systems, and he believes in the enduring strength of African culture against imperialism.
Kenyan History of Violence:
The coastal history of Kenya involved conflicts with intruders since the eleventh century. European settlers intensified the struggle for land, leading to violence and oppression during the colonial era. The fight for freedom, notably the Mau Mau movement, challenged British forces until Kenya gained independence in 1963.
Violence in Petals of Blood:
In "Petals of Blood," Ngugi portrays Kenya's working class heroically resisting domination and destruction by global capitalism. The novel focuses on Ilmorog, a neglected region symbolizing the impact of neo-colonialism. The people, facing a point of no return, raise protagonists to resist and fight against oppressive forces. The book reflects Ngugi's political strategy against global monopoly capitalism in Africa.
In the book "Petals of Blood," the main characters—Wanja, Abdullah, Karega, and Munira—each face difficult situations in Kenya. Wanja, a strong woman, deals with mistreatment and becomes tough like her surroundings. Abdullah, a Mau Mau fighter, feels betrayed by Kenya and seeks revenge. Karega, a wanderer, looks for ways to create a better world without violence. Munira, a religious man, wants to break free from his passive life and make positive changes. Together, they represent different responses to the challenges in Kenya, reflecting a bigger struggle against problems in the country.
Certainly! Let's delve into the details:
Wanja:
Wanja is a strong and remarkable woman facing tough circumstances in Kenya. She experiences humiliation and hostility from society. To survive, Wanja adopts a tough and somewhat cruel attitude, reflecting the harsh environment she lives in. Wanja's character highlights the challenges that women and the general population face in the context of societal pressures and neocolonialism.
Abdullah:
Abdullah is an introverted Mau Mau fighter who fought for Kenya's independence. However, he feels betrayed by the country he fought for, as it fails to rehabilitate him after sacrificing his family and land. Seeking justice, Abdullah takes matters into his own hands by seeking revenge against Kimeria for betraying his friend during the Mau Mau movement. This act becomes symbolic, preserving his sense of manhood and avenging a friend's death.
Karega:
Karega is a wandering character dedicated to the unity of workers and the trade union. Unlike some characters, Karega opposes violence and seeks alternative ways to create a better world. He challenges Wanja's philosophy and remains committed to finding lost innocence, hope, and faith. Karega's character embodies a thoughtful approach to societal change, emphasizing the exploration of non-violent means.
Munira:
Munira, known as the 'man of God,' grapples with a passive role and a desire to break free from his mundane life. To prove his capability for action, Munira dismisses Karega in an act of personal revenge. Inspired by a divine feeling, he aspires to establish a 'secular new world.' Munira's symbolic act of burning the 'Sunshine Lodge,' associated with corruption, reflects a desire for cleansing and positive change.
Collectively, these characters represent various responses to the complex challenges posed by neocolonialism in Kenya. Their individual stories contribute to the broader narrative of societal redemption and the ongoing struggle against oppressive forces in the country.
Conclusion:
In the end, the author Ngugi shows some hope in "Petals of Blood" through what he calls "constructive violence." The main characters take part in or support acts of purification, like the arson that happens. After these events, there is hope for the future. The children born to parents who fought for freedom and change carry the spirit of purification and courage. Ngugi suggests that this kind of violence can burn down the corrupted society, bringing a chance for a new and better Kenya.
Works Cited
Amin, Tasnim. “Fanonism and Constructive Violence in Petals of Blood.” INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH, vol. 6, no. 4, 2017. https://www.worldwidejournals.com/international-journal-of-scientific-research-(IJSR)/fileview.php?val=April_2017_1491834232__284.pdf. Accessed 28 January 2024.
Bellow, Saul. “Ngugi wa Thiong'o | Biography, Books, & Facts.” Britannica, https://www.britannica.com/biography/Ngugi-wa-Thiongo. Accessed 28 January 2024.
NICHOLLS, BRENDON. “History, Intertextuality, and Gender in Ngugi’s Petals of Blood.” Moving Worlds: A Journal of Transcultural Writings, vol. 14, no. 1, pp. 71-76. https://eprints.whiterose.ac.uk/97268/1/Nicholls%20History%2C%20Intertextuality%2C%20and%20Gender%20in%20Ngugi%E2%80%99s%20Petals%20of%20Blood.pdf.
Thiong'o, Ngugi Wa. Petals of Blood. Penguin Publishing Group, 2005.
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