This is the first comprehensive book-length study of gender politics in Ngugi wa Thiong'o's fiction. Brendon Nicholls argues that mechanisms of gender subordination are strategically crucial to Ngugi's ideological project from his first novel to his most recent one. Nicholls describes the historical pressures that lead Ngugi to represent women as he does, and shows that the novels themselves are symptomatic of the cultural conditions that they address. Reading Ngugi's fiction in terms of its Gikuyu allusions and references, a gendered narrative of history emerges that creates transgressive spaces for women. Nicholls bases his discussion on moments during the Mau Mau rebellion when women's contributions to the anticolonial struggle could not be reduced to a patriarchal narrative of Kenyan history, and this interpretive maneuver permits a reading of Ngugi's fiction that accommodates female political and sexual agency. Nicholls contributes to postcolonial theory by proposing a methodology for reading cultural difference. This methodology critiques cultural practices like clitoridectomy in an ethical manner that seeks to avoid both cultural imperialism and cultural relativisim. His strategy of 'performative reading,' that is, making the conditions of one text (such as folklore, history, or translation) active in another (for example, fiction, literary narrative, or nationalism), makes possible an ethical reading of gender and of the conditions of reading in translation.

This is the first comprehensive book-length study of gender politics in Ngugi wa Thiong'o's fiction. Brendon Nicholls argues that mechanisms of gender subordination are strategically crucial to Ngugi's ideological project from his first novel to his most recent one. Nicholls describes the historical pressures that lead Ngugi to represent women as he does, and shows that the novels themselves are symptomatic of the cultural conditions that they address. Reading Ngugi's fiction in terms of its Gikuyu allusions and references, a gendered narrative of history emerges that creates transgressive spaces for women. Nicholls bases his discussion on moments during the Mau Mau rebellion when women's contributions to the anticolonial struggle could not be reduced to a patriarchal narrative of Kenyan history, and this interpretive maneuver permits a reading of Ngugi's fiction that accommodates female political and sexual agency. Nicholls contributes to postcolonial theory by proposing a methodology for reading cultural difference. This methodology critiques cultural practices like clitoridectomy in an ethical manner that seeks to avoid both cultural imperialism and cultural relativisim. His strategy of 'performative reading,' that is, making the conditions of one text (such as folklore, history, or translation) active in another (for example, fiction, literary narrative, or nationalism), makes possible an ethical reading of gender and of the conditions of reading in translation.

Ngũgĩ wa Thiong'o is one of the most important and celebrated authors of postindependence Africa as well as a groundbreaking postcolonial theorist. His work, written first in English, then in Gikuyu, engages with the transformations of his native Kenya after what is often termed the Mau Mau rebellion. It also gives voice to the struggles of all Africans against economic injustice and political oppression. His writing and activism have continued despite imprisonment, the threat of assassination, and exile. Part 1 of this volume, "Materials," provides resources and background for the teaching of Ngũgĩ's novels, plays, memoirs, and criticism. The essays of part 2, "Approaches," consider the influence of Frantz Fanon, Karl Marx, and Joseph Conrad on Ngũgĩ; how the role of women in his fiction is inflected by feminism; his interpretation and political use of African history; his experimentation with orality and allegory in narrative; and the different challenges of teaching Ngũgĩ in classrooms in the United States, Europe, and Africa.

Africa -- Asia -- The Caribbean -- Ireland -- Australia/New Zealand -- Canada

In what innovative ways do novels by diasporic Black women writers experiment with the representation of Black subjectivity? This collection explores the inventiveness of contemporary Black women writers – Black British, African, Caribbean, African American – who remake traditional understandings of blackness. As the title word “experimental” signals, these essays foreground the narrative form and stylistic innovations of the black-authored novels they analyze. They also show how these experiments with form mirror the novels' convention-breaking experiments with reimagining Black female subjectivities. While each novel, of course, represents the complexities of diasporic experiences differently, some issues emerge that are broadly shared not just within a regional group, but across geographical borders. One feature of the collection is a comparative look at such linking themes across borders, under the rubrics: a return to precolonial systems of belief, reinventions of mothering, relational subjectivities, memory, history and haunting, and posthumanist revaluations. These themes take different shapes across the multitude of diverse cultures studied in this book. But together they establish a pan-global imaginative practice.

Until the lives and issues of African women arrived on the agenda of postcolonial writers, African women, who continued their lives under double colonization by patriarchy and dominant powers, did not have much standing in literary works and in the world of literature. Postcolonial African women have often been represented as weak, subaltern, and speechless by western writers, and have even been underrepresented by some postcolonial writers. This book shows how the African woman, who is usually represented in clichéd and stereotyped forms, is depicted a versatile way in Ngugi and Adichie’s novels.

The focus of this book is upon the changing perception of women in African society and their portrayal over different periods in the novels of Chinua Achebe and Ngugi wa Thiong’o; the writers who intriguingly wrote on the constant changing role of African women in Igbo and Gikuyu clans. The book dicusses the image of African women entrapped in double jeopardy in both traditional and modern Africa. There has been a remarkable transformation in the representation of women from the early novels to the later novels of both the writers that has been studied in this book from close quarters. The approach and technique of the novelists in projecting their female characters has also been analyzed. The novels of both the writers marked a sea change in the thinking and perception of Westerners with reference to Africa and its people. This work is devoted to the exploration of the image of women in the East and West African societies through the selected novels of Chinua Achebe and Ngugi wa Thiong’o.

In a postcolonial world, where structures of power, hierarchy, and domination operate on a global scale, writers face an ethical and aesthetic dilemma: How to write without contributing to the inscription of inequality? How to process the colonial past without reverting to a pathology of self-disgust? Can literature ever be free of the shame of the postcolonial epoch--ever be truly postcolonial? As disparities of power seem only to be increasing, such questions are more urgent than ever. In this book, Timothy Bewes argues that shame is a dominant temperament in twentieth-century literature, and the key to understanding the ethics and aesthetics of the contemporary world. Drawing on thinkers such as Jean-Paul Sartre, Frantz Fanon, Theodor Adorno, and Gilles Deleuze, Bewes argues that in literature there is an "event" of shame that brings together these ethical and aesthetic tensions. Reading works by J. M. Coetzee, Joseph Conrad, Nadine Gordimer, V. S. Naipaul, Caryl Phillips, Ngugi wa Thiong'o, and Zoë Wicomb, Bewes presents a startling theory: the practices of postcolonial literature depend upon and repeat the same structures of thought and perception that made colonialism possible in the first place. As long as those structures remain in place, literature and critical thinking will remain steeped in shame. Offering a new mode of postcolonial reading, The Event of Postcolonial Shame demands a literature and a criticism that acknowledge their own ethical deficiency without seeking absolution from it.

“The definitive African book of the twentieth century” (Moses Isegawa, from the Introduction) by the Nobel Prize–nominated Kenyan writer The puzzling murder of three African directors of a foreign-owned brewery sets the scene for this fervent, hard-hitting novel about disillusionment in independent Kenya. A deceptively simple tale, Petals of Blood is on the surface a suspenseful investigation of a spectacular triple murder in upcountry Kenya. Yet as the intertwined stories of the four suspects unfold, a devastating picture emerges of a modern third-world nation whose frustrated people feel their leaders have failed them time after time. First published in 1977, this novel was so explosive that its author was imprisoned without charges by the Kenyan government. His incarceration was so shocking that newspapers around the world called attention to the case, and protests were raised by human-rights groups, scholars, and writers, including James Baldwin, Toni Morrison, Donald Barthelme, Harold Pinter, and Margaret Drabble.