Ngugi

the medium through which a hierarchical structure of power is perpetuated, and the medium through which conceptions of 'truth', 'order', and 'reality' becomes established. Such power is rejected in the emergence of an effective post-colonial voice. Ngugi wa Thiong'o in his book, decolonising the mind portrays this lamentable condition of post colonies through the example of Africa. He believed that literature and politics are

“Decolonising the Mind,” Ngugi Wa Thiong’o sheds light onto the cause and effect of distortion in his childhood. Ngugi recounts his experience of being born in Kenya, a country under colonial rule by the British, and how the imposition of a foreign language, English, broke the harmony between the language of his formal education and that of his Limuru peasant community. The colonial power can be viewed as the hand from Abramovic’s photograph that is distorting the relation Ngugi shares with his language

Political Activism can be defined as the ways in which citizens participate throough protest, demonstrating or lecture to raise awareness of issues relating to politics. Ngugi (2007), Gloudon (2005) and Blake (2014) all write about the different aspects of Political activism as seen within the continent Africa and the countries Jamaica and Venezuela respectively. These writers incorporate various strategies and styles in order to achieve their purpose of informing their audience about problems/successes

Ngugi ’s “Farewell to Political Activism” 2007, Gloudon’s “Michael Manley and community development” 2005 and Blake’s “The Impact of Hugo Chavez’s political legacy on Venezuela’s society and economy” 2014, all share similarities in their sentiments expressed in their closing paragraphs. Ngugi (2007) recommended a revolutionary approach by political activist since the strategies used presently isn’t effective, Gloudon (2005) guided that Manley’s ideas has been forgotten and should be reintroduced

Thus, Ngugi resort to use mythological figures in order unite and liberate the Kenyans, also he uses such figures to fossilize the Mau Mau in Kenyan's mind and to feel proud of their revolution. Neatly, Ngugi enlists and compares Mau Mau members to Prometheus (who defied to steal the fire from other gods to pave the liberation's way). No wonder Ngugi considers Mau Mau fighters as symbols of resistance because they suffered for getting freedom and liberation. (Ngugi. Detained1981: 111) The myth is

objective he also points a picture of the white women who though being secondary characters play a certain role in the novel. Ngugi through the depiction of the ideal patriotic women pays great tribute to the African women especially in those dark days. The strength and courage of certain black women is incontestable in relating the fight for freedom. Ngugi through the persons of Wambui and

independence period of Africa. Achebe’s novel, Things Fall Apart, published in 1958 tells the story of Okonkwo whom is a member of the Igbo Tribe in Nigeria and his constant encounters with the Christian missionaries. The River Between written by Ngugi was published in 1965 and tells the story of

Devil on the Cross: Wariinga Character Analysis and Development Devil on the Cross by Ngugi Wa Thiong’o is a compelling and curious novel that examines both the physical and mental journey of a young woman, Wariinga. Along the way she encounters many people and challenges that shape her identity. Eventually Wariinga develops into what Ngugi considers ideal Kenyan femininity to be. However, when the reader first encounters her in the novel, she is confused by the message of what it means to be

Mind, Ngugi wa Thiong'o demonstrates the importance of language in his culture. The languages that the author familiarizes himself with and the styles in which he communicates in ultimately represent his culture. Living in post-colonial Kenya, Ngugi dealt with the struggle to find balance within the area's prominent languages: Gīkūyū and English. Gīkūyū is a native dialect by which the people commonly use to express their cultural identity, such as the act of oral storytelling. When Ngugi begins

Horseman. But who tilled the soil on which grew coffee, tea, pyrethrum, and sisal? Who dug the roads and paid the taxes? The whiteman lived on our land. He ate what we grew and cooked. And even the crumbs from the table, he threw to his dogs. (Ngũgĩ, 2002: 216) The allegorical story of A Grain of Wheat takes place after World War II in the village of Thabai. It portrays several characters in a village whose