Assignment 206:The African Literature
Name: Bhavyata Kukadiya
Roll No.: 04
Enrollment No.: 4069206420220018
Paper no: 206
Paper code: 22413
Paper name: The African Literature
Sem.: 4 (Batch 2022- 2024)
Submitted to: Smt S.B. Gardi Department of English, M.K. Bhavnagar University
The Defiant Spirit of Wanja: Representation of Post-Colonial Kenyan Women
About Writer :-
Ngũgĩ wa Thiong'o, a renowned Kenyan author and academic, is celebrated as East Africa's leading novelist. Born James Thiong’o Ngugi on January 5, 1938, he initially wrote in English before transitioning to primarily writing in Gikuyu. Graduating from Makerere University in 1963, he later lectured in English at University College, Nairobi, and served as a visiting professor at Northwestern University. His prolific body of work spans novels like "Weep Not, Child" (1964), "The River Between" (1965), "A Grain of Wheat" (1967, 1992), and "Petals of Blood" (1977), as well as plays such as "The Black Hermit" (1963) and "The Trial of Dedan Kimathi" (1976). Ngũgĩ's literary contributions extend beyond fiction to encompass short stories, memoirs, children's literature, and essays. He founded and edited the Gikuyu-language journal Mũtĩiri and gained international recognition, receiving numerous awards including the Unesco First Prize for "Weep Not Child," The Lotus Prize for Literature, and the Nonino International Prize for Literature. His impact on global literature is profound, evidenced by his short story "The Upright Revolution: Or Why Humans Walk Upright," translated into over 100 languages worldwide.
About Novel:-
"Petals of Blood," authored by Ngũgĩ wa Thiong'o and originally published in 1977, employs a narrative technique that skillfully employs flashbacks. The story unfolds in 1963, just after Kenya gained independence from colonial rule. It revolves around four central characters – Munira, Abdulla, Wanja, and Karega – whose lives become intricately intertwined amidst the backdrop of the Mau Mau rebellion.
Seeking refuge from the complexities of urban life, each character retreats to the tranquil village of Ilmorog. As the narrative progresses, the characters grapple with the aftermath of the Mau Mau rebellion and the rapid Westernization sweeping through Kenya.
Inspired by a desire to explore the dynamics of a postcolonial nation, Ngugi crafted the novel over a five-year period, marking his first venture into full-time writing outside of academia. "Petals of Blood" emerges as a poignant exploration of Kenya's journey towards independence and the subsequent challenges of nation-building. Ngugi adeptly questions the extent to which post-independence Kenya merely mirrors and perpetuates the oppressions of its colonial past.
Themes of capitalism, politics, and the cultural impacts of Westernization are intricately woven throughout the narrative. Additionally, education, the legacy of the Mau Mau rebellion, and the communal history shared by the characters serve to bind their experiences together, offering a lens through which to examine the complexities of societal change and personal transformation.
Overall, "Petals of Blood" stands as a powerful testament to Ngugi's literary prowess and his unwavering commitment to addressing the pressing socio-political issues of his time through the medium of storytelling.
Wanja's Defiance
"Petals of Blood" is Ngugi wa Thiong'o's fourth novel, written in 1977. It tells the story of four main characters
Munira, Abdulla, Wanja, and Karega
who live in a small Kenyan village called Ilmorog after Kenya gained independence. I'll focus on Wanja, the main female character.
The novel talks a lot about how Kenya changed after gaining independence. Ngugi questions whether people are truly free or if they're still being oppressed. He shows how things like capitalism, politics, and modernization have a big impact on people's lives in Kenya. He also highlights problems with the education system, like how children struggle to get an education because of various difficulties they face.
Wanja, the main woman in the story, had to leave school because she got pregnant unexpectedly. She ends up working as a barmaid, which is a tough job for women. After facing difficulties in the city, she moves to Ilmorog to live with her grandmother. While there, she briefly dates Munira, but it's not a real love connection. Later, she becomes interested in Karega because she likes his strong beliefs and activism. This makes Munira jealous, and things end tragically.
Through Wanja's story, Ngugi shows how women struggle in a society that's still unfair to them even after colonialism. Wanja's experiences represent the challenges the whole country faces after colonial rule. Her hardships mirror the difficulties of the nation itself.Contrary to Munira, “Karega is unapologetically militant. An autodidact, he remains remarkably well read due to the library that he acquires from a wealthy but conscientious Nairobi lawyer. The moral conscience of the novel, Karega seems to speak on behalf of the author” (Amoko)
In the work, Karega gives a speech that really represents what Ngugi thinks. He says,
"Our kids need to learn from the bad stuff that messed us up before and is still messing us up today. They also need to learn from the good things that made us who we are, so we can become better and fight against the things that hold us back."
Karega is not happy with fancy schools like Siriana and the university. He thinks they just keep the old colonial ways going, making life hard for regular people.
Ngugi uses Wanja's story to show how women suffer in a society that's deeply sexist even after colonial rule. Wanja symbolizes the struggles of the whole country, as Florence Stratton points out. Her journey into prostitution reflects the way the entire nation has been exploited and degraded after colonialism, as Ogude suggests.
During colonial times, prostitution became widespread as a result of oppression inflicted by white colonizers, including police, soldiers, and officers, on native women. Bars across Kenya became hubs for this activity, turning prostitution into a form of tourism. Wanja shares one of her experiences:
“He took me to a house in Nairobi west. He made me some coffee and gave me some tablets and showed me a place to sleep. I must have slept through the night and through the following day. He let me stay for another night and I told him my story and he asked me a few question: would I know the house? Would I recognize him? Then he looked at one place and said: It is no use. This is what happens when you turn tourism in to a national religion and build it shrines of worship all over the country. I did not ask him what he meant, but I know he sounded angry. The following day he took me to Machacos bus stop and I felt like crying now with gratitude because he had not so much as tried anything on me, and had treated me without any contemp”
Wanja, working as a barmaid, faces the harsh realities of a deplorable system. One day, she encounters the inappropriate advances of a German man who seeks a sexual encounter with her. Wanja recounts:
“And the man was now fumbling with my clothes and the animal was growling and waging its tail and the man was trembling. The watchful feeling became stronger and stronger, struggling with the deathless, and the animal was about to lick my gingers when somewhere inside me I heard my own voice exclaim: “Oh, but you know I left my handbag in your car”. The moment I heard my voice I knew that the deathless was defeated and I was returning to life. He remarks: “Don't worry; I will get it for you”. I said: “No, a woman's bag contains secrets, so could he take me to the car?” It was my voice all right but commanded by I didn't know who inside me..... I stood up. He led the way to the door. The animal followed behind. And now I was silently praying: give me more strength, give me more strength. He went out first and I quickly shut the door so that the animal was shut in Even now I can't tell where I got sings from. I flew and flew through the trees and the grass undergrowth and I only looked back once when I reached the main tarmac road.... “
Wanja's account vividly reveals the exploitation of women by white settlers in the guise of tourism. This exploitation can be seen as the victimization of colonized women. Ngugi deliberately selects the profession of barmaid to depict this humiliation, shedding light on the struggles faced by barmaids at the hands of both colonizers and their own community. In line with this, Wanja expresses:
“We barmaids never settle in one place. Sometimes you are dismissed because you refused to sleep your boss. Or your face may become too well known in one place. You want a new territory. Do you know, it is so funny when you go to a new place the men treat you as if you were a virgin. They will outdo one another to buy you beers. Each wants to be the first. So you will find us, barmaids, wherever there is a bar in Kenya. Even in Ilmorog “
This highlights the suffering of barmaids, who endure exploitation from both customers and bar owners. They are devalued and treated merely as tools by the owners. Additionally, even the police, who are supposed to ensure people's safety, take advantage of women. Wanja recounts an instance of exploitation by a police officer:
“He was a police inspector. He arrested us because we were selling beer late at a bar in Kikuyu town, and when he searched boys he found they had bhang. I was frightened. He put the boys in the jail. He took me to his house. Well, I saved myself that way”
In these passages, Ngugi also condemns the injustices committed by the state. Despite portraying Wanja as strong and capable in certain instances, he depicts her feeling that her femininity is a disadvantage. In a society dominated by men, women are often viewed as objects or inferior beings. Wanja believes that being a woman means being destined to marry or become a prostitute.
“If you have a cunt, if 42 you are born with this hole, instead of being a source of pride, you are doomed to either marrying someone or else being a whore”
Ngugi highlights the circumstances that push Wanja into prostitution, emphasizing the plight of exploited women throughout Africa, particularly in Kenya. Despite being seen as degrading, prostitution often becomes the last resort for many women in postcolonial areas. Wanja herself sees little difference between working in harsh conditions on a plantation or in a factory compared to selling her body. Ngugi uses Wanja's words to underscore the destructive impact of capitalism, where both men and women suffer exploitation, albeit in different ways.
Through Wanja's character, Ngugi paints a picture of postcolonial Kenya and Africa as a whole. Wanja's story serves as a parable, reflecting the experiences of Kenyan people, especially women. Many People describe Wanja as representing the essence of Kenya—humiliated, exploited, and mistreated.
The drought isn't just about the lack of water; it's also political, spiritual, economic, and emotional. Wanja, longing for relief from her barrenness, becomes increasingly restless and moody as the dryness of her surroundings mirrors her inner turmoil. The drought symbolizes the deprivation experienced by people, robbing them of the things that give life meaning.
The oppression Wanja faced while working as a barmaid is evident when Munira first meets her. He wonders how a woman from the city could end up doing such menial work, carrying water on her head despite having beautiful hair. This reflects the struggles of all oppressed women in urban areas. Working as a barmaid takes a toll not just psychologically but also physically on all women.
In a society where men hold more power, women are often seen as inferior. Njuguna expresses this belief when he states, "A man is more important than a woman." Similarly, Ndemi shares the same view, believing that women can't manage all the work on a farm alone and can't perform tasks traditionally considered men's domain, like farming and crafting. They believe women depend on men for their survival and can't thrive without their assistance.
Patriarchy has a significant influence on the lives of postcolonial women, extending into their homes where they face oppression from their fathers and other family members. When Wanja was a young girl, she was physically punished by her father for arriving home late and speaking to her mother in a manner that went against her parents' expectations.
“My father said: she is now a woman; she even talks to her mother as equals. They locked me in my room and they both beat me, my father with his belt and my mother with a cowhide strap we used for trying and carrying things. This will teach you to come home holding hands with boys! This will teach you be talking like equals to your mother. It was no unfair and I was determined not to cry. This seemed to add to their anger. They were now beating to make me cry”
In this situation, Wanja also highlights the class discrimination and the significance of the economy in Kenya. She expresses, "I felt then that they were beating me not just because I was with a boy, but because he came from a family even poorer than ours." Through these words, Ngugi critiques the oppression experienced by the poor, as being poor often leads to being underestimated and oppressed by the rich. Wanja further questions this injustice, pondering, "Was it a sin to be poor? We ourselves were not rich: were we sinners?"
After enduring suffering at home, Wanja's life takes a drastic turn with her pregnancy resulting from an affair with a sugar-daddy. This becomes a pivotal moment for Wanja, pushing her into prostitution. Moreover, she grapples with the promiscuous behavior of her sugar-daddy, which leaves her feeling disillusioned. She recounts, "...but the results of my vengeance also followed me. I started vomiting and feeling a little tired. So I was pregnant?" Wanja's lover proposes marriage, but as a second wife, which deeply shocks her. This illustrates the issue of polygyny prevalent in colonized communities.
Being a woman in a patriarchal and colonized society proves exceedingly difficult, as women are often viewed as subordinate and inferior. The suffering endured by Wanja's cousin further exemplifies this sense of inferiority.
Wanja's descent into prostitution marks a profound shift in her life, where she begins to utilize her body and sexual allure as means of survival. She describes how she and other girls would entice men on the dance floor, ultimately extracting money and gifts from them. Wanja views prostitution as a business, treating her interactions with men seriously and demanding payment for her services. She establishes her own system in Ilmorog, hiring young girls to trade their bodies in exchange for security. Wanja acknowledges the harsh reality of Kenya and postcolonial communities, where survival often hinges on exploiting others or being exploited oneself.
Despite accepting her circumstances and engaging in prostitution, Wanja harbors a deep longing for love and healing. Her affair with Karega brings her a sense of being wanted and human, offering a glimmer of hope amidst her struggles. Wanja's hope mirrors that of Kenya itself, as Ngugi employs her character as an allegory for the nation's yearning for freedom from colonial chains and external interference.
Ngugi focuses particularly on women's resistance to colonialism and imperialism, portraying Wanja as a resilient figure despite her hardships. Wanja's ability to endure and carry pain within her heart symbolizes the strength of women in facing adversity. Munira also recognizes Wanja's strength, acknowledging her as the most powerful woman in Ilmorog, a symbol of resilience rising from the ashes and dust.
Ngugi emphasizes the significant role of women during the resistance period. Colonized women actively protest against social injustices and fight for women's rights. They organize processions, shout slogans against high food prices, and refuse to be confined to traditional roles, demanding equal rights in society. They also express defiance against the colonizers, with one woman in "Petals of Blood" boldly challenging them by shouting, "Let us pull out their penises and see if they are really men."
Munira reflects on his own courage compared to the brave actions of the women of Ilmorog and other individuals who openly criticize injustices, risking their lives in the process.
In "Petals of Blood," a different type of woman character emerges, exemplified by Wanja, the main female protagonist. Despite enduring deep suffering, Wanja displays courage, strength, and resilience throughout the novel. She can be seen as the embodiment of hope for Kenya, her unwavering spirit representing the nation's resilience in the face of adversity.
Conclusion
In Ngugi wa Thiong'o's "Petals of Blood", the character of Wanja symbolises the struggles and resilience of Kenyan women in post-colonial society. Despite facing exploitation, violence, and objectification, Wanja emerges as a strong, defiant figure. Her spirit represents the hope and perseverance of the Kenyan nation itself in overcoming the lingering effects of colonialism. Through Wanja's hardships, Ngugi condemns the injustices against women and highlights issues like capitalism, politics, and cultural erosion that impacted Kenya after independence. Ultimately, Wanja's character embodies the indomitable spirit of Kenyan women confronting adversity.
Work Cited
Amoko, Apollo Obonyo. "POSTCOLONIALISM IN THE WAKE OF THE NAIROBI REVOLUTION: NG UGI WA THIONG'O AND THE IDEA OF AFRICA."
Childs, Peter, and Patrick Williams. An introduction to post-colonial theory. Routledge, 2014.
Currey, James. “Ngũgĩ wa Thiong'o.” Wikipedia, https://en.wikipedia.org/wiki/Ng%C5%A9g%C4%A9_wa_Thiong%27o. Accessed 24 April 2024.
wa Thiong'o, Ngugi, and Ngũgĩ wa Thiongʼo. Petals of Blood. Penguin Publishing Group, 2005.
Loomba, A., 1998. Colonialism-Postcolonialism, Routledge.
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