A masterful author operating in lots of genres, Ngugi wa Thiong’o entered the East African literary scene in 1962 with the functionality of his first significant play, The Black Hermit, on the nationwide Theatre in Uganda. In 1977 he was once imprisoned after his such a lot debatable paintings, Ngaahika Ndeenda (I Will Marry while I Want), produced in Nairobi, sharply criticized the injustices of Kenyan society and unequivocally championed the factors of standard voters. Following his unencumber, Ngugi determined to put in writing in basic terms in his local Gikuyu, speaking with Kenyans in a single of the various languages in their day-by-day lives, and this day he's referred to as the most outspoken intellectuals operating in postcolonial conception and the worldwide postcolonial movement.
In this quantity, Ngugi wa Thiong’o summarizes and develops a cross-section of the problems he has grappled with in his paintings, which deploys a method of images, language, folklore, and personality to "decolonize the mind." Ngugi confronts the politics of language in African writing; the matter of linguistic imperialism and literature's skill to withstand it; the tricky stability among orality, or "orature," and writing, or "literature"; the strain among nationwide and global literature; and the position of the literary curriculum in either reaffirming and undermining the dominance of the Western canon. all through, he engages quite a number philosophers and theorists writing on energy and postcolonial creativity, together with Hegel, Marx, Lévi-Strauss, and objectiveé Césaire. but his explorations stay grounded in his personal reports with literature (and orature) and reworks the tough dialectics of conception into richly evocative prose.