Ngũgĩ wa Thiongʼo

With Chinua Achebe and Wole Soyinka, Ngũgĩ wa Thiong'o (b. 1938) is one of the best known African writers to emerge in Africa's independence climate in the late 1950s; much of his work conveys a sense of both the transcendent hope of independence and freedom, *uhuru*, and also the absolute despair that followed when this hope was compromised. Ngũgĩ has inspired a generation of writers, and is celebrated for his stand on political and linguistic issues. His prize-winning *Weep Not, Child* was the first major novel in English by an East African, but in recent years, Ngũgĩ has been a vocal advocate for writing in African languages and narrative forms. He has put his commitment into practice by publishing novels in Gĩkũyũ, his mother tongue, and by exploring the possibility of collective authorship in some of his plays, and by incorporating diverse narrative techniques in his novels to make them available to a largely illiterate peasantry with access to his writing only by hearing it read aloud. A highly versatile artist, Ngũgĩ is also a writer of plays, short stories, and children's stories, and he has published a diary - some of his most evocative and powerful writing is autobiographical. While Ngũgĩ's popular reputation rests on his six novels, the first three written in a realistic mode and the last three in an allegorical mode, his place in the academic community depends more and more on his six books of polemical essays. A close relationship exists between his theoretical and his novelistic work, and in many ways his novels work out problems expounded in his essays. Oliver Lovesey's lucid and engaging study examines all of Ngũgĩ's major works and many of the minor ones and offers a comparative analysis of each text with Ngũgĩ's work as a whole. Lovesey elucidates significant themes in both his critical and creative writings, and skillfully navigates the various critical responses to Ngũgĩ's writings, noting especially the diverse reactions to his didactic allegorical fiction and his Marxist ideas on literature. Lovesey is not only a good introductory guide to Ngũgĩ's work, but also an expert synthesizer of current critical opinion on his total output. Ngũgĩ's long career has witnessed the production of a rich and diverse corpus of novels, stories, plays, essays, journalism, and other writing. In all of this work there is a search for a distinctively Kenyan form of aesthetic expression. However, from his earliest, almost anthropological studies of Kenyan village life to his most recent allegorical experiments, he has remained committed to the values of the rural people. Though much of his writing has been composed in exile, his focus has always been upon his homeland. Of his own oeuvre, Ngũgĩ says "My writing is really an attempt to understand myself and history."