Postcolonial Kenya 3

A certain level of irony presents itself due to the terms of Howlands sojourn in Kenya. He aims to escape the memories of warfare and brutality imposed upon him by his mother country, yet settles in Kenya to brutalize with identical violence. His only drive in life of acquiring and cultivating the “wild and chartered” lands of Africa helps balance his shell-shocked mind, yet Ngugi shows in Howlands avarice that inevitably effects of war will trickle down even years after a war’s end. Indeed, the concept of a “trickle down” effect with war aftermath presents itself boldly in a generational sense. Boro, Ngotho’s eldest living son, spurs conflict in the land of Kipanga due to his rash behavior and bitter hatred of white oppression. His experiences in the heat of battlefields and the trauma of witnessing his brother’s death cloud any rationality the might have aimed at uniting the Kikuyu towards a goal. When looking at histology through the scope of time it is clear that the alternatives to the Mau Mau violence where available. The British relations with India and the works of Gandhi are proof of this concept (Byford). Ngotho does not understand his son, even fears him because of his experiences in World War II, and acts rashly in a worker’s strike to win his son’s approval. The patriarchal tribe of Ngotho’s youth has truly been destroyed due to the economic, social, and political pressures applied by colonization. When all the dust settles, inevitably, Njoroge bears the responsibility of holding together the family. As children lose respect for parents due to their ineffective rejection of colonization, the colonization turns the normal family structure of the Kikuyu backwards and allows the rash youth to dictate the conditions of the cultures’s future. Indeed, it is said that the only way for the Kikuyu to survive would be to follow tribal traditions (Gikandi). Ngugi strips away Njoroge’s respect for the solidarity of his family, and even teaches the boys to feel ashamed of his social status. Despite this Njoroge still thrieves because he sees the hope of a better future. He believes with all his heart that with an education, anything becomes possible no matter what the state of the world. Njoroge stands as an example of what happens to the idealistic that cannot accept reality. Ngugi encourages the reader to admire Njoroge for his fortitude and optimism, yet makes the audience bear witness to the hero’s downfall. By choosing to portray his protagonist as such, Ngugi forces a realization that though all factors in a personalty seem naturally to lead to a culmination of well-deserved success, the outside factors, such as an oppressive political climate will render failure in even the most strong of characters. The world Ngugi creates is one in which the naïve and true or heart are trampled by the fiscally savvy. Through this he makes a bitter statement of the bleak opportunies available to Africans when weighed down under the heavy curtain of colonial oppression. Ngugi reveals his views with biting wit and pragmatism, and stands as quite an effective writer because of this willingness to reveal a complete deterioration of the protagonist. Ngugi couples this act of realism with a few key moments of poignant symbolism to craft the masterpiece of Weep Not, Child. One instance of this occurs in a description of the children born of African mothers and Italian prisoners of World War I: “They were ugly and grew and some grew up to have small wounds all over their body and especially around their mouth so that flies followed them all the time and at all places. Some people said it was punishment…[for sleeping] with white men who ruled them and treated them badly” (Ngugi 24). Ngugi here imparts a grotesque image to symbolize the manifested evils of colonization. Interestingly, he ties this instance of interbreeding with the African tribal mythology prevalent throughout the novel. The people view this as a curse, or punishment, from their ancient Gods for allowing the oppression to occur. Another symbol of white oppression exists in Njoroge’s description of the road built by the Italian war prisoners that runs through Kenya. Njoroge describes it as so long that you see no end or beginning to it, much in the manner that Njoroge cannot recall the beginning of colonization nor imagine an end to it. Also he describes puddles of water on the road, which makes you thirsty until you realize they were only illusions and not real water. Njoroge understands this phenomenon keenly when he states at the novels ends, “My tomorrow was just an illusion” (Ngugi 175). Disillusionment and disappointment prevails in this novel and a young boy’s journey into manhood. Sadly, Njoroge is forced to accept that there is no hope for his generation. Sweet promises of prosperity from the hands of modernization collide with the Mau Mau’s passionate battle cries. Idealistic like Njoroge who say, “weep not” are buried in the rift between these powers because they cannot choose a side. Ngugi points the oppressive power of colonialism to erase, alter, divide and destroy an entire race of people.