Petal of Blood by Nagugi Wa Thiongo

Petal of Blood by Nagugi Wa Thiongo

This blog is the part of thinking activity task of the paper The African Literature assigned by Megha madam. In this blog I am going to analyse two articles based on the Petals of the Blood.

Postmodern spirit in Ngugi Wa Thiong’o’s Petals of Blood based on the concepts of Homi K. Bhabha

This article is written by Ms. Sharifa Akter. Before delving into the novel let us understand what is postmodernism.

Postmodernism is basically concept which emerged in the mid 20th century. This unfolds as the reaction of the modernism. If one look at the difference between modernism and post-modernism it can be understood by this table.

Post-modernism inspired by the Derridian theory of the deconstuction and free play of the meaning. It rejects the binary oppositions of white and black, high and law, upper and lower etc. On the one hand it celebrates the fragmentation and disunity and on the other hand it narrates the stories from the side of the margin. Marxism developed and later on postcolonialism emerges. Theorists like Edward Said, Frantz Fanon, Aimy Caesar and Egelton talked about the ideas and ideologies of the colonialism.

The process of the decolonization was in the air and it leads to the emergence of the theory of the subaltern inspired by Antonio Gramsci's idea of hegemony. One of the known postcolonial Indian theoriest is Homi.K.Bhabha. His theories is postmodenist in nature including ambivilence,mimicry, hybridity, third space and so on. In his seminal work The Location of Culture he argued in detail about this theories. Here is the video providing brief understanding of the postcolonialism.

Let us understand the concept of the Bhabha,

1. Mimicry : 

Mimicry is a postcolonial theory term that describes the way colonized people adapt to the culture of their colonizers, while also changing it in important ways. It can be a survival strategy and form of resistance that challenges the cultural superiority of the colonizers. 

1. Hybridiry : 

In postcolonialism, hybridity is a concept that refers to the creation of new forms that emerge from the contact between colonizers and colonized people. The term is often used to describe the mixing of cultures, languages, or other aspects of identity. 

3. Ambivelence : 

Ambivalence in postcolonialism is the conflicting feelings and attitudes between colonizers and colonized people. It can manifest as a sense of blessing and curse. 

One of the major themes in Ngugi’s novel is the deceptiveness of any notion of an epistemological rupture between colonial and post-colonial society. And the wider significance of the postmodernism condition lies

according to Homi K. Bhabha 

“in the awareness that epistemological ‘limits’ of those ethnocentric ideas’ which

is also ‘the enunciative boundaries of a range of other dissonant, even dissident histories and voices-women, the

colonized, minority groups, the bearers of policed sexualities”

(Bhabha, 2004)

Ngugi Wa Thiong’o’s Petals of Blood is a rich narrative that combines postmodern and postcolonial themes to critique neo-colonialism and its effects on society. Homi K. Bhabha’s concepts of ambivalence, hybridity, and mimicry, Ngugi examines the transformation of Ilmorog, a Kenyan village, and highlights the fragmented identities and struggles faced by its people. 

1. Reversing Colonial Binarism : 

Ngugi’s novel reverses colonial binaries that place the West as superior to the colonized. He critiques how colonialism and neo-colonialism impose a hierarchical structure. As Homi K. Bhabha states in “The Other Question,” colonial discourse produces the colonized as an “Other” but seeks to control and define them.

In Ilmorog, the village’s transformation into a proto-capitalist society mirrors this binary. The new Ilmorog is divided into Cape Town, the residential area for the elite, and New Jerusalem, a shantytown for workers and the unemployed. The division reflects the imposition of Western capitalist structures, which exacerbate inequalities and fragment identities.

2. Hybridity and Cultural Transformation : 

Hybridity, as explained by Bhabha, emerges when elements of the colonizer’s culture intermingle with those of the colonized. This creates a new identity that challenges the authenticity of cultural purity. Ngugi demonstrates this through the fragmented identities of Ilmorog’s people. Workers and peasants adopt Christianity, modern schooling, and banking systems, reflecting a mimicry of Western values.

However, these changes lead to economic exploitation and loss of cultural integrity. For instance, the villagers take loans to buy imported fertilizers but fail to repay them, leading to displacement and poverty. In the case of Wanja's character and Nyakunya they lost their land and displaced from their own land. 

3. Ambivalence in Postcolonial Society : 

Ambivalence, a key concept by Bhabha, describes the coexistence of opposing feelings or attitudes toward the colonizer. It reflects the colonized subjects’ simultaneous admiration and resentment for the colonizer. Characters like Munira and Karega embody this ambivalence. Initially united against British colonialism, they grow jealous and mistrustful of each other in the neo-colonial period.

Munira, the school teacher, and Abdullah, a former Mau Mau fighter, represent the duality of pre-colonial resistance and postcolonial betrayal. Abdullah, once a symbol of resistance, becomes a shopkeeper, adapting to the capitalist economy.

4. Mimicry and Its Consequences : 

Mimicry, according to Bhabha, involves imitating the colonizer’s culture but always falling short. This imitation creates a sense of being “almost the same but not quite.” In Petals of Blood, villagers mimic the colonizer’s systems by embracing modern institutions like banks and schools. However, this imitation leads to further subjugation rather than empowerment.

Wanja, a key character, epitomizes mimicry. She starts as a barmaid and later becomes a high-paid prostitute, adapting to the exploitative capitalist society. Her struggle to find a place in this new society highlights the failure of mimicry to deliver true liberation.

5. Fragmented Protagonists : 

Ngugi’s characters reflect the fragmented identities caused by colonialism and neo-colonialism.

1. Munira: A teacher who initially resists colonial authority but becomes passive and unsure of his role.
2. Wanja: A strong yet conflicted character who moves from being a successful businesswoman to a prostitute. Her journey mirrors the exploitation of women and the commodification of relationships in a capitalist society.
3. Karega: A political activist who dreams of resistance but struggles with disillusionment.
4. Abdullah: A former Mau Mau fighter who reinvents himself as a shopkeeper but faces continual marginalization.

6. Women’s Struggles and Agency : 

Wanja is a central character whose life exemplifies the exploitation of women in a capitalist, patriarchal society. Despite her struggles, she fights back, symbolizing Kenya’s fight for independence. Wanja attempts to organize the dispossessed workers of Ilmorog into a protest. Her statement, “I’ll struggle against these black oppressors alone,” reflects her determination to challenge the new colonial system.

7. Neo-Colonialism and Capitalism : 

The novel critiques neo-colonialism, where African elites ally with foreign powers to exploit their own people. The trans-African road built through Ilmorog connects it to international capitalism but leads to the village’s exploitation. Residents lose their lands and are forced into low-paying jobs in the city.

8. Critique of Theory and Authority : 

Bhabha critiques the elitism of Western theories and advocates for a more inclusive approach to knowledge. This aligns with Ngugi’s critique of imperialism as incapable of developing Kenya. In Writers in Politics, Ngugi states that imperialism cannot help Kenyans. This is evident in the novel, where the introduction of capitalist practices leads to further exploitation rather than progress.

Ideological Orientation of Ngugi Wa Thiong’o’s Petals of Blood 

Ideological orientation refers to a set of beliefs, values, and ideas that shape how individuals or groups understand and interact with society. In literature, it is often a tool to analyze societal, political, and cultural structures. Ngugi Wa Thiong’o’s Petals of Blood reflects ideological orientations rooted in Marxism, postcolonialism, and African nationalism.

Postcolonialism and National Identity :

Ngugi critiques the illusion of freedom after Kenya's independence from British colonialism. He questions whether the nation truly achieved independence or simply transitioned into neo-colonial structures. Ilmorog, a fictional village, symbolizes postcolonial Kenya. Its residents face drought and oppression, eventually becoming victims of capitalism and bureaucracy. The village's transformation into a capitalist hub highlights the ongoing exploitation even after independence.

Fanonian Marxism : 

Ngugi draws on Frantz Fanon’s ideas, focusing on the psychological and socio-economic impacts of colonization. He portrays characters who grapple with class struggles and the aftermath of the Mau Mau rebellion. Abdullah, a former Mau Mau fighter, becomes a disabled shopkeeper, symbolizing the unfulfilled promises of freedom. His struggle reflects the broader challenges of decolonization and identity.

Class Struggles and Capitalism : 

The novel critiques the rise of a capitalist elite that perpetuates inequality, mirroring colonial exploitation. Wanja, a central character, transitions from a hopeful woman to a prostitute in New Kenya. Her life underscores how capitalism commodifies human relationships and degrades social values.

Language and Culture : 

Ngugi uses language as a tool to decolonize literature. While he writes in English, he incorporates African terms and cultural references to assert Kenyan identity. The phrase “agu and agu, tene wa tene” merges English with African linguistic traditions, emphasizing cultural resilience and identity.

Critique of Neo-Colonialism: 

Ngugi shows how colonial power structures persist through capitalism and elitism, undermining genuine freedom. Decolonization Through Literature: By blending African culture with English, Ngugi challenges the dominance of colonial languages, presenting an authentic Kenyan voice. Feminism and Postcolonialism: The representation of Wanja highlights the intersection of gender and postcolonial struggles, calling for broader societal change.

Conclusion : 

Petals of Blood combines postcolonial and Marxist ideologies to critique Kenya’s socio-political realities. Ngugi’s narrative emphasizes the importance of cultural identity, collective struggle, and resistance against neo-colonial systems. Through powerful examples and characters, the novel redefines history and offers a lens to understand the challenges of decolonization.

Images : 10 

GIF : 2

Video : 3 

Words : 2098

I would like to acknowlegde chatbots for helping me in arranging the content for this blog. 

References : 

Akter, S. (2014). Postmodern spirit in Ngugi Wa Thiong’o’s Petals of Blood based on the concepts of Homi K. Bhabha. https://www.semanticscholar.org/paper/Postmodern-spirit-in-Ngugi-Wa-Thiong%27o%27s-Petals-of-Akter/74721bb678dfcd55bc019758d7c885e1f72e7227

Bhabha, H. K. (2004). The location of culture. Psychology Press.

mistersato411. (2023, October 7). What is Modernist Fragmentation? (Modernism 4) [Video]. YouTube. https://www.youtube.com/watch?v=kAxEJbKN0q0

Tasnim, S. (2019, August 12). Ideological Orientation of Ngugi Wa Thiongâ€^TMoâ€^TMs Petals of Blood. https://ijels.com/detail/ideological-orientation-of-ngugi-wa-thiong-o-s-petals-of-blood/

Thiong’o, N. W. (2005). Petals of blood. Penguin.