Ruto Mourns Death Of Prof Ngugi Wa Thiongó

President William Ruto joined those mourning the death of teacher, writer, playwright, and public intellectual, Prof Ngugi wa Thiong’o.

He said Thursday the towering giant of Kenyan letters has put down his pen for the final time.

“Always courageous, he made an indelible impact on how we think about our independence, social justice as well as the uses and abuses of political and economic power.”

“In his bold and creative career, Prof Thiong’o showed us how to make contributions that cannot be ignored and speak in ways that both supporters and opponents cannot ignore,” said Ruto.

He added his patriotism is undeniable, and even those who disagree with him will admit that Prof Thiong’o’s discourse always sprang forth from a deep and earnest quest for truth and understanding, devoid of malice, hatred or contempt.

“Many Kenyans cannot remember a time when we were not united in the hope that Prof Thiong’o would finally receive the Nobel Prize for Literature, which we all felt he more than deserved.”

“Be that as it may, he will always remain the champion of literary emancipation and innovation in our hearts and minds,” he said.

– ‘Decolonising the mind’ –

Born James Ngugi into a large peasant family in Kenya’s central Limuru region on January 5, 1938, he spent the first 25 years of his life in what was then a British settler colony.

His early works were heavily influenced by his country’s battle against colonial rule and the brutal Mau Mau war of 1952-1960.

In his first collection of essays, “Homecoming“, he described himself as a “stranger in his home country”.

But his anger would later extend to the inequalities of post-colonial Kenyan society, incurring the wrath of the government.

In 1977, Ngugi and fellow writer Ngugi wa Mirii were jailed without charge after the staging of their play “Ngaahika Ndeenda” (“I Will Marry When I Want”).

It was then that he decided to write his first novel in Kikuyu, “Devil on the Cross“, which was published in 1980.

He had already abandoned his “English” name to become Ngugi wa Thiong’o.

“I wrote it on the only paper available to me, which was toilet paper,” he told US radio broadcaster NPR.

Amnesty International named him a prisoner of conscience, before a global campaign secured his release from Kamiti Maximum Security Prison in December 1978.

As early as 1965, Ngugi’s novel “The River Between” embarked on a critical examination of the role of Christianity in an African setting.

“If the white man’s religion made you abandon a custom and then did not give you something else of equal value, you became lost,” he wrote.

He went into self-imposed exile in 1982 after a ban on theatre groups in Kenya, moving first to Britain then to the United States.

In 1986, he published one of his best-known works, “Decolonising the Mind“, a collection of essays about the role of language in forging national culture, history and identity.

– ‘A Kenyan Tolstoy’ –

When Ngugi returned home on a visit in 2004, he was mobbed by supporters at Nairobi’s airport.

“I have come back with an open mind, an open heart and open arms,” he declared.

Days later, he and his wife were attacked by armed men: she was raped and he was beaten up. It was not clear whether robbery was the sole motive or whether the assault was politically motivated.

Margaretta wa Gacheru, a sociologist and former student of Ngugi, described him as a national icon.

“To me he’s like a Kenyan Tolstoy, in the sense of being a storyteller, in the sense of his love of the language and panoramic view of society, his description of the landscape of social relations, of class and class struggles,” she said.

In addition to fiction, the father-of-three, who became a professor of comparative literature at the University of California Irvine, also published essays and three memoirs.

His most recent book was the genre-defying novel-in-verse “The Perfect Nine“, which he translated into English in 2020.

It recounted the founding of the Kikuyu people, blending folklore and allegory.

From widening economic inequality to the lingering trauma of racism, the issues raised in the play still persist in Kenya and beyond, a fact not lost on its creator.

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