
Acclaimed Kenyan writer and dissident, Ngugi wa Thiong'o, dies at 87
Renowned Kenyan writer Ngugi wa Thiong'o has died at age 87, his family members have announced.
'It is with a heavy heart that we announce the passing of our dad, Ngugi wa Thiong'o,' his daughter Wanjiku Wa Ngugi wrote on Facebook on Wednesday.
'He lived a full life, fought a good fight,' she said.
At the time of his death, Ngugi was reportedly receiving kidney dialysis treatments, but his immediate cause of death is still unknown.
Born in Kenya in 1938, Ngugi will be remembered as one of Africa's most important postcolonial writers. Formative events in Ngugi's early life included the brutal Mau Mau war that swept British-ruled Kenya in the 1950s.
Ngugi's work was equally critical of the British colonial era and the postcolonial society that followed Kenya's independence in 1963. Other topics in his work covered the intersection between language, culture, history, and identity.
Ngugi made a mark for himself in the 1970s when he decided to switch from writing in English to the Kikuyu and Swahili languages – a controversial decision at the time.
'We all thought he was mad… and brave at the same time,' Kenyan writer David Maillu told the AFP news agency.
'We asked ourselves who would buy the books.'
One of his most famous works, 'Decolonising the Mind', was published in 1986 while living abroad. The book argues that it is 'impossible to liberate oneself while using the language of oppressors', AFP reports.
Besides holding the position of acclaimed writer, Ngugi was a prisoner of conscience. In 1977, he was jailed in Kenya for staging a play deemed critical of contemporary society.
He once described the country's new elite class as 'the death of hopes, the death of dreams and the death of beauty'.
In 1982, Ngugi went into self-imposed exile in the UK following a ban on theatre groups and performances in his home country. He later moved to the US, where he worked as a professor of comparative literature at the University of California, Irvine. He also continued writing a range of works, including essays, memoirs and novels about Kenya.
Following news of Ngugi's death, praise for his life and work quickly appeared online.
'My condolences to the family and friends of Professor Ngugi wa Thiong'o, a renowned literary giant and scholar, a son of the soil and great patriot whose footprints are indelible,' Kenya's opposition leader Martha Karua wrote on X.
'Thank you Mwalimu [teacher] for your freedom writing,' wrote Amnesty International's Kenya branch on X. 'Having already earned his place in Kenyan history, he transitions from mortality to immortality.'
Margaretta wa Gacheru, a sociologist and former student of Ngugi, said the author was 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.
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Ngugi wa Thiong'o loved to dance. He loved it more than anything else – even more than writing. Well into his 80s, his body slowed by increasingly disabling kidney failure, Ngugi would get up and start dancing merely at the thought of music, never mind the sound of it. Rhythm flowed through his feet the way words flowed through his hands and onto the page. It is how I will always remember Ngugi – dancing. He passed away on May 28 at the age of 87, leaving behind not only a Nobel-worthy literary legacy but a combination of deeply innovative craft and piercingly original criticism that joyfully calls on all of us to do better and push harder – as writers, activists, teachers and people – against the colonial foundations that sustain all our societies. As for me, he pushed me to go far deeper up river to Kakuma refugee camp, where the free association of so many vernacular tongues and cultures made possible the freedom to think and speak 'from the heart' – something he would always describe as writing's greatest gift. Ngugi had long been a charter member of the African literary canon and a perennial Nobel favourite by the time I first met him in 2005. Getting to know him, it quickly became clear to me that his writing was inseparable from his teaching, which in turn was umbilically tied to his political commitments and long service as one of Africa's most formidable public intellectuals. Ngugi's cheerfulness and indefatigable smile and laugh hid a deep-seated anger, reflecting the scars of violence on his body and soul as a child, young man and adult victimised by successive and deeply intertwined systems of criminalised rule. The murder of his deaf brother, killed by the British because he did not hear and obey soldiers' orders to stop at a checkpoint, and the Mau Mau revolt that divided his other brothers on opposite sides of the colonial order during the final decade of British rule, imbued in him the foundational reality of violence and divisiveness as the twin engines of permanent coloniality even after independence formally severed the connection to the metropole. More than half a century after these events, nothing would arouse Ngugi's animated ire more than bringing up in a discussion the transitional moment from British to Kenyan rule, and the fact that colonialism didn't leave with the British, but rather dug in and reenforced itself with Kenya's new, Kenyan rulers. As he became a writer and playwright, Ngugi also became a militant, one devoted to using language to reconnect the complex African identities – local, tribal, national and cosmopolitan – that the 'cultural bomb' of British rule had 'annihilated' over the previous seven decades. After his first play, The Black Hermit, premiered in Kampala in 1962, he was quickly declared a voice who 'speaks for the Continent'. Two years later, Weep Not Child, his first novel and the first English-language novel by an East African writer, came out. As he rose to prominence, Ngugi decided to renounce the English language and start writing in his native Gikuyu. 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For Ngugi, even as Gikuyu enabled him to 'imagine another world, a flight to freedom, like a bird you see from the [prison] window,' he could not make a final return home in his last years. Still, from his home in Orange County, California in the United States, he would never tire of urging students and younger colleagues to 'write dangerously', to use language to resist whatever oppressive order in which they found themselves. The bird would always take flight, he would say, if you could write without fear. The views expressed in this article are the author's own and do not necessarily reflect Al Jazeera's editorial stance.


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