Ngũgĩ wa Thiong’o, "Writing Against Neo-Colonialism"

 

Ngũgĩ wa Thiong’o’s Writing Against Neo-Colonialism explore the relationship between literature, politics, and the struggle for liberation in Africa. In this work, Ngũgĩ reflects on the role of the writer in a society shaped by both colonialism and its modern form—neo-colonialism. He argues that African writers must not only resist colonial ideas but must also actively participate in building a new cultural and political future for their people. The book shows how literature can be used as a tool of resistance, empowerment, and education.

Ngũgĩ begins by explaining how colonialism worked not just by conquering lands but also by taking control of the people’s minds. This was done through language, education, religion, and culture. The colonizers wanted to replace African traditions with European ones. They introduced new values that made African people feel ashamed of their own history and identity. Even after independence, many African countries continued to follow the systems left by colonial powers. This is what Ngũgĩ calls neo-colonialism—the rule of foreign interests through African leaders, institutions, and ideas that still serve Western goals. He believes that writers must be aware of this and work to undo the damage done by both colonialism and neo-colonialism.

Ngũgĩ discusses the writer’s responsibility in society. He believes that the writer is not just an observer or storyteller, but someone who must take a stand. Writers must use their work to raise awareness and speak out against injustice. They must connect with the lives of ordinary people and reflect their struggles, hopes, and dreams. For Ngũgĩ, writing is not neutral. It always carries political meaning. A writer cannot stand outside history. Whether one writes about love, nature, or politics, the work always reveals a point of view shaped by class, race, and power.

He emphasizes that African writers must root themselves in their own cultures and languages. Just as he argued in Decolonising the Mind, he continues to push for the use of indigenous languages in literature and education. Writing in European languages, according to Ngũgĩ, can disconnect African writers from their people. Most African citizens cannot read English or French fluently. So when writers use these languages, they end up writing for elites or foreigners rather than for their own communities. He believes that African literature should not only be about African subjects, but also in African languages so that the people can truly understand and engage with it.

Ngũgĩ also explains how neo-colonialism functions in economics and politics. He points out that even though African countries became politically independent, they still rely on Western countries for trade, military support, and technology. Western companies and governments continue to exploit African resources. Local leaders who were trained by colonial institutions now continue to protect these interests instead of serving their own people. These leaders often silence voices of dissent and attack writers, artists, and activists who criticize the system. Ngũgĩ himself was jailed for writing a play that exposed corruption and inequality in Kenya. This shows how dangerous it can be for a writer to challenge neo-colonial power.

In the first essay, Ngũgĩ talks about the colonial roots of African education and how it was designed to separate African children from their own history and culture. Education was meant to create obedient workers, not free thinkers. This system still exists today, with African students learning more about European history than their own. He calls for an education system that teaches African languages, traditions, and values, helping people reconnect with their heritage.

In the second essay, he looks at how African writers have responded to colonialism and neo-colonialism. Some writers, like Chinua Achebe and Wole Soyinka, tried to use English in new ways to express African realities. Ngũgĩ respects their work but argues that true liberation must involve a complete break from colonial languages. He says that writing in African languages allows writers to speak directly to their people and to use local images, stories, and expressions that carry deeper meaning.

The third essay focuses on the role of the writer as a revolutionary. Ngũgĩ argues that in times of oppression, the writer must take the side of the oppressed. This does not mean becoming a politician or giving up art, but it means writing in a way that challenges injustice and gives voice to the voiceless. Writers must expose the lies of those in power and help people imagine new possibilities. Art, in this view, is not just for entertainment but for liberation.

Ngũgĩ also discusses how imperialism is global. Neo-colonialism does not only affect Africa, but also Asia, Latin America, and even working-class people in Western countries. He calls for global solidarity among writers, thinkers, and workers. All people who are oppressed by capitalist and imperialist systems must support each other. He believes that literature can cross borders and connect struggles across the world.

In the final sections, Ngũgĩ writes about his own experiences of censorship and imprisonment. He shares how his political beliefs shaped his writing, and how his decision to write in Gikuyu led to his arrest. Despite this, he remained committed to the idea that literature must belong to the people. His time in prison only strengthened his belief that writers must take risks if they want to bring about real change.