Struggles with European Colonialism

A Grain of Wheat by Ngugi Wa Thiong’o is a novel depicting the people of Kenya and their various struggles with European colonialism. As is typical of this type of fiction writing, this work contains seemingly factual evidence about colonialism; yet it also includes a sub-plot about the relationship between main characters, Mugo and Kihika, as well as quite a bit of figurative language, such as symbolism and metaphors, that allow the reader to interpret underlying meanings for some sections of the book.

Most notably, within Ngugi Wa Thiong’o’s story, is the sub-plot that focuses on the relationship between Mugo and Kihika and its evolution and progression throughout the novel. Although on the outside, the two men appear to be spirited speakers and leaders against colonialism, it is evident from early on that Mugo secretly harbors jealousy for Kihika, his family, his leadership, and the respect given to him. Early on in the novel, following an energetic and forceful speech by Kihika, Mugo’s resentment of him is represented:

Mugo felt a constriction in his throat. He could not clap for words that did not touch him. What right had such a boy, probably younger than Mugo, to talk like that? What arrogance?âÂ?¦Mugo experienced a twang of jealousy as he too turned and looked at the speaker. At that moment their eyes met, or so Mugo imagined, with guiltâÂ?¦Something surged for release in Mugo’s heart, something, in fact, which was an intense vibration of terror and hatred (Ngugi Wa Thiong’o 15).

This scene practically foreshadows what is to come when Mugo is forced to sell Kihika out in a small event that leads to Kihika’s death. Later on, the dichotomy and irony of this scene is presented as Mugo is revealed to have been the one to sell out Kihika and Mugo must make a public apology to a similar group. The sub-plot of the relationship between Mugo and Kihika proves yet again that during times of colonialism, the people who are being controlled must bond together in order to successfully oppose the new colonial structures. Unfortunately, during some of these times, disorder and conflicts broke out among the colonized people. In this novel, Kenya is on the verge of gaining independence and the struggle between Mugo and Kihika only acts to prolong their country’s period of European rule and to promote internal struggle within their people.

Throughout the novel, there are quotes from the bible, said to have been underlined in Kihika’s personal bible. Among these are one from St. John 12:24 and another from Revelation 21:1. The first, “Verily, verily I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: bit if it die, it bringeth forth much fruit” and the second, “And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away” (Ngugi Wa Thiong’o 200). All of the underlined Biblical quotes from Kihika’s Bible give the reader a glimpse into the colonial experience and the position of the Kenyans. The first quote says, in not so many words, if an individual falls to the ground and dies, it will do this alone without the support of others; but in doing so, this individual will create freedom and life for all of the others. Obviously, the first quote draws a parallel to the examples given by Mugo and more specifically, Kihika, as a martyr who, in sacrificing himself for the good of the entire population, attempted to save an entire group of people. The second quote has more to do with the general population as a whole, saying that following the way things once were and following European colonialism, there will be yet another life to create and in which the Kenyans can live freely. By incorporating these quotes, Ngugi Wa Thiong’o creatively provides underlying meaning and symbolism for the perceptive, insightful reader.

Lastly, the structure of the chapters within the novel are telling of the colonial experience. The beginning chapters of the novel can only be identified by number. Towards the end of the book, however, the chapters’ titles become names, such as “Mugo” and “Karanja.” This chapter titling sequence is indicative and symbolic of the Kenyans; once nameless and lost in European culture, the Kenyans are now shown gaining order, taking power from European colonials and growing back into their own cultural identities.

Obviously, Ngugi Wa Thiong’o is very clever in his fictional creativity and authorial intent. Beyond the colonial struggles that are blatantly discussed and implied within the plot, the author also manages to convey a variety of colonial struggles through sub-plot, novel structure and symbolisms, riddled with underlying meaning. This novel is certainly an artful representation of colonialism in Kenya.