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賱丕 鬲亘賰 賷丕 賵賱丿賷
賴匕賴 丕賱賯氐丞貙 賲賳 兀乇賵毓 賲丐賱賮丕鬲 丕賱賰丕鬲亘 丕賱賰賷賳賷 丕賱卮丕亘 芦噩賷賲爻 賳噩賵噩蹖禄 . . . 賵賴賷 賯氐丞 丕賱賰賮丕丨 丕賱賲乇賷乇 丕賱匕賷 丕卮鬲乇賰 賮賷賴 賰賱 胤賮賱貙 賵賰賱 乇噩賱貙 賵賰賱 丕賲乇兀丞貙 鬲丨鬲 賯賷丕丿丞 噩賲丕毓丞 芦丕賱賲丕賵賲丕賵禄 丕賱鬲賷 爻賲毓 丕賱毓丕賱賲 亘賰賮丕丨賴丕 丕賱丕爻胤賵乇賷 賱賱賯囟丕亍 毓賱賶 丕賱爻賷胤乇丞 丕賱丕爻鬲毓賲丕乇賷丞貙 胤賵丕賱 賮鬲乇丞 丕賱鬲賵鬲乇 丕賱丿丕賲賷 丕賱鬲賷 爻亘賯鬲 丕爻鬲賯賱丕賱 賰賷賳賷丕貙 匕賱賰 丕賱亘賱丿 丕賱廿賮乇賷賯賷 丕賱匕賷 毓丕賳賶 賲賳 氐賵乇 丕賱丕爻鬲睾賱丕賱 丕賱亘卮毓 賵丕賱亘胤卮 賵丕賱馗賱賲貙 賲丕 丿賮毓賴 廿賱賶 亘匕賱 賰賱 鬲囟丨賷丞 賵賮丿丕亍貙 賵兀賳 賷丿賮毓 丿賲賴 孬賲賳丕賸 賱賱丨乇賷丞 丕賱鬲賷 賷鬲賲鬲毓 亘賴丕 丕賱賷賵賲.
賵鬲馗賴乇 丕賱賯氐丞 賲丿賶 賲丕 賷鬲賲鬲毓 亘賴 賴匕丕 丕賱卮毓亘 丕賱廿賮乇賷賯賷 丕賱亘胤賱 賲賳 乇賵丨 毓丕賱賷丞貙 賵丕丨爻丕爻 亘丕賱賵胤賳賷丞 丕賱賲鬲丿賮賯丞 丕賱鬲賷 賱賲 鬲爻鬲胤毓 賰賱 兀爻丕賱賷亘 丕賱丕爻鬲毓賲丕乇 鈥� 毓賱賶 賵丨卮賷鬲賴丕 賭 兀賳 鬲禺賲丿賴丕貙 兀賵 鬲賯賮 丿賵賳 鬲丨賯賷賯 賲丕 鬲爻鬲丨賯賴 賰賷賳賷丕 賲賳 丕賱丨乇賷丞 賵丕賱丕爻鬲賯賱丕賱 廿賱賶 噩丕賳亘 卮賯賷賯丕鬲賴丕 賲賳 丿賵賱 丕賱毓丕賱賲 丕賱孬丕賱孬.
賵鬲馗賴乇 丕賱賯氐丞 賲丿賶 賲丕 賷鬲賲鬲毓 亘賴 賴匕丕 丕賱卮毓亘 丕賱廿賮乇賷賯賷 丕賱亘胤賱 賲賳 乇賵丨 毓丕賱賷丞貙 賵丕丨爻丕爻 亘丕賱賵胤賳賷丞 丕賱賲鬲丿賮賯丞 丕賱鬲賷 賱賲 鬲爻鬲胤毓 賰賱 兀爻丕賱賷亘 丕賱丕爻鬲毓賲丕乇 鈥� 毓賱賶 賵丨卮賷鬲賴丕 賭 兀賳 鬲禺賲丿賴丕貙 兀賵 鬲賯賮 丿賵賳 鬲丨賯賷賯 賲丕 鬲爻鬲丨賯賴 賰賷賳賷丕 賲賳 丕賱丨乇賷丞 賵丕賱丕爻鬲賯賱丕賱 廿賱賶 噩丕賳亘 卮賯賷賯丕鬲賴丕 賲賳 丿賵賱 丕賱毓丕賱賲 丕賱孬丕賱孬.
236 pages, Paperback
First published May 1, 1964
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About the author
Ng农g末 wa Thiong'o
108听books1,857听followersKenyan teacher, novelist, essayist, and playwright, whose works function as an important link between the pioneers of African writing and the younger generation of postcolonial writers. After imprisonment in 1978, Ng农g末 abandoned using English as the primary language of his work in favor of Gikuyu, his native tongue. The transition from colonialism to postcoloniality and the crisis of modernity has been a central issues in a great deal of Ng农g末's writings.
Ng农g末 wa Thiong'o was born in Kamiriithu, near Limuru, Kiambu District, as the fifth child of the third of his father's four wives. At that time Kenya was under British rule, which ended in 1963. Ng农g末's family belonged to the Kenya's largest ethnic group, the Gikuyu. His father, Thiong'o wa Nducu, was a peasant farmer, who was forced to become a squatter after the British Imperial Act of 1915. Ng农g末 attended the mission-run school at Kamaandura in Limuru, Karinga school in Maanguu, and Alliance High School in Kikuyu. During these years Ng农g末 became a devout Christian. However, at school he also learned about the Gikuyu values and history and underwent the Gikuyu rite of passage ceremony. Later he rejected Christianity, and changed his original name in 1976 from James Ng农g末, which he saw as a sign of colonialism, to Ng农g末 wa Thiong'o in honor of his Gikuyu heritage.
After receiving a B.A. in English at Makerere University College in Kampala (Uganda) in 1963, Ng农g末 worked briefly as a journalist in Nairobi. He married in 1961. Over the next seventeen years his wife, Nyambura, gave birth to six children. In 1962 Ng农g末's play THE BLACK HERMIT was produced in Kampala. In 1964 he left for England to pursue graduate studies at the Leeds University in England.
The most prominent theme in Ng农g末's early work was the conflict between the individual and the community. As a novelist Ng农g末 made his debut with WEEP NOT, CHILD (1964), which he started to write while he was at school in England. It was the first novel in English to be published by an East African author. Ng农g末 used the Bildungsroman form to tell the story of a young man, Njoroge. He loses his opportunity for further education when he is caught between idealistic dreams and the violent reality of the colonial exploitation. THE RIVER BETWEEN (1965) had as its background the Mau Mau Rebellion (1952-1956). The story was set in the late 1920s and 1930s and depicted an unhappy love affair in a rural community divided between Christian converts and non-Christians.
A GRAIN OF WHEAT (1967) marked Ng农g末's break with cultural nationalism and his embracing of Fanonist Marxism. Ng农g末 refers in the title to the biblical theme of self-sacrifice, a part of the new birth: "unless a grain of wheat die." The allegorical story of one man's mistaken heroism and a search for the betrayer of a Mau Mau leader is set in a village, which has been destroyed in the war. The author's family was involved in the Mau Mau uprising. Ng农g末's older brother had joined the movement, his stepbrother was killed, and his mother was arrested and tortured. Ng农g末's village suffered in a campaign.
In the 1960s Ng农g末 was a reporter for the Nairobi Daily Nation and editor of Zuka from 1965 to 1970. He worked as a lecturer at several universities - at the University College in Nairobi (1967-69), at the Makerere University in Kampala (1969-70), and at the Northwestern University in Evanston in the United States (1970-71). Ng农g末 had resigned from his post at Nairobi University as a protest against government interference in the university, be he joined the faculty in 1973, becoming an associate professor and chairman of the department of literature. It had been formed in response to his and his colleagues' criticism of English - the British government had made in the 1950s instruction in English mandatory. Ng农g末 had asked in an article, written with Taban lo Liyong and Henry Owuor-Anyumba, "If there is need for a 's
Ng农g末 wa Thiong'o was born in Kamiriithu, near Limuru, Kiambu District, as the fifth child of the third of his father's four wives. At that time Kenya was under British rule, which ended in 1963. Ng农g末's family belonged to the Kenya's largest ethnic group, the Gikuyu. His father, Thiong'o wa Nducu, was a peasant farmer, who was forced to become a squatter after the British Imperial Act of 1915. Ng农g末 attended the mission-run school at Kamaandura in Limuru, Karinga school in Maanguu, and Alliance High School in Kikuyu. During these years Ng农g末 became a devout Christian. However, at school he also learned about the Gikuyu values and history and underwent the Gikuyu rite of passage ceremony. Later he rejected Christianity, and changed his original name in 1976 from James Ng农g末, which he saw as a sign of colonialism, to Ng农g末 wa Thiong'o in honor of his Gikuyu heritage.
After receiving a B.A. in English at Makerere University College in Kampala (Uganda) in 1963, Ng农g末 worked briefly as a journalist in Nairobi. He married in 1961. Over the next seventeen years his wife, Nyambura, gave birth to six children. In 1962 Ng农g末's play THE BLACK HERMIT was produced in Kampala. In 1964 he left for England to pursue graduate studies at the Leeds University in England.
The most prominent theme in Ng农g末's early work was the conflict between the individual and the community. As a novelist Ng农g末 made his debut with WEEP NOT, CHILD (1964), which he started to write while he was at school in England. It was the first novel in English to be published by an East African author. Ng农g末 used the Bildungsroman form to tell the story of a young man, Njoroge. He loses his opportunity for further education when he is caught between idealistic dreams and the violent reality of the colonial exploitation. THE RIVER BETWEEN (1965) had as its background the Mau Mau Rebellion (1952-1956). The story was set in the late 1920s and 1930s and depicted an unhappy love affair in a rural community divided between Christian converts and non-Christians.
A GRAIN OF WHEAT (1967) marked Ng农g末's break with cultural nationalism and his embracing of Fanonist Marxism. Ng农g末 refers in the title to the biblical theme of self-sacrifice, a part of the new birth: "unless a grain of wheat die." The allegorical story of one man's mistaken heroism and a search for the betrayer of a Mau Mau leader is set in a village, which has been destroyed in the war. The author's family was involved in the Mau Mau uprising. Ng农g末's older brother had joined the movement, his stepbrother was killed, and his mother was arrested and tortured. Ng农g末's village suffered in a campaign.
In the 1960s Ng农g末 was a reporter for the Nairobi Daily Nation and editor of Zuka from 1965 to 1970. He worked as a lecturer at several universities - at the University College in Nairobi (1967-69), at the Makerere University in Kampala (1969-70), and at the Northwestern University in Evanston in the United States (1970-71). Ng农g末 had resigned from his post at Nairobi University as a protest against government interference in the university, be he joined the faculty in 1973, becoming an associate professor and chairman of the department of literature. It had been formed in response to his and his colleagues' criticism of English - the British government had made in the 1950s instruction in English mandatory. Ng农g末 had asked in an article, written with Taban lo Liyong and Henry Owuor-Anyumba, "If there is need for a 's
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July 9, 2018
The story is set in Kenya around the time of the Mau Mau Rebellion (1952-1960) when the nation was still a British colony. The blurbs call this book the author鈥檚 masterpiece.
The main character is a bright young Christian boy, the only boy in his village who will pass school exams to go on to high school and then perhaps to college in England. When he gets to the high school level, it is the first time he has interacted with white people - the monks who teach at the school. Meanwhile all his older brothers (4 or 5 of them because his father has two wives) become involved in the rebellion and are hunted down and in some case tortured by the British authorities.
A British man controls the big farm in the area at which his father works. The white man also controls the black tribal village chief. Of the wealthy chief, who lives in a European-style house, the boy鈥檚 father says: 鈥淎 white man is a white man. But a black man trying to be a white man is bad and harsh.鈥� Of the lost land, the tribal leaders say 鈥淭he Bible paved the way for the sword.鈥� When the rebellion begins it was said of the white man 鈥淭he machine he set in motion was working. The blacks were destroying the blacks. They would destroy themselves to the end.鈥�
As the young boy matures, he is amazed to learn that it wasn鈥檛 always this way 鈥� village elders remember the time when the white man鈥檚 land was their own land. Local black men were also conscripted as servants to white soldiers in WW I and as soldiers in WW II. They see these European wars as 鈥渨hite men鈥檚 Wars.鈥�
Young love is another theme. The main character and the tribal chiefs daughter are in love but the class difference keeps them apart as does his brothers being in the rebellion against men like her father. The violence gets so atrocious that she writes to him at school: 鈥淔ear in the air. Not a fear of death 鈥� it鈥檚 a fear of living.鈥�
A snippet of dialog I liked:
鈥淚 wonder why he left England, the home of learning, and came here. He must be foolish.鈥�
鈥淚 don鈥檛 know. You cannot understand a white man.鈥�
A good story of developing African independence and rebellion against colonialism. A short read, less than 150 pages.
top photo: ebony.com
bottom photo: blackthen.com
The main character is a bright young Christian boy, the only boy in his village who will pass school exams to go on to high school and then perhaps to college in England. When he gets to the high school level, it is the first time he has interacted with white people - the monks who teach at the school. Meanwhile all his older brothers (4 or 5 of them because his father has two wives) become involved in the rebellion and are hunted down and in some case tortured by the British authorities.
A British man controls the big farm in the area at which his father works. The white man also controls the black tribal village chief. Of the wealthy chief, who lives in a European-style house, the boy鈥檚 father says: 鈥淎 white man is a white man. But a black man trying to be a white man is bad and harsh.鈥� Of the lost land, the tribal leaders say 鈥淭he Bible paved the way for the sword.鈥� When the rebellion begins it was said of the white man 鈥淭he machine he set in motion was working. The blacks were destroying the blacks. They would destroy themselves to the end.鈥�
As the young boy matures, he is amazed to learn that it wasn鈥檛 always this way 鈥� village elders remember the time when the white man鈥檚 land was their own land. Local black men were also conscripted as servants to white soldiers in WW I and as soldiers in WW II. They see these European wars as 鈥渨hite men鈥檚 Wars.鈥�
Young love is another theme. The main character and the tribal chiefs daughter are in love but the class difference keeps them apart as does his brothers being in the rebellion against men like her father. The violence gets so atrocious that she writes to him at school: 鈥淔ear in the air. Not a fear of death 鈥� it鈥檚 a fear of living.鈥�
A snippet of dialog I liked:
鈥淚 wonder why he left England, the home of learning, and came here. He must be foolish.鈥�
鈥淚 don鈥檛 know. You cannot understand a white man.鈥�
A good story of developing African independence and rebellion against colonialism. A short read, less than 150 pages.
top photo: ebony.com
bottom photo: blackthen.com
May 27, 2023
賳诏賵诏蹖 賵丕鬲蹖賵賳诏賵賵 賳賵蹖爻賳丿賴 賵 賳賲丕蹖卮 賳丕賲賴 賳賵蹖爻 讴賳蹖丕蹖蹖 丿乇 讴鬲丕亘 诏乇蹖賴 賳讴賳 亘趩賴 噩丕賳 鬲氐賵蹖乇蹖 乇賵卮賳 賵 卮賮丕賮 丕夭 夭賳丿诏蹖 丿乇 讴賳蹖丕 丕爻鬲毓賲丕乇 夭丿賴 乇丕 鬲乇爻蹖賲 讴乇丿賴 . 丕賵 亘丕 丕爻鬲賮丕丿賴 丕夭 丿丕爻鬲丕賳 蹖讴 禺丕賳賵丕丿賴 賮賯蹖乇貙 讴賵卮蹖丿賴 賲乇丿賲 讴賳蹖丕 賵 夭賳丿诏蹖 丌賳賴丕 乇丕 亘賴 鬲氐賵蹖乇 讴卮蹖丿賴 賵 鬲賱丕卮 丌賳丕賳 亘乇丕蹖 乇爻蹖丿賳 亘賴 乇賵蹖丕賴丕蹖卮丕賳 賵 賲亘丕乇夭賴 亘丕 丕賳亘賵賴 賲卮讴賱丕鬲 丕噩鬲賲丕毓蹖 賵 爻蹖丕爻蹖 乇丕 賳卮丕賳 丿賴丿 .
賲亘丕乇夭賴 亘丕 丕爻鬲毓賲丕乇 貙 賮賯乇 貙 鬲亘毓蹖囟 賵 亘蹖 毓丿丕賱鬲蹖 賲丨賵乇賴丕蹖 丕氐賱蹖 讴鬲丕亘 丕賵 乇丕 卮丕賲賱 賲蹖 卮賵賳丿 . 賴賲趩賳蹖賳 賲蹖 鬲賵丕賳 亘禺卮賴丕蹖蹖 丕夭 賲亘丕乇夭丕鬲 丕爻鬲賯賱丕賱 胤賱亘丕賳賴 賵 噩賳诏賴丕蹖 趩乇蹖讴蹖 賵 卮賵乇卮 賲賵爻賵賲 亘賴 賲丕卅賵 賲丕卅賵 乇丕 丿蹖丿 .
卮賵乇亘禺鬲丕賳賴 賵 亘賴 丿賱丕蹖賱蹖 讴賴 亘乇丕蹖 賲賳 趩賳丿丕賳 乇賵卮賳 賳蹖爻鬲 賳卮乇 丕賮賯 讴鬲丕亘 讴賵鬲丕賴 賵丕鬲蹖賵賳诏賵賵 乇丕 禺賱丕氐賴 讴乇丿賴 . 賳鬲蹖噩賴 丕蹖賳 讴丕乇 讴鬲丕亘蹖 亘賵丿賴 讴賴 賯胤毓丕 賳賲蹖 鬲賵丕賳 丌賳 乇丕 卮丕賴讴丕乇 ( 丨鬲蹖 丕夭 賳賵毓 5 賲蹖賱蹖 賲鬲乇蹖 ) 丿丕賳爻鬲 .
賲亘丕乇夭賴 亘丕 丕爻鬲毓賲丕乇 貙 賮賯乇 貙 鬲亘毓蹖囟 賵 亘蹖 毓丿丕賱鬲蹖 賲丨賵乇賴丕蹖 丕氐賱蹖 讴鬲丕亘 丕賵 乇丕 卮丕賲賱 賲蹖 卮賵賳丿 . 賴賲趩賳蹖賳 賲蹖 鬲賵丕賳 亘禺卮賴丕蹖蹖 丕夭 賲亘丕乇夭丕鬲 丕爻鬲賯賱丕賱 胤賱亘丕賳賴 賵 噩賳诏賴丕蹖 趩乇蹖讴蹖 賵 卮賵乇卮 賲賵爻賵賲 亘賴 賲丕卅賵 賲丕卅賵 乇丕 丿蹖丿 .
卮賵乇亘禺鬲丕賳賴 賵 亘賴 丿賱丕蹖賱蹖 讴賴 亘乇丕蹖 賲賳 趩賳丿丕賳 乇賵卮賳 賳蹖爻鬲 賳卮乇 丕賮賯 讴鬲丕亘 讴賵鬲丕賴 賵丕鬲蹖賵賳诏賵賵 乇丕 禺賱丕氐賴 讴乇丿賴 . 賳鬲蹖噩賴 丕蹖賳 讴丕乇 讴鬲丕亘蹖 亘賵丿賴 讴賴 賯胤毓丕 賳賲蹖 鬲賵丕賳 丌賳 乇丕 卮丕賴讴丕乇 ( 丨鬲蹖 丕夭 賳賵毓 5 賲蹖賱蹖 賲鬲乇蹖 ) 丿丕賳爻鬲 .
March 8, 2020
A complicated story told simply through the eyes of a child.
March 13, 2016
Described in many reviews as 'a simple story', this book only appears so, I think, because it's written in an economical, limpid style reminiscent of folk tales or anecdote. The narrative follows Njoroge as he grows from a small child to a young adult, locked in his time like a balloon in the wind, and we most often see things from his perspective, but sensitive critique of his na茂ve and sometimes ignorant viewpoint, and those of others, is implicit throughout. When Njoroge finds 'Lucia' a nice name, unlike, say, 'Mwihaki', I began to suspect the influence of white supremacy. This was confirmed a few pages later in the reflections of Njoroge's mother, Nyokabi:
This problematisation of language creates a tension, because the book is written in English, clearly rendering Gikuyu dialogue into that language. The tension pulled me back from the text, sometimes into the self-questioning mode that I have when reading in translation.
In contrast to Njoroge with his na茂ve optimism and lack of a concrete plan, Kamau works hard at his craft and brings in money to support the family. Kamau has a stock explanation for selfish and exploitative behaviour; privileged people want to keep their advantages. While the narrative seems to generally affirm this, it is nuanced particularly within the black community. Character development is usually brief (as in folk- or fairy- tale) but the careful positioning of each person gives room for imaginative extrapolation. My general impression of the book is an openness that invites elaboration and reply. For example, the racist portrayal of the Indian people, deliberately shallow and ignorant as that of an outsider looking through a lens clouded by white supremacy, invites reply from the Kenyan Indian community; M.G. Vassanji takes up this invitation in and I explore their dialogue a little in my review of that book. The child Njoroge accepts a sweet from a friendly Indian boy, and is rebuked by his mother. This is clearly a missed opportunity, limiting his experience and perspective.
The violence of the struggle negatively impacts the whole family; they cannot avoid becoming involved. First the African people call a general strike, but this is put down violently and the man who owns the land Njoroge's family lives on is made a Chief. This means he is on one hand a stooge of the increasingly abusive and violent Serikali (colonial government) and on the other, further empowered to serve his own interests. A curfew is imposed, people are taken to the woods and killed so that the police can declare 'victories' over the Mau Mau, and the white authorities torture those accused of dissent. Mau Mau threats of violence terrify the community, but all of the physical violence comes from the Serikali.
Central to the book is the historical and cultural framework from which the Mau Mau struggle emerges. This is introduced right at the beginning with the gossip between men at the barber's, contextualising the community's shared standpoint. Later Njoroge's father, Ngotho, a peaceable man, tells a creation story, which causes his son, Boro, Njoroge's much older half-brother, to get angry with Ngotho and his generation for losing their ancestral, god-given land to the white colonists. Boro was conscripted to fight for the British in WWII alongside his beloved half-brother Mwangi who was killed. Throughout the book, Ng农g末 links Boro's motives and feelings to his experience in the war. Ngotho himself was drafted in WWI, but African conscripts were not armed then, but took part as porters and so on, so his experience was different. Ngotho believes the prophecy that foretold the coming of the whites and their departure will be completed; he waits for the white man to leave. The younger generation is disillusioned and critical of this attitude, leading to uprising.
Ngotho's story reflects a cosmogony joining people to land believed by the Gikuyu people. In the present context of racialisation, this cosmogony is interpreted as racial, with negative consequences. Thus, racial essentialism is critiqued even as it fuses with traditional knowledge. Much worse though is the coloniser's theft: Ng农g末 contrasts Ngotho's feelings about the land with that of his white employer. Mr Howlands loves the shamba, but his attitude is clearly colonist: 鈥渉e alone was responsible for taming this unoccupied wildness鈥�. Ngotho 'felt responsible for whatever happened to this land. He owed it to the dead, the living and the unborn of his line, to keep guard over this shamba'
Later, Mr Howlands says 'This is my land' and the author comments 'he said it as a man says 鈥渢his is my woman鈥�'. I read this as another invitation to extend critique of the proprietary attitude towards the body of the land to the same attitude to the bodies of women. Decolonisation must be feminist! Having read I am happy to say that this feminist strand in Ng农g末 wa Thiong'o's thinking became more explicit and developed in his later work.
Not a just a simple story; a deep, complex, troubling, provocative and influential work.
It was to her the greatest reward she would get from her motherhood if she one day found her son writing letters, doing arithmetic and speaking English. She tried to imagine what the Howlands woman must have felt to have a daughter and a son in school. She wanted to be the same. Or be like Juliana. Juliana... must surely have felt proud to have a daughter who was a teacher and a son who would probably be flying to foreign parts soon. That was something. That was real life. It did not matter if anyone died poor provided he or she could one day say 'Look, I've a son as good and as well-educated as any you can find in the land.'I can imagine reading this passage and responding by writing . Njoroge loves school, but there is an ominous sign: he asks Nyokabi to tell him a story, because when he had to tell one in class, 'all eyes were fixed on me - I lost the story'. The idea that one might lose something in the process of education is hinted at by Njoroge's self-comparison with his brother Kamau, who has trained as a carpenter and become strong and skilled. Njoroge becomes more and more convinced of the benefits of education and his whole family makes sacrifices to support him in continuing despite bad turns of fortune. However, the only effect education seems to have on Njoroge is that he becomes more deeply invested in Christianity and its pie-in-the-sky-by-and-by optimism. The content of this education cannot be very substantial. The only lessons shared with the reader are the first, exciting lesson in which the engaging teacher Isaka shows the beginner class the alphabet, and an early English class where the class get into a muddle conjugating the phrase 'I am standing up'. This confusion about who is standing up in the language of the coloniser could be a hint. Who benefits from learning this language? Njoroge believes that knowledge of English is the measure of a person's education and that 'our country needs us' (ie educated people), but when his best friend Mwihaki asks him what for, he has no answer for her; he has no idea what concrete benefit will come from his education.
This problematisation of language creates a tension, because the book is written in English, clearly rendering Gikuyu dialogue into that language. The tension pulled me back from the text, sometimes into the self-questioning mode that I have when reading in translation.
In contrast to Njoroge with his na茂ve optimism and lack of a concrete plan, Kamau works hard at his craft and brings in money to support the family. Kamau has a stock explanation for selfish and exploitative behaviour; privileged people want to keep their advantages. While the narrative seems to generally affirm this, it is nuanced particularly within the black community. Character development is usually brief (as in folk- or fairy- tale) but the careful positioning of each person gives room for imaginative extrapolation. My general impression of the book is an openness that invites elaboration and reply. For example, the racist portrayal of the Indian people, deliberately shallow and ignorant as that of an outsider looking through a lens clouded by white supremacy, invites reply from the Kenyan Indian community; M.G. Vassanji takes up this invitation in and I explore their dialogue a little in my review of that book. The child Njoroge accepts a sweet from a friendly Indian boy, and is rebuked by his mother. This is clearly a missed opportunity, limiting his experience and perspective.
The violence of the struggle negatively impacts the whole family; they cannot avoid becoming involved. First the African people call a general strike, but this is put down violently and the man who owns the land Njoroge's family lives on is made a Chief. This means he is on one hand a stooge of the increasingly abusive and violent Serikali (colonial government) and on the other, further empowered to serve his own interests. A curfew is imposed, people are taken to the woods and killed so that the police can declare 'victories' over the Mau Mau, and the white authorities torture those accused of dissent. Mau Mau threats of violence terrify the community, but all of the physical violence comes from the Serikali.
Central to the book is the historical and cultural framework from which the Mau Mau struggle emerges. This is introduced right at the beginning with the gossip between men at the barber's, contextualising the community's shared standpoint. Later Njoroge's father, Ngotho, a peaceable man, tells a creation story, which causes his son, Boro, Njoroge's much older half-brother, to get angry with Ngotho and his generation for losing their ancestral, god-given land to the white colonists. Boro was conscripted to fight for the British in WWII alongside his beloved half-brother Mwangi who was killed. Throughout the book, Ng农g末 links Boro's motives and feelings to his experience in the war. Ngotho himself was drafted in WWI, but African conscripts were not armed then, but took part as porters and so on, so his experience was different. Ngotho believes the prophecy that foretold the coming of the whites and their departure will be completed; he waits for the white man to leave. The younger generation is disillusioned and critical of this attitude, leading to uprising.
Ngotho's story reflects a cosmogony joining people to land believed by the Gikuyu people. In the present context of racialisation, this cosmogony is interpreted as racial, with negative consequences. Thus, racial essentialism is critiqued even as it fuses with traditional knowledge. Much worse though is the coloniser's theft: Ng农g末 contrasts Ngotho's feelings about the land with that of his white employer. Mr Howlands loves the shamba, but his attitude is clearly colonist: 鈥渉e alone was responsible for taming this unoccupied wildness鈥�. Ngotho 'felt responsible for whatever happened to this land. He owed it to the dead, the living and the unborn of his line, to keep guard over this shamba'
Later, Mr Howlands says 'This is my land' and the author comments 'he said it as a man says 鈥渢his is my woman鈥�'. I read this as another invitation to extend critique of the proprietary attitude towards the body of the land to the same attitude to the bodies of women. Decolonisation must be feminist! Having read I am happy to say that this feminist strand in Ng农g末 wa Thiong'o's thinking became more explicit and developed in his later work.
Not a just a simple story; a deep, complex, troubling, provocative and influential work.
November 13, 2020
袨胁芯 褬械 锌褉胁懈 褉芯屑邪薪 泻械薪懈褬褋泻芯谐 锌懈褋褑邪 袧谐褍谐懈 胁邪 孝懈芯薪谐邪, 泻芯褬懈 褬械 薪邪锌懈褋邪芯 褬芯褕 泻邪芯 屑谢邪写懈褯, 邪 褋锌芯屑懈褮械 褋械 懈 写邪 褬械 芯胁芯 锌褉胁懈 褉芯屑邪薪 懈褋褌芯褔薪芯邪褎褉懈褔泻械 泻褮懈卸械胁薪芯褋褌懈. 孝械屑邪 褬械 邪屑斜懈褑懈芯蟹薪邪 鈥� 写械泻芯谢芯薪懈蟹邪褑懈褬邪 泻械薪懈褬褋泻懈褏 薪邪褉芯写邪, 斜芯褉斜邪 蟹邪 薪械蟹邪胁懈褋薪芯褋褌 懈 锌褉芯褌械褋褌 锌褉芯褌懈胁 褍谐褮械褌邪胁邪褮邪. 袩懈褋邪褑 褬械 卸械谢械芯 写邪 写邪 褬械写薪褍 褕懈褉芯泻褍 褋谢懈泻褍 褋懈褉芯屑邪褕褌胁邪 谢芯泻邪谢薪芯谐 薪邪褉芯写邪 薪邪褋锌褉邪屑 斜芯谐邪褌褋褌胁邪 泻芯谢芯薪懈蟹邪褌芯褉邪 懈 写芯屑邪褯懈褏 褍写胁芯褉薪懈泻邪, 邪谢懈 褋褍 谢懈泻芯胁懈, 泻邪芯 懈 褉邪写褮邪 芯褋褌邪谢懈 胁懈褕械 薪邪 薪懈胁芯褍 褋泻懈褑械.
袩褉芯褌邪谐芯薪懈褋褌邪 褬械 屑谢邪写懈, 褋懈褉芯屑邪褕薪懈 蟹邪薪械褋械褮邪泻 袧褵芯褉芯谐械 泻芯褬懈 褋邪褮邪 写邪 芯斜褉邪蟹芯胁邪褮械屑 褍薪邪锌褉械写懈 锌芯谢芯卸邪褬 褋胁芯褬械 锌芯褉芯写懈褑械, 邪谢懈 懈 写邪 褍褉邪写懈 鈥炐叫笛堁傂� 胁械谢懈泻芯鈥� 蟹邪 褋胁芯褬 薪邪褉芯写. 小懈褉芯屑邪褕褌胁芯 懈 锌芯写褉械褣械薪懈 锌芯谢芯卸邪褬 锌褉械屑邪 泻芯谢芯薪懈蟹邪褌芯褉懈屑邪, 邪 锌芯褌芯屑 懈 薪械褍褋锌械褏 褍褋褌邪薪泻邪 锌褉芯褌懈胁 懈褋褌懈褏 褯械 懈锌邪泻 芯写褉械写懈褌懈 写褉褍谐邪褔懈褬褍 褌褉邪褋褍 褮械谐芯胁芯谐 卸懈胁芯褌邪. 袩芯褉械写 褌芯谐邪, 褌褍 褬械 懈 蟹邪斜褉邪褮械薪邪 褭褍斜邪胁 锌褉械屑邪 谐邪蟹写懈薪芯褬 褯械褉泻懈, 泻芯褬邪 谐邪 褌懈褕褌懈. 校 锌芯蟹邪写懈薪懈 褋械 写械褕邪胁邪褬褍 锌芯谢懈褌懈褔泻邪 锌褉械胁懈褉邪褮邪 褍 泻芯褬械 褬械 袧褵芯褉芯谐械 锌芯褋褉械写薪芯 褍泻褭褍褔械薪 锌褉械泻芯 褉械邪泻褑懈芯薪邪褉薪懈褏 邪泻褌懈胁薪芯褋褌懈 褋胁芯褬械 褋褌邪褉懈褬械 (锌芯谢褍)斜褉邪褯械. 小锌芯屑懈褮褍 褋械 褍 薪邪蟹薪邪泻邪屑邪 袦邪褍-袦邪褍 褍褋褌邪薪邪泻, 袕芯屑芯 (袣械薪懈褬邪褌邪) 鈥� 锌褉胁懈 锌褉械屑懈褬械褉 懈 锌褉械写褋械写薪懈泻 薪械蟹邪胁懈褋薪械 袣械薪懈褬械 懈褌写, 邪谢懈 褋胁e 褌芯 鈥炐叫� 泻邪褕懈褔懈褑褍鈥�.
袠 锌芯褉械写 褋胁懈褏 薪械写芯褋褌邪褌邪泻邪, 芯胁芯 褬械 褬械写薪芯 胁褉械写薪芯 褋胁械写芯褔邪薪褋褌胁芯 芯 胁褉械屑械薪褍 褉邪褣邪褮邪 泻械薪懈褬褋泻械 写褉卸邪胁械.
袩褉芯褌邪谐芯薪懈褋褌邪 褬械 屑谢邪写懈, 褋懈褉芯屑邪褕薪懈 蟹邪薪械褋械褮邪泻 袧褵芯褉芯谐械 泻芯褬懈 褋邪褮邪 写邪 芯斜褉邪蟹芯胁邪褮械屑 褍薪邪锌褉械写懈 锌芯谢芯卸邪褬 褋胁芯褬械 锌芯褉芯写懈褑械, 邪谢懈 懈 写邪 褍褉邪写懈 鈥炐叫笛堁傂� 胁械谢懈泻芯鈥� 蟹邪 褋胁芯褬 薪邪褉芯写. 小懈褉芯屑邪褕褌胁芯 懈 锌芯写褉械褣械薪懈 锌芯谢芯卸邪褬 锌褉械屑邪 泻芯谢芯薪懈蟹邪褌芯褉懈屑邪, 邪 锌芯褌芯屑 懈 薪械褍褋锌械褏 褍褋褌邪薪泻邪 锌褉芯褌懈胁 懈褋褌懈褏 褯械 懈锌邪泻 芯写褉械写懈褌懈 写褉褍谐邪褔懈褬褍 褌褉邪褋褍 褮械谐芯胁芯谐 卸懈胁芯褌邪. 袩芯褉械写 褌芯谐邪, 褌褍 褬械 懈 蟹邪斜褉邪褮械薪邪 褭褍斜邪胁 锌褉械屑邪 谐邪蟹写懈薪芯褬 褯械褉泻懈, 泻芯褬邪 谐邪 褌懈褕褌懈. 校 锌芯蟹邪写懈薪懈 褋械 写械褕邪胁邪褬褍 锌芯谢懈褌懈褔泻邪 锌褉械胁懈褉邪褮邪 褍 泻芯褬械 褬械 袧褵芯褉芯谐械 锌芯褋褉械写薪芯 褍泻褭褍褔械薪 锌褉械泻芯 褉械邪泻褑懈芯薪邪褉薪懈褏 邪泻褌懈胁薪芯褋褌懈 褋胁芯褬械 褋褌邪褉懈褬械 (锌芯谢褍)斜褉邪褯械. 小锌芯屑懈褮褍 褋械 褍 薪邪蟹薪邪泻邪屑邪 袦邪褍-袦邪褍 褍褋褌邪薪邪泻, 袕芯屑芯 (袣械薪懈褬邪褌邪) 鈥� 锌褉胁懈 锌褉械屑懈褬械褉 懈 锌褉械写褋械写薪懈泻 薪械蟹邪胁懈褋薪械 袣械薪懈褬械 懈褌写, 邪谢懈 褋胁e 褌芯 鈥炐叫� 泻邪褕懈褔懈褑褍鈥�.
袠 锌芯褉械写 褋胁懈褏 薪械写芯褋褌邪褌邪泻邪, 芯胁芯 褬械 褬械写薪芯 胁褉械写薪芯 褋胁械写芯褔邪薪褋褌胁芯 芯 胁褉械屑械薪褍 褉邪褣邪褮邪 泻械薪懈褬褋泻械 写褉卸邪胁械.
April 24, 2024
Schedario-repertorio (luoghi, tempi, nomi, titoli, domande)
1) Luogo del racconto:
Kenya.
2) Luogo del racconto, pi霉 precisamente:
芦In a country of ridges, such as Kikuyuland, there are many valleys and small plains禄...
3) Tempo del racconto:
all'inizio della sollevazione anticoloniale dei Mau Mau, quindi inizio anni Cinquanta (芦No, Mau Mau is not bad. The Freedom Boys are fighting against white settlers. Is it bad to fight for one鈥檚 land? Tell me that.禄)
4) Tempo della prima edizione: 1964.
5) Tempo dell'edizione che ho letto: 2012.
6) Tempo delle origini: 芦Now, you know that at the beginning of things there was only one man (Gikuyu) and one woman (Mumbi).禄
7) Nome dell'autore al momento della prima edizione: James Ngugi.
8) Nome dell'autore dell'introduzione nell'edizione che ho letto: Ben Okri.
9) Nome dell'editore della prima edizione: Heinemann.
10) Nome dell'autore a partire dagli anni Settanta: Ng农g末 wa Thiong鈥檕.
11) Nome di un gruppo musicale che ascoltavo parecchio, anni fa: Mau Mau.
12) Titolo della prima edizione italiana:
Se ne andranno le nuvole devastatrici
Se ne andranno le nuvole devastatrici? Se ne andranno le nuvole devastatrici? Non piangere, figliuolo.
13) Provenienza del titolo originale:
da On the Beach at Night di Walt Whitman:
芦On the beach at night,
Stands a child with her father,
Watching the east, the autumn sky.
[...]
Weep not, child,
Weep not, my darling,
With these kisses let me remove your tears,
The ravening clouds shall not long be victorious,
They shall not long possess the sky, they devour the stars only in apparition,
Jupiter shall emerge, be patient, watch again another night, the Pleiades shall emerge,
They are immortal, all those stars both silvery and golden shall shine out again,
The great stars and the little ones shall shine out again, they endure,
The vast immortal suns and the long-enduring pensive moons shall again shine.禄
14) Titolo di un altro libro che usciva nello stesso anno della prima edizione e che io ho letto molti anni prima di questo: African Stories di Doris Lessing.
15) Titolo dei due libri successivi pubblicati da Ngugi: The River between (che non ho letto), A Grain of Wheat (che ho letto).
16) Governi nell'anno della prima edizione: 1 giugno: il Kenya diventa repubblica, Jomo Kenyatta presidente. 26 giugno: in Italia dimissioni del primo governo Moro, 22 luglio: secondo governo Moro; ottobre: elezioni generali nel Regno Unito, Harold Wilson primo ministro; Bre啪nev diventa segretario del Pcus.
17) Fantasmatica-mitica-trasfigurata presenza del futuro presidente nel presente della narrazione: 芦there was growing up in his heart a feeling that the Gikuyu people, whose land had been taken by white men, were no other than the children of Israel about whom he read in the Bible. So although all men were brothers, the black people had a special mission to the world because they were the chosen people of God. This explained his brother鈥檚 remark that Jomo was the black Moses.禄
18) Nomi dei personaggi e legami tra loro, in poche brevi frasi: 芦Boro, Kori, and Kamau were all sons of Njeri, Ngotho鈥檚 eldest wife. Njoroge鈥檚 only true brother was Mwangi who had died in the war. But they all behaved as if they were of one mother禄
19) Domande all'origine della sollevazione anticoloniale: 芦How can you continue working for a man who has taken your land? How can you go on serving him?禄
20) Forma della semplicit脿 del romanzo secondo Okri: 芦The novel is disarmingly simple and direct. [...] The writing is clear, unpretentious, but shaped with the noble cadences of traditional speech.禄
21) Significato della semplicit脿 del romanzo secondo Okri: 猫 un romanzo 芦about loss. It moves through many losses, beginning with the loss of land.禄
22) Sentimenti provati nella lettura: curiosit脿, simpatia per alcuni personaggi, raccapriccio in un momento di passaggio fondamentale, malinconia indefinita.
23) Curiosit脿 oziosa: ma c'猫 qualche elemento di autobiografia in quel ragazzino (Njoroge) che pensa sempre a studiare in mezzo a tutto il casino, perch茅 ha fede nell'educazione, attraverso la quale vuole diventare protagonista nel rimettere in piedi il suo paese dilaniato?
1) Luogo del racconto:
Kenya.
2) Luogo del racconto, pi霉 precisamente:
芦In a country of ridges, such as Kikuyuland, there are many valleys and small plains禄...
3) Tempo del racconto:
all'inizio della sollevazione anticoloniale dei Mau Mau, quindi inizio anni Cinquanta (芦No, Mau Mau is not bad. The Freedom Boys are fighting against white settlers. Is it bad to fight for one鈥檚 land? Tell me that.禄)
4) Tempo della prima edizione: 1964.
5) Tempo dell'edizione che ho letto: 2012.
6) Tempo delle origini: 芦Now, you know that at the beginning of things there was only one man (Gikuyu) and one woman (Mumbi).禄
7) Nome dell'autore al momento della prima edizione: James Ngugi.
8) Nome dell'autore dell'introduzione nell'edizione che ho letto: Ben Okri.
9) Nome dell'editore della prima edizione: Heinemann.
10) Nome dell'autore a partire dagli anni Settanta: Ng农g末 wa Thiong鈥檕.
11) Nome di un gruppo musicale che ascoltavo parecchio, anni fa: Mau Mau.
12) Titolo della prima edizione italiana:
Se ne andranno le nuvole devastatrici
Se ne andranno le nuvole devastatrici? Se ne andranno le nuvole devastatrici? Non piangere, figliuolo.
13) Provenienza del titolo originale:
da On the Beach at Night di Walt Whitman:
芦On the beach at night,
Stands a child with her father,
Watching the east, the autumn sky.
[...]
Weep not, child,
Weep not, my darling,
With these kisses let me remove your tears,
The ravening clouds shall not long be victorious,
They shall not long possess the sky, they devour the stars only in apparition,
Jupiter shall emerge, be patient, watch again another night, the Pleiades shall emerge,
They are immortal, all those stars both silvery and golden shall shine out again,
The great stars and the little ones shall shine out again, they endure,
The vast immortal suns and the long-enduring pensive moons shall again shine.禄
14) Titolo di un altro libro che usciva nello stesso anno della prima edizione e che io ho letto molti anni prima di questo: African Stories di Doris Lessing.
15) Titolo dei due libri successivi pubblicati da Ngugi: The River between (che non ho letto), A Grain of Wheat (che ho letto).
16) Governi nell'anno della prima edizione: 1 giugno: il Kenya diventa repubblica, Jomo Kenyatta presidente. 26 giugno: in Italia dimissioni del primo governo Moro, 22 luglio: secondo governo Moro; ottobre: elezioni generali nel Regno Unito, Harold Wilson primo ministro; Bre啪nev diventa segretario del Pcus.
17) Fantasmatica-mitica-trasfigurata presenza del futuro presidente nel presente della narrazione: 芦there was growing up in his heart a feeling that the Gikuyu people, whose land had been taken by white men, were no other than the children of Israel about whom he read in the Bible. So although all men were brothers, the black people had a special mission to the world because they were the chosen people of God. This explained his brother鈥檚 remark that Jomo was the black Moses.禄
18) Nomi dei personaggi e legami tra loro, in poche brevi frasi: 芦Boro, Kori, and Kamau were all sons of Njeri, Ngotho鈥檚 eldest wife. Njoroge鈥檚 only true brother was Mwangi who had died in the war. But they all behaved as if they were of one mother禄
19) Domande all'origine della sollevazione anticoloniale: 芦How can you continue working for a man who has taken your land? How can you go on serving him?禄
20) Forma della semplicit脿 del romanzo secondo Okri: 芦The novel is disarmingly simple and direct. [...] The writing is clear, unpretentious, but shaped with the noble cadences of traditional speech.禄
21) Significato della semplicit脿 del romanzo secondo Okri: 猫 un romanzo 芦about loss. It moves through many losses, beginning with the loss of land.禄
22) Sentimenti provati nella lettura: curiosit脿, simpatia per alcuni personaggi, raccapriccio in un momento di passaggio fondamentale, malinconia indefinita.
23) Curiosit脿 oziosa: ma c'猫 qualche elemento di autobiografia in quel ragazzino (Njoroge) che pensa sempre a studiare in mezzo a tutto il casino, perch茅 ha fede nell'educazione, attraverso la quale vuole diventare protagonista nel rimettere in piedi il suo paese dilaniato?
May 23, 2019
This is the great Ngugi's first novel, published over 50 years ago! The book showed his immense potential and talent as an imaginative writer. Though the novel is based on the shattering reality of the Mau Mau movement in East Africa. The author creates quite a number convincing characters, not only blacks. Njoroge, a youngster is apparently the main protagonist as his family is affected profoundly by the sombre, even violent events, and much of the action is filtered through him. It might be harsh, but he does not come across as a brave person, and his touching yet infantile love affair does not get him anywhere. We see how important LAND is in the society, for the black people, and also the whites. The violence and cruelty seem gratuitous many times, making the reader wince. Our young "hero" realises western education can be very important, but it does not seem relevant many times under the horrifying circumstances.
June 12, 2020
These past few days found me wagging an accusing finger at Penguin for the synopsis/cover of this book + the dismal offering of their African Writers Series. My criticisms still stand but I鈥檒l admit the one good thing going for this edition is the introduction by Ben Okri which is pure gold. It alerted me to what I should be paying attention to without giving anything away which added so much more depth to my reading, understanding and interpretation of this classical work.
饾槥饾槮饾槮饾槺 饾槙饾槹饾樀, 饾槉饾槱饾槳饾槶饾槬 tells the story of a young boy growing up during a period of civil unrest between British colonial authorities in Kenya and the Mau Mau fighters. The prose is direct, without subtleties, and makes the most of internal monologues. Through the author鈥檚 light pen we see an ancient land, a town full of traditions, customs, legends, beliefs and where family and land are the most important thing a man can have, and how armed conflicts often harm those who are weaker and without any fault.
The use of third person narration gave Ng奴g墨 plenty of room to navigate different perspectives and show how multi faceted the struggle for independence was, not just the white settlers the black population but also black man against black man, father against son, Christianity against the indigenous belief system. We view the protagonist鈥檚 coming of age and how his dreams wobbled and collapsed like a fragile house of cards, a white settler sowing seeds of discord between black men, a Kenyan land owner who supports the white cause, and my favorite character - a man with firm belief in Gikuyu mythology and the traditional way of life who suddenly finds himself usurped of his land, dignity, manhood and his standing as the head of a the family. The precarious state of not belonging that second generation settlers (Kenya Cowboys as they鈥檙e commonly known here) experience was also explored - not quite Kenyans, not fully British. All this is a testament to Ng奴g墨鈥檚 skill in creating nuanced characters using disarmingly simple prose but I felt this very same quality lacking when it came to the female characters who were mostly invisible. I鈥檝e read Ng奴g墨鈥檚 later work 饾槇 饾槑饾槼饾槩饾槳饾槸 饾槹饾槯 饾槥饾槱饾槮饾槩饾樀 in which the female characters were a lot more fleshed out so I鈥檓 willing to give my fellow countryman the benefit of doubt and attribute this flaw to a first time writer finding his footing.
The language used has the cadence of traditional speech, for example, he writes 饾槓 饾槶饾槹饾槾饾樀 饾樀饾槱饾槮 饾槾饾樀饾槹饾槼饾樅 for forgetting the sequence of a tale or 饾槾饾槩饾槸饾槬 饾槱饾槩饾槬 饾槮饾槩饾樀饾槮饾槸 饾樀饾槱饾槮 饾槵饾槸饾槮饾槮 to describe a grazed knee which was not only delightful to read but also reflective of the literal translation speech that sometimes unconsciously seeps out of Kenyans. I interpreted it as an act of defiance by infusing elements of traditional speech in the colonizers language, and it also hints at Ng奴g墨鈥檚 later decision to do away with English and write in his native tongue.
This aspect language gave me a whiff of Tutola鈥檚 饾槜饾槩饾槶饾槷 饾槥饾槳饾槸饾槮 饾構饾槼饾槳饾槸饾槵饾槩饾槼饾槬 and I felt the ending was a nod to Achebe鈥檚 饾槢饾槱饾槳饾槸饾槰饾槾 饾槏饾槩饾槶饾槶 饾槇饾槺饾槩饾槼饾樀 in highlighting how colonialism crushed one鈥檚 spirit and forced a strong willed person to attempt suicide. While Achebe鈥檚 protagonist was successful in his suicide, powerfully symbolizing the death of a culture, Ng奴g墨鈥檚 choice of giving his protagonist another shot at life was just as powerful and perhaps a reflection of the young Ng奴g墨鈥檚 (he was only 28 when he wrote this) hope for a new Kenya free of colonial rule. To keep on persevering and hoping for a better tomorrow in the midst of ongoing brutality is perhaps the greatest strength. The book takes its title after a line from Walt Whitman鈥檚 poem 饾槚饾槸 饾樀饾槱饾槮 饾槈饾槮饾槩饾槫饾槱 饾槩饾樀 饾槙饾槳饾槰饾槱饾樀 and it, too, alludes to a hopeful future.
饾槥饾槮饾槮饾槺 饾槸饾槹饾樀, 饾槫饾槱饾槳饾槶饾槬,
饾槥饾槮饾槮饾槺 饾槸饾槹饾樀, 饾槷饾樅 饾槬饾槩饾槼饾槶饾槳饾槸饾槰,
饾槥饾槳饾樀饾槱 饾樀饾槱饾槮饾槾饾槮 饾槵饾槳饾槾饾槾饾槮饾槾 饾槶饾槮饾樀 饾槷饾槮 饾槼饾槮饾槷饾槹饾樂饾槮 饾樅饾槹饾樁饾槼 饾樀饾槮饾槩饾槼饾槾,
饾槢饾槱饾槮 饾槼饾槩饾樂饾槮饾槸饾槳饾槸饾槰 饾槫饾槶饾槹饾樁饾槬饾槾 饾槾饾槱饾槩饾槶饾槶 饾槸饾槹饾樀 饾槶饾槹饾槸饾槰 饾槪饾槮 饾樂饾槳饾槫饾樀饾槹饾槼饾槳饾槹饾樁饾槾.
饾槥饾槮饾槮饾槺 饾槙饾槹饾樀, 饾槉饾槱饾槳饾槶饾槬 tells the story of a young boy growing up during a period of civil unrest between British colonial authorities in Kenya and the Mau Mau fighters. The prose is direct, without subtleties, and makes the most of internal monologues. Through the author鈥檚 light pen we see an ancient land, a town full of traditions, customs, legends, beliefs and where family and land are the most important thing a man can have, and how armed conflicts often harm those who are weaker and without any fault.
The use of third person narration gave Ng奴g墨 plenty of room to navigate different perspectives and show how multi faceted the struggle for independence was, not just the white settlers the black population but also black man against black man, father against son, Christianity against the indigenous belief system. We view the protagonist鈥檚 coming of age and how his dreams wobbled and collapsed like a fragile house of cards, a white settler sowing seeds of discord between black men, a Kenyan land owner who supports the white cause, and my favorite character - a man with firm belief in Gikuyu mythology and the traditional way of life who suddenly finds himself usurped of his land, dignity, manhood and his standing as the head of a the family. The precarious state of not belonging that second generation settlers (Kenya Cowboys as they鈥檙e commonly known here) experience was also explored - not quite Kenyans, not fully British. All this is a testament to Ng奴g墨鈥檚 skill in creating nuanced characters using disarmingly simple prose but I felt this very same quality lacking when it came to the female characters who were mostly invisible. I鈥檝e read Ng奴g墨鈥檚 later work 饾槇 饾槑饾槼饾槩饾槳饾槸 饾槹饾槯 饾槥饾槱饾槮饾槩饾樀 in which the female characters were a lot more fleshed out so I鈥檓 willing to give my fellow countryman the benefit of doubt and attribute this flaw to a first time writer finding his footing.
The language used has the cadence of traditional speech, for example, he writes 饾槓 饾槶饾槹饾槾饾樀 饾樀饾槱饾槮 饾槾饾樀饾槹饾槼饾樅 for forgetting the sequence of a tale or 饾槾饾槩饾槸饾槬 饾槱饾槩饾槬 饾槮饾槩饾樀饾槮饾槸 饾樀饾槱饾槮 饾槵饾槸饾槮饾槮 to describe a grazed knee which was not only delightful to read but also reflective of the literal translation speech that sometimes unconsciously seeps out of Kenyans. I interpreted it as an act of defiance by infusing elements of traditional speech in the colonizers language, and it also hints at Ng奴g墨鈥檚 later decision to do away with English and write in his native tongue.
This aspect language gave me a whiff of Tutola鈥檚 饾槜饾槩饾槶饾槷 饾槥饾槳饾槸饾槮 饾構饾槼饾槳饾槸饾槵饾槩饾槼饾槬 and I felt the ending was a nod to Achebe鈥檚 饾槢饾槱饾槳饾槸饾槰饾槾 饾槏饾槩饾槶饾槶 饾槇饾槺饾槩饾槼饾樀 in highlighting how colonialism crushed one鈥檚 spirit and forced a strong willed person to attempt suicide. While Achebe鈥檚 protagonist was successful in his suicide, powerfully symbolizing the death of a culture, Ng奴g墨鈥檚 choice of giving his protagonist another shot at life was just as powerful and perhaps a reflection of the young Ng奴g墨鈥檚 (he was only 28 when he wrote this) hope for a new Kenya free of colonial rule. To keep on persevering and hoping for a better tomorrow in the midst of ongoing brutality is perhaps the greatest strength. The book takes its title after a line from Walt Whitman鈥檚 poem 饾槚饾槸 饾樀饾槱饾槮 饾槈饾槮饾槩饾槫饾槱 饾槩饾樀 饾槙饾槳饾槰饾槱饾樀 and it, too, alludes to a hopeful future.
饾槥饾槮饾槮饾槺 饾槸饾槹饾樀, 饾槫饾槱饾槳饾槶饾槬,
饾槥饾槮饾槮饾槺 饾槸饾槹饾樀, 饾槷饾樅 饾槬饾槩饾槼饾槶饾槳饾槸饾槰,
饾槥饾槳饾樀饾槱 饾樀饾槱饾槮饾槾饾槮 饾槵饾槳饾槾饾槾饾槮饾槾 饾槶饾槮饾樀 饾槷饾槮 饾槼饾槮饾槷饾槹饾樂饾槮 饾樅饾槹饾樁饾槼 饾樀饾槮饾槩饾槼饾槾,
饾槢饾槱饾槮 饾槼饾槩饾樂饾槮饾槸饾槳饾槸饾槰 饾槫饾槶饾槹饾樁饾槬饾槾 饾槾饾槱饾槩饾槶饾槶 饾槸饾槹饾樀 饾槶饾槹饾槸饾槰 饾槪饾槮 饾樂饾槳饾槫饾樀饾槹饾槼饾槳饾槹饾樁饾槾.
April 28, 2020
Weep Not Child by Ngugi wa Theong'o is an early novel by one of Kenya's more prominent writers, someone who came of age as an author just as the struggle for independence was causing both considerable intellectual ferment and widespread bloodshed during the time of the Mau Mau insurrection, called the Emergency by the white colonial administration and the many British settlers, especially those in the so-called "White Highlands" of Kenya.
I'd read this book while living & teaching in Kenya just a few years after its independence from Great Britain but in rereading the Ngugi novel found it much more complex than I'd remembered. For, while it is definitely a Bildungsroman or coming-of-age story, it also rather nicely encompasses Kenya's history in the period just prior to independence and includes a kind of Romeo & Juliet love story as well, with contrasting visions of the importance of the land as a primary focal point.
The main character, Njoroge, growing up in a large but poor Kikuyu family, aspires to follow the advice of his father, Ngotho, that "Education is everything", becoming the first in his family to attend a school of any sort, eventually succeeding as a primary school student & gaining a place in a very competitive secondary school in the capital, making not just his family but the entire village proud, this at a time when there were few schools and none of them tuition-free.
Beyond this, Mr. Howland & Njoroge's father, Ngotho have both lost a son during WWII but with the ownership of the land ultimately at stake, there is no bond between them. Howlands has poured his heart & soul into the land & it has become his only love, while Africans feel alienated from what had once been their land & marginalized by mistreatment & poor pay by the white ruling class. Much is at stake for all concerned...
Life as everyone once knew it has been torn asunder with the white colonials, the poorest Africans & a group of landowning wealthier Africans all forced to take a side in the increasingly bloody battle for the land & the hope for a country independent from Great Britain, removed from white rule. Ngugi wa Thiong'o does a masterful job of allowing the reader to view the boy, Njoroge, as someone strong of faith & with a sense of destiny but almost overwhelmed by the various forces in his midst:
When I first read the novel, the author was known as James Ngugi and some 20 years after it was published, he appeared at a small, now long-gone bookstore walking distance from my home, on the occasion of the publication of his new book, Petals of Blood. I brought along the old copy of Weep Not Child & Ngugi wa Thiong'o regarded his early book & the image of his former self on the dust jacket, paused, shook his head & then ultimately signed both books. It may have helped that I'd greeted him with my faltering mastery of Swahili.
*This was the first published novel by an East African author. **The book's title is from a Walt Whitman poem.
I'd read this book while living & teaching in Kenya just a few years after its independence from Great Britain but in rereading the Ngugi novel found it much more complex than I'd remembered. For, while it is definitely a Bildungsroman or coming-of-age story, it also rather nicely encompasses Kenya's history in the period just prior to independence and includes a kind of Romeo & Juliet love story as well, with contrasting visions of the importance of the land as a primary focal point.
The main character, Njoroge, growing up in a large but poor Kikuyu family, aspires to follow the advice of his father, Ngotho, that "Education is everything", becoming the first in his family to attend a school of any sort, eventually succeeding as a primary school student & gaining a place in a very competitive secondary school in the capital, making not just his family but the entire village proud, this at a time when there were few schools and none of them tuition-free.
Njoroge listened to his father. He instinctively knew that an indefinable demand was being made on him, even though he was so young. He knew that for him education would be the fulfillment of a wider & more significant vision--a vision that embraced the demand made on him not only by his father but also by his mother, his brothers & even the village. He saw himself destined for something big & this made his heart glow.In the midst of being a child in a poor family but seemingly with great promise for the future, a strike is called for by workers on the large estate of a white landowner, Mr.Howlands, also involving a man named Jakobo, a comparatively wealthy African on whose property Njoroge & family have their huts. With Jakobo & Ngotho taking opposite sides in the struggle, life becomes increasingly complex for all. A further complication is the close relationship between young Njoroge & Mwihaki the daughter of Jakobo, something that reminded me at times of the discord between Shakespeare's Capulets & the Montagues.
Beyond this, Mr. Howland & Njoroge's father, Ngotho have both lost a son during WWII but with the ownership of the land ultimately at stake, there is no bond between them. Howlands has poured his heart & soul into the land & it has become his only love, while Africans feel alienated from what had once been their land & marginalized by mistreatment & poor pay by the white ruling class. Much is at stake for all concerned...
It was no good calling on the name of God for he, Howlands did not believe in God. There was only one god for him--and that was the farm he had created, the land he had tamed. And who were these Mau Mau who were now claiming the land, his god?Meanwhile, Njoroge & many of the Africans see themselves in Biblical terms, with the Kikuyu & other tribes seen as the Israelites and Jomo Kenyatta as their Moses. Though expressing non-violence, Kenyatta, the future first president of independent Kenya is seen as a ringleader of the Mau Mau movement & is quickly jailed.
Life as everyone once knew it has been torn asunder with the white colonials, the poorest Africans & a group of landowning wealthier Africans all forced to take a side in the increasingly bloody battle for the land & the hope for a country independent from Great Britain, removed from white rule. Ngugi wa Thiong'o does a masterful job of allowing the reader to view the boy, Njoroge, as someone strong of faith & with a sense of destiny but almost overwhelmed by the various forces in his midst:
War, diseases, pestilence, insecurity, betrayal, family disintegrations--he had seen all of these. But Njoroge believed in the righteousness of God. Therefore, he thought all of this would work out in the end and he felt that he had been chosen to be the instrument of His Divine Service. Njoroge still believed in the future, of a better day he could give to a weeping child. He did not know that this faith in the future could be a form of escape from the reality of the present.Within what initially seems a fairly simple story is very well-crafted language and a tale that unfolds with gradually increasing complexity. The reading of this novel would be enhanced by some background knowledge of the Mau Mau era in Kenya & of that country's struggle for independence. There were some Kikuyu words that went untranslated in the book but this was a small distraction & I recommend the book highly to anyone interested in exploring the literature of Africa.
When I first read the novel, the author was known as James Ngugi and some 20 years after it was published, he appeared at a small, now long-gone bookstore walking distance from my home, on the occasion of the publication of his new book, Petals of Blood. I brought along the old copy of Weep Not Child & Ngugi wa Thiong'o regarded his early book & the image of his former self on the dust jacket, paused, shook his head & then ultimately signed both books. It may have helped that I'd greeted him with my faltering mastery of Swahili.
*This was the first published novel by an East African author. **The book's title is from a Walt Whitman poem.
June 27, 2022
鈥淣yokabi lo llam贸: 鈥� 鈥樎縏e gustar铆a ir a la escuela?鈥�
- 鈥樎h, madre!鈥� 鈥� exclam贸 Njoroge con un grito ahogado. Casi temi贸 que la mujer pudiese retractarse de sus palabras.鈥�
Para el peque帽o Njoroge, que vive en una familia pobre, estudiar es su mayor anhelo y esperanza. Tambi茅n es un proyecto familiar y el del pueblo kikuyu, que percibe que la educaci贸n es el camino para superar la pobreza.
Como en los dem谩s pa铆ses de 脕frica Oriental se vive en una sociedad de castas, en la que los europeos son los due帽os de la tierra; los indios (en otros, los 谩rabes) son los due帽os del comercio; y los africanos son mano de obra, prescindible.
Transcurren los a帽os 鈥�50; varios integrantes de la familia y del pueblo han vuelto, cambiados, de su participaci贸n en la Guerra Europea; y en Kenia crece el anhelo de dejar de ser una colonia brit谩nica. Vendr谩n a帽os turbulentos, y la creciente espiral de violencia da帽ar谩 profundamente el tejido social y amenazar谩 los planes de Njoroge.
Una novela interesante, bien escrita y con personajes bien construidos; y una excelente postal de la vida en esos tiempos agitados.
Ngugi wa Thiong'o es un escritor keniata, que luego de haber pasado por la c谩rcel y sido expulsado del pa铆s, es actualmente docente universitario en EEUU; aparece frecuentemente entre los candidatos al Premio Nobel de Literatura.
- 鈥樎h, madre!鈥� 鈥� exclam贸 Njoroge con un grito ahogado. Casi temi贸 que la mujer pudiese retractarse de sus palabras.鈥�
Para el peque帽o Njoroge, que vive en una familia pobre, estudiar es su mayor anhelo y esperanza. Tambi茅n es un proyecto familiar y el del pueblo kikuyu, que percibe que la educaci贸n es el camino para superar la pobreza.
Como en los dem谩s pa铆ses de 脕frica Oriental se vive en una sociedad de castas, en la que los europeos son los due帽os de la tierra; los indios (en otros, los 谩rabes) son los due帽os del comercio; y los africanos son mano de obra, prescindible.
Transcurren los a帽os 鈥�50; varios integrantes de la familia y del pueblo han vuelto, cambiados, de su participaci贸n en la Guerra Europea; y en Kenia crece el anhelo de dejar de ser una colonia brit谩nica. Vendr谩n a帽os turbulentos, y la creciente espiral de violencia da帽ar谩 profundamente el tejido social y amenazar谩 los planes de Njoroge.
Una novela interesante, bien escrita y con personajes bien construidos; y una excelente postal de la vida en esos tiempos agitados.
Ngugi wa Thiong'o es un escritor keniata, que luego de haber pasado por la c谩rcel y sido expulsado del pa铆s, es actualmente docente universitario en EEUU; aparece frecuentemente entre los candidatos al Premio Nobel de Literatura.
May 24, 2018
This book describes generally the life in Kenya during the Mau Mau revolution and the struggle of the black people to get their freedom and dignity from the English colonist. Ngugi Wa Thingo follows Njoroge's familly, hoping for a bright future and regaining their stolen land.The Mau Mau uprising had a damaged impact on all the member of this family.
Throughout the troubled time, Njoroge fought against his bad conditions; making his dreams come true was only the idea that gripped him and made him carry on his hard work on school in order to be an important and well educated person in the future to rebuild his poor country Kenya because his faith of getting the freedom in the future grew stronger everyday. Unfortunately, the English colonist tore apart his whole life; hopes,dreams, his unique love and even the unity of his family.
In despite of the sadness and the bleak side of the story, I really enjoyed reading Ngugi's first book ever. I felt like I belong to those characters and his people belonged to me. I sympathize with any population that fights against the enemy. The old Algerian generation had experienced the French听 colonization, we lost over one million and a half martyrs in the war against the cruel colonist.
Weep not Child but be strong and faithful instead because bloodshed, death, pain, and the injustice won't last forever in the world, you deserve to be free, educated, happy and loved, the sun will rise tomorrow surely....听听
The book was beautifully written,听听it rejoiced me a lot and made me grateful for all the graces that the Almighty had given me while some people had to fight to get what I have in my life.... Highly recommend :)
Throughout the troubled time, Njoroge fought against his bad conditions; making his dreams come true was only the idea that gripped him and made him carry on his hard work on school in order to be an important and well educated person in the future to rebuild his poor country Kenya because his faith of getting the freedom in the future grew stronger everyday. Unfortunately, the English colonist tore apart his whole life; hopes,dreams, his unique love and even the unity of his family.
In despite of the sadness and the bleak side of the story, I really enjoyed reading Ngugi's first book ever. I felt like I belong to those characters and his people belonged to me. I sympathize with any population that fights against the enemy. The old Algerian generation had experienced the French听 colonization, we lost over one million and a half martyrs in the war against the cruel colonist.
Weep not Child but be strong and faithful instead because bloodshed, death, pain, and the injustice won't last forever in the world, you deserve to be free, educated, happy and loved, the sun will rise tomorrow surely....听听
The book was beautifully written,听听it rejoiced me a lot and made me grateful for all the graces that the Almighty had given me while some people had to fight to get what I have in my life.... Highly recommend :)
June 18, 2023
乇亘賲丕 賴匕賴 丕賱賲乇丞 丕賱兀賵賱賶 丕賱鬲賷 兀賯乇兀 賮賷賴丕 兀丿亘賸丕 廿賮乇賷賯賷賸丕 禺丕賱氐賸丕貙 賱賵 丕爻鬲孬賳賷鬲 丕賱卮賲丕賱 丕賱廿賮乇賷賯賷 賰鬲賵賳爻 賵丕賱賲睾乇亘 賵丕賱噩夭丕卅乇 賵丨鬲賶 丕賱爻賵丿丕賳.
禺丕賱氐賸丕 兀毓賳賷 亘毓乇囟賴 兀賴賲 丕賱賲賵囟賵毓丕鬲 丕賱鬲賷 賷賯賵賲 毓賱賷賴丕 賴匕丕 丕賱兀丿亘: 丕賱丕爻鬲毓賲丕乇 - 丕賱乇噩賱 丕賱兀亘賷囟 - 丕賱毓亘賵丿賷丞 - 丕賱兀乇囟 丕賱賲爻賱賵亘丞 - 丕賱鬲毓賱賷賲 賮賷 禺囟賲 賰賱 賴匕賴 丕賱馗乇賵賮 - 賵丨鬲賶 丕賱丨亘.
鬲鬲賯丕胤毓 賴匕賴 丕賱賲賵囟賵毓丕鬲 賮賷 賮賷 丌丿丕亘 兀禺乇賶 賱賰賳賴丕 賱丕 鬲噩鬲賲毓 爻賵賷丞 廿賱丕 賴賳丕: 賵賱兀賳 "賱丕 鬲亘賰賽 兀賷賴丕 丕賱胤賮賱" 賴賷 兀賵賱 賯乇丕亍丞 賱賴匕丕 丕賱賳賵毓 丕賱賮乇賷丿貙 賱丕 兀賳賰乇 兀賳 丕賱丕毓噩丕亘 賵丕賱丿賴卮丞 賴賳丕 賳鬲賷噩丞 賴匕賴 丕賱賯乇丕亍丞. 賵廿賳 賰丕賳鬲 賲賵囟賵毓丕鬲 賲兀爻丕賵賷丞 亘丕賱賲噩賲賱.
賰賱 毓賳丕氐乇 賴匕賴 丕賱乇賵丕賷丞 賲鬲乇丕亘胤丞 亘廿丨賰丕賲 (爻乇丿貙 丨賵丕乇丕鬲貙 丨亘賰丞貙 賵氐賮貙 賵丨鬲賶 丕賱鬲乇噩賲丞 噩賷丿丞) 賲賲丕 賷噩毓賱賴丕 賰丕賲賱丞 賮賷 乇兀賷賷.
卮賰乇賸丕 (賰鬲亘賷賵賱賵噩賷) 毓賱賶 丕賱鬲賵氐賷丞鈥�
禺丕賱氐賸丕 兀毓賳賷 亘毓乇囟賴 兀賴賲 丕賱賲賵囟賵毓丕鬲 丕賱鬲賷 賷賯賵賲 毓賱賷賴丕 賴匕丕 丕賱兀丿亘: 丕賱丕爻鬲毓賲丕乇 - 丕賱乇噩賱 丕賱兀亘賷囟 - 丕賱毓亘賵丿賷丞 - 丕賱兀乇囟 丕賱賲爻賱賵亘丞 - 丕賱鬲毓賱賷賲 賮賷 禺囟賲 賰賱 賴匕賴 丕賱馗乇賵賮 - 賵丨鬲賶 丕賱丨亘.
鬲鬲賯丕胤毓 賴匕賴 丕賱賲賵囟賵毓丕鬲 賮賷 賮賷 丌丿丕亘 兀禺乇賶 賱賰賳賴丕 賱丕 鬲噩鬲賲毓 爻賵賷丞 廿賱丕 賴賳丕: 賵賱兀賳 "賱丕 鬲亘賰賽 兀賷賴丕 丕賱胤賮賱" 賴賷 兀賵賱 賯乇丕亍丞 賱賴匕丕 丕賱賳賵毓 丕賱賮乇賷丿貙 賱丕 兀賳賰乇 兀賳 丕賱丕毓噩丕亘 賵丕賱丿賴卮丞 賴賳丕 賳鬲賷噩丞 賴匕賴 丕賱賯乇丕亍丞. 賵廿賳 賰丕賳鬲 賲賵囟賵毓丕鬲 賲兀爻丕賵賷丞 亘丕賱賲噩賲賱.
賰賱 毓賳丕氐乇 賴匕賴 丕賱乇賵丕賷丞 賲鬲乇丕亘胤丞 亘廿丨賰丕賲 (爻乇丿貙 丨賵丕乇丕鬲貙 丨亘賰丞貙 賵氐賮貙 賵丨鬲賶 丕賱鬲乇噩賲丞 噩賷丿丞) 賲賲丕 賷噩毓賱賴丕 賰丕賲賱丞 賮賷 乇兀賷賷.
卮賰乇賸丕 (賰鬲亘賷賵賱賵噩賷) 毓賱賶 丕賱鬲賵氐賷丞鈥�
November 8, 2018
This was mandatory read back (way back) in secondary school but the struggle in Kenya pervades today's disenfranchised "Africa" resulting in the kidnapping of the "Nigerian Chibok girls" to the west; hijacking of ocean liners by Somalian pirates in the east; economic mismanagement by leadership of most African countries and many more tragic situations which have led to citizens being displaced and corrupt government officials being celebrated. I can't help but think of the irony that is Walt Whitman's poem which prefaces this book.
Weep not, child
Weep not, my darling
With these kisses let me remove your tears
The Ravening clouds shall not be long victorious
They shall not long possess the sky
The British/French/Germans long since left, but the calibre of today's African leaders are worse than any colonial master. I am African and I stand by that statement.
June 5, 2019
Weep Not, Child is a beautiful book about how colonialism in Kenya tears apart families. It is stark, simple, and lovingly executed. This book can also be read in one sitting, which is another of its attributes, because that allows its full emotional impact to work with intensity on the reader. Ben Okri compared Weep Not, Child to Romeo and Juliet. By the time I finished reading this novella, I agreed with Okri's assessment, in spite of the two works' clear differences. Weep Not, Child is a moving story and a great introduction to an important Kenyan writer and to the issues of colonialism and the Mau Mau uprising. I highly recommend it.
January 5, 2019
A short but not-sweet story of Kenya during the Mau Maus and the coming of Jomo Kenyatta.
The locals have been sent by England to two World Wars. They have seen their lands taken over by the whites. Unrest stirs.
The book highlights the divisions between the whites and blacks but more so the divisions amongst the locals, the success of the divide and conquer strategy of the English and the various tragedies as each group struggles for dominance.
A memorable book of this era of pre-independent Kenya.
The locals have been sent by England to two World Wars. They have seen their lands taken over by the whites. Unrest stirs.
The book highlights the divisions between the whites and blacks but more so the divisions amongst the locals, the success of the divide and conquer strategy of the English and the various tragedies as each group struggles for dominance.
A memorable book of this era of pre-independent Kenya.
December 22, 2012
A well developed African story of hope and disappointment set in Kenya during the Mau Mau uprising. Ngugi weaves fiction and nonfiction well to provide both depth of characters and storyline. What I admire most is the sense of realism injected into the story, never a perfect character, rarely an ideal scenario coming to fruition, no perfect ending.
Read
April 23, 2012I read this book as a child growing up in Liberia, West Africa. I remember loving the language and the rich culture that very similar to my own. I look forward to reading it again as an adult and growing a deeper appreciation for it.
February 16, 2018
3.5 stars.
Read without placing it in relevant contexts, this book will seem nothing special. The writing reminds me of R. K. Narayan, which if I refuse to think beyond that would put me off. But there's a reason why the writing of Ngugi's first English novel and R. K. Narayan's work in English is so simple and direct. There's a reason why their stories aren't all that special. They bring to life the first generation of what was to evolve into proper postcolonial literature. There's power in that. Maybe it's the lit student in me talking, but you gotta value that power. You just do.
Read without placing it in relevant contexts, this book will seem nothing special. The writing reminds me of R. K. Narayan, which if I refuse to think beyond that would put me off. But there's a reason why the writing of Ngugi's first English novel and R. K. Narayan's work in English is so simple and direct. There's a reason why their stories aren't all that special. They bring to life the first generation of what was to evolve into proper postcolonial literature. There's power in that. Maybe it's the lit student in me talking, but you gotta value that power. You just do.
November 5, 2021
賱丕 鬲亘賰 兀賷賴丕 丕賱胤賮賱
乇賵丕賷丞 賲賳 丕賱兀丿亘 丕賱兀賮乇賷賯賷 丕賱匕賷 賷鬲丨丿孬 毓賳 丕賱丕爻鬲毓賲丕乇. 鬲賯丿賲 丕賱乇賵丕賷丞 賯氐丞 噩賲賷賱丞 賲賳 賰賷賳賷丕貙 賲賳 丨賷丕丞 丕賱乇噩賱 丕賱兀爻賵丿 丕賱賵丕賯毓 鬲丨鬲 爻賱胤丞 丕賱乇噩賱 丕賱兀亘賷囟 丕賱匕賷 丕爻鬲賵賱賶 毓賱賶 丕賱兀乇囟.
賳乇賶 毓丕卅賱丞 賳賵孬賳睾賵貙 丨賷孬 賴賳丕賰 鬲毓丿丿 賮賷 丕賱卮禺氐賷丕鬲貙 亘賷賳 丕賱兀亘 丕賱匕賷 賮賯丿 爻賱胤鬲賴 賵賲賰丕賳鬲賴 丕賱鬲賯賱賷丿賷丞 賰乇兀爻 丕賱毓丕卅賱丞貙 亘毓丿賲丕 賮賯丿 兀乇囟賴 賵賰乇丕賲鬲賴 賱氐丕賱丨 丕賱乇噩賱 丕賱兀亘賷囟貙 賵賴賵 賷兀賲賱 丨氐賵賱 賲毓噩夭丞 鬲禺賱氐賴 賲賳 丕賱乇噩賱 丕賱兀亘賷囟 賵鬲毓賷丿 賱賴 兀乇囟賴貙 賱賰賳 丕賱兀賲賵乇 賱丕 鬲賰賮 毓賳 兀賳 鬲爻賵亍 亘丕賱賳爻亘丞 賱賴. 賵賴賳丕賰 丕賱兀亘賳 丕賱匕賷 丨丕乇亘 賮賷 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞 賲購噩亘乇丕 賱氐丕賱丨 丕賱亘乇賷胤丕賳賷賷賳貙 賵毓丕丿 亘賳夭毓丞 賲爻鬲賲乇丞 賱賲賲丕乇爻丞 丕賱毓賳賮 賵丕賱賯鬲賱貙 賮廿賳囟賲 賱賱賲噩賲賵毓丕鬲 丕賱賯鬲丕賱賷丞 丕賱賲鬲賲乇丿丞 囟丿 丕賱賲爻鬲毓賲乇貙 丕賱鬲賷 賱丕 鬲鬲賵乇毓 毓賳 賲賲丕乇爻丞 丕賱毓賳賮 鬲噩丕賴 丕賱爻賵丿 匕丕鬲賴賲. 鬲乇爻賲 丕賱乇賵丕賷丞 丕賱鬲丨賵賱丕鬲 賮賷 丕賱毓賱丕賯丕鬲 亘賷賳 兀賮乇丕丿 丕賱兀爻乇丞貙 丕賱鬲賵鬲乇 亘賷賳 丕賱兀亘賳 丕賱賲鬲賲乇丿 賵丕賱兀亘 丕賱禺丕囟毓貙 賵丕賱賳賯賱丞 賮賷 毓賱丕賯丞 丕賱毓賲賱 亘賷賳 丕賱兀亘 丕賱毓丕賲賱 毓賳丿 丕賱兀亘賷囟 丕賱爻賷丿貙 丨鬲賶 氐丕乇 賴丿賮丕 賱賱廿賳鬲賯丕賲 賵丕賱禺氐賵賲丞 亘毓丿 賲卮丕乇賰鬲賴 賮賷 丕賱丕囟乇丕亘 丕賱毓丕賲.
賵賮賷 賯賱亘 丕賱乇賵丕賷丞 賴賳丕賰 賯氐丞 丕賱胤賮賱 賳噩賵乇賵睾賷 丕賱匕賷 賵囟毓鬲 丕賱毓丕卅賱丞 兀賲賱賴丕 毓賱賶 鬲毓賱賷賲賴貙 丕賱胤賮賱 丕賱賵丨賷丿 丕賱匕賷 兀賲賰賳賴賲 廿乇爻丕賱賴 賱賱賲丿乇爻丞 賱賷鬲毓賱賲貙 亘賲丕 賮賷 匕賱賰 鬲毓賱賲 丕賱賱睾丞 丕賱丕賳噩賱賷夭賷丞貙 賱睾丞 丕賱賲爻鬲毓賲乇貙 賱賷鬲賲賰賳 賲賳 氐賳毓 賲爻鬲賯亘賱 丌禺乇 賱賴 賵賱賴賲. 胤賵丕賱 丕賱乇賵丕賷丞貙 賵丨鬲賶 毓賳丿賲丕 賰丕賳鬲 丕賱兀賲賵乇 鬲爻賵亍 鬲賲爻賰 賳噩賵乇賵睾賷 亘丕賱兀賲賱 兀賳 丕賱卮賲爻 爻鬲卮乇賯 賮賷 賷賵賲 噩丿賷丿貙 賵鬲乇賷賳丕 丕賱乇賵丕賷丞 賮賷 賮氐賵賱賴丕 丕賱兀禺賷乇丞 丕賱鬲丨賵賱丕鬲 丕賱鬲賷 胤乇兀鬲 毓賱賶 賴匕丕 丕賱兀賲賱.
賮賷 丕賱乇賵丕賷丞 卮賷亍 賲賳 丕賱賲賲丕乇爻丕鬲 丕賱馗丕賱賲丞 賵丕賱禺亘賷孬丞 賱賱賲爻鬲毓賲乇貙 爻賷丕爻鬲賴 丕賱鬲賷 鬲鬲毓賲丿 禺賱賯 丕賱氐乇丕毓 亘賷賳 兀賴賱 丕賱兀乇囟 賱賰賷 賷爻賵丿. 賴賳丕賰 兀賷囟丕 丕賱毓賱丕賯丕鬲 丕賱廿賳爻丕賳賷丞 丕賱鬲賷 鬲丨丕賵賱 兀賳 鬲賳卮兀 亘賷賳 丕賱禺氐賵賲貙 鬲賯丕賵賲 丕賱禺氐賵賲丞貙 鬲鬲兀孬乇 亘賴丕 兀丨賷丕賳丕.
賮賷 禺丕鬲賲丞 丕賱乇賵丕賷丞 賷亘丿賵 賰兀賳 丿丕卅乇丞 鬲賰鬲賲賱貙 賮丕賱乇賵丕賷丞 丕賱鬲賷 丕賮鬲鬲丨鬲 亘丕賱兀賲 鬲賮鬲丨 亘丕亘丕 賱賱丨賷丕丞 賱廿亘賳賴丕 亘丕賱鬲賴賷兀丞 賱丿禺賵賱賴 丕賱賲丿乇爻丞貙 丕賳鬲賴鬲 亘賴丕 鬲賮鬲丨 賱賴 亘丕亘丕 丌禺乇 賱賱丨賷丕丞 丨賷賳 丕毓鬲賯丿 兀賳 丕賱兀亘賵丕亘 賰賱賴丕 賯丿 兀賵氐丿鬲.
丕賱爻乇丿 賮賷 丕賱乇賵丕賷丞 亘爻賷胤 賵賲亘丕卮乇貙 賵丕賱鬲乇噩賲丞 賲賲鬲丕夭丞.
乇賵丕賷丞 賲賳 丕賱兀丿亘 丕賱兀賮乇賷賯賷 丕賱匕賷 賷鬲丨丿孬 毓賳 丕賱丕爻鬲毓賲丕乇. 鬲賯丿賲 丕賱乇賵丕賷丞 賯氐丞 噩賲賷賱丞 賲賳 賰賷賳賷丕貙 賲賳 丨賷丕丞 丕賱乇噩賱 丕賱兀爻賵丿 丕賱賵丕賯毓 鬲丨鬲 爻賱胤丞 丕賱乇噩賱 丕賱兀亘賷囟 丕賱匕賷 丕爻鬲賵賱賶 毓賱賶 丕賱兀乇囟.
賳乇賶 毓丕卅賱丞 賳賵孬賳睾賵貙 丨賷孬 賴賳丕賰 鬲毓丿丿 賮賷 丕賱卮禺氐賷丕鬲貙 亘賷賳 丕賱兀亘 丕賱匕賷 賮賯丿 爻賱胤鬲賴 賵賲賰丕賳鬲賴 丕賱鬲賯賱賷丿賷丞 賰乇兀爻 丕賱毓丕卅賱丞貙 亘毓丿賲丕 賮賯丿 兀乇囟賴 賵賰乇丕賲鬲賴 賱氐丕賱丨 丕賱乇噩賱 丕賱兀亘賷囟貙 賵賴賵 賷兀賲賱 丨氐賵賱 賲毓噩夭丞 鬲禺賱氐賴 賲賳 丕賱乇噩賱 丕賱兀亘賷囟 賵鬲毓賷丿 賱賴 兀乇囟賴貙 賱賰賳 丕賱兀賲賵乇 賱丕 鬲賰賮 毓賳 兀賳 鬲爻賵亍 亘丕賱賳爻亘丞 賱賴. 賵賴賳丕賰 丕賱兀亘賳 丕賱匕賷 丨丕乇亘 賮賷 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞 賲購噩亘乇丕 賱氐丕賱丨 丕賱亘乇賷胤丕賳賷賷賳貙 賵毓丕丿 亘賳夭毓丞 賲爻鬲賲乇丞 賱賲賲丕乇爻丞 丕賱毓賳賮 賵丕賱賯鬲賱貙 賮廿賳囟賲 賱賱賲噩賲賵毓丕鬲 丕賱賯鬲丕賱賷丞 丕賱賲鬲賲乇丿丞 囟丿 丕賱賲爻鬲毓賲乇貙 丕賱鬲賷 賱丕 鬲鬲賵乇毓 毓賳 賲賲丕乇爻丞 丕賱毓賳賮 鬲噩丕賴 丕賱爻賵丿 匕丕鬲賴賲. 鬲乇爻賲 丕賱乇賵丕賷丞 丕賱鬲丨賵賱丕鬲 賮賷 丕賱毓賱丕賯丕鬲 亘賷賳 兀賮乇丕丿 丕賱兀爻乇丞貙 丕賱鬲賵鬲乇 亘賷賳 丕賱兀亘賳 丕賱賲鬲賲乇丿 賵丕賱兀亘 丕賱禺丕囟毓貙 賵丕賱賳賯賱丞 賮賷 毓賱丕賯丞 丕賱毓賲賱 亘賷賳 丕賱兀亘 丕賱毓丕賲賱 毓賳丿 丕賱兀亘賷囟 丕賱爻賷丿貙 丨鬲賶 氐丕乇 賴丿賮丕 賱賱廿賳鬲賯丕賲 賵丕賱禺氐賵賲丞 亘毓丿 賲卮丕乇賰鬲賴 賮賷 丕賱丕囟乇丕亘 丕賱毓丕賲.
賵賮賷 賯賱亘 丕賱乇賵丕賷丞 賴賳丕賰 賯氐丞 丕賱胤賮賱 賳噩賵乇賵睾賷 丕賱匕賷 賵囟毓鬲 丕賱毓丕卅賱丞 兀賲賱賴丕 毓賱賶 鬲毓賱賷賲賴貙 丕賱胤賮賱 丕賱賵丨賷丿 丕賱匕賷 兀賲賰賳賴賲 廿乇爻丕賱賴 賱賱賲丿乇爻丞 賱賷鬲毓賱賲貙 亘賲丕 賮賷 匕賱賰 鬲毓賱賲 丕賱賱睾丞 丕賱丕賳噩賱賷夭賷丞貙 賱睾丞 丕賱賲爻鬲毓賲乇貙 賱賷鬲賲賰賳 賲賳 氐賳毓 賲爻鬲賯亘賱 丌禺乇 賱賴 賵賱賴賲. 胤賵丕賱 丕賱乇賵丕賷丞貙 賵丨鬲賶 毓賳丿賲丕 賰丕賳鬲 丕賱兀賲賵乇 鬲爻賵亍 鬲賲爻賰 賳噩賵乇賵睾賷 亘丕賱兀賲賱 兀賳 丕賱卮賲爻 爻鬲卮乇賯 賮賷 賷賵賲 噩丿賷丿貙 賵鬲乇賷賳丕 丕賱乇賵丕賷丞 賮賷 賮氐賵賱賴丕 丕賱兀禺賷乇丞 丕賱鬲丨賵賱丕鬲 丕賱鬲賷 胤乇兀鬲 毓賱賶 賴匕丕 丕賱兀賲賱.
賮賷 丕賱乇賵丕賷丞 卮賷亍 賲賳 丕賱賲賲丕乇爻丕鬲 丕賱馗丕賱賲丞 賵丕賱禺亘賷孬丞 賱賱賲爻鬲毓賲乇貙 爻賷丕爻鬲賴 丕賱鬲賷 鬲鬲毓賲丿 禺賱賯 丕賱氐乇丕毓 亘賷賳 兀賴賱 丕賱兀乇囟 賱賰賷 賷爻賵丿. 賴賳丕賰 兀賷囟丕 丕賱毓賱丕賯丕鬲 丕賱廿賳爻丕賳賷丞 丕賱鬲賷 鬲丨丕賵賱 兀賳 鬲賳卮兀 亘賷賳 丕賱禺氐賵賲貙 鬲賯丕賵賲 丕賱禺氐賵賲丞貙 鬲鬲兀孬乇 亘賴丕 兀丨賷丕賳丕.
賮賷 禺丕鬲賲丞 丕賱乇賵丕賷丞 賷亘丿賵 賰兀賳 丿丕卅乇丞 鬲賰鬲賲賱貙 賮丕賱乇賵丕賷丞 丕賱鬲賷 丕賮鬲鬲丨鬲 亘丕賱兀賲 鬲賮鬲丨 亘丕亘丕 賱賱丨賷丕丞 賱廿亘賳賴丕 亘丕賱鬲賴賷兀丞 賱丿禺賵賱賴 丕賱賲丿乇爻丞貙 丕賳鬲賴鬲 亘賴丕 鬲賮鬲丨 賱賴 亘丕亘丕 丌禺乇 賱賱丨賷丕丞 丨賷賳 丕毓鬲賯丿 兀賳 丕賱兀亘賵丕亘 賰賱賴丕 賯丿 兀賵氐丿鬲.
丕賱爻乇丿 賮賷 丕賱乇賵丕賷丞 亘爻賷胤 賵賲亘丕卮乇貙 賵丕賱鬲乇噩賲丞 賲賲鬲丕夭丞.
June 13, 2021
I love this.
December 18, 2016
韦慰 谓蟿蔚渭蟺慰蠉蟿慰 蟿慰蠀 渭蔚纬维位慰蠀 螒蠁蟻喂魏伪谓慰蠉 蟽蠀纬纬蟻伪蠁苇伪 蟺蟻慰蟽蠁苇蟻蔚蟿伪喂 纬喂伪 伪蟻魏蔚蟿苇蟼 魏 未喂伪蠁慰蟻蔚蟿喂魏苇蟼 渭伪蟿喂苇蟼. 螝伪蟿维 渭喂伪 苇谓谓慰喂伪 胃伪 渭蟺慰蟻慰蠉蟽蔚 慰 伪谓伪纬谓蠋蟽蟿畏蟼 谓伪 蟿慰 未蔚喂 蠅蟼 渭喂伪 蔚魏未慰蠂萎 蟿慰蠀 巍蠅渭伪委慰蠀 魏 蟿畏蟼 螜慰蠀位喂苇蟿伪蟼 魏 谓伪 苇蠂蔚喂 未委魏喂慰. 韦慰 尾喂尾位委慰 蟿慰 未喂伪蟺蔚蟻谓维 畏 蟽蠂苇蟽畏 蟿慰蠀 谓蔚伪蟻慰蠉 伪蠁畏纬畏蟿萎 渭蔚 蟿畏谓 魏蠈蟻畏 蟿慰蠀 蟺喂慰 蟺位慰蠉蟽喂慰蠀 渭伪蠉蟻慰蠀 蟿畏蟼 蟺蔚蟻喂慰蠂萎蟼, 蔚谓蠈蟼 蟺蟻慰未蠈蟿畏 蟿慰蠀 蟿蠈蟺慰蠀 蟿慰蠀. 螞蠈纬蠅 蟿畏蟼 蔚蠁畏尾蔚委伪蟼 蟿蠅谓 畏蟻蠋蠅谓 魏 蟿蠅谓 蠁蠀位蔚蟿喂魏蠋谓 未喂伪魏蟻委蟽蔚蠅谓 蟺慰蠀 蠂伪蟻伪魏蟿畏蟻委味慰蠀谓 蟿喂蟼 喂未苇蔚蟼 蟿慰蠀 尾喂尾位委慰蠀, 胃伪 渭蟺慰蟻慰蠉蟽蔚 蔚蟺委蟽畏蟼 魏伪谓蔚委蟼 谓伪 蟿慰 未喂伪尾维蟽蔚喂 蠅蟼 渭喂伪 维位位畏 蔚魏未慰蠂萎 蟿慰蠀 螌蟿伪谓 危魏慰蟿蠋谓慰蠀谓 蟿伪 螝慰蟿蟽蠉蠁喂伪. 韦伪 尾喂尾位委伪 维位位蠅蟽蟿蔚 蟿慰蠀 Thiong'o 蠁苇蟻慰蠀谓 纬喂伪 蟿慰谓 蟿蠈蟺慰 蟿慰蠀 蟿畏谓 委未喂伪 尾伪蟻蠉蟿畏蟿伪 蟺慰蠀 蔚委蠂蔚 纬喂伪 蟿慰蠀蟼 螒渭蔚蟻喂魏伪谓慰蠉蟼 蟿慰 渭苇蠂蟻喂 蟺蟻蠈蟿喂谓慰蟼 渭慰谓伪未喂魏蠈 尾喂尾位委慰 蟺慰蠀 蔚委蠂蔚 蔚魏未蠋蟽蔚喂 畏 Lee. 韦苇位慰蟼, 蟿慰 蟺慰位喂蟿喂魏蠈 蟽魏苇位慰蟼-蟽蠂蠈位喂慰 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 (慰 魏蠈蟺慰蟼 蟿蠅谓 喂胃伪纬蔚谓蠋谓 魏喂 畏 蔚尉委蟽蠅蟽萎 蟿慰蠀蟼 渭蔚 蟿伪 味蠋伪 蟿畏蟼 蠁维蟻渭伪蟼 魏蟿位.) 胃伪 胃蠀渭委蟽慰蠀谓 伪蟻魏蔚蟿维 蟿伪 危蟿伪蠁蠉位喂伪 蟿畏蟼 螣蟻纬萎蟼 蟿慰蠀 危蟿维喂谓渭蟺蔚魏. 螌位伪 蟿伪 蟺伪蟻伪蟺维谓蠅 蔚委谓伪喂 蟽蠅蟽蟿维.
韦慰 尾喂尾位委慰 蟿慰 苇蟺喂伪蟽伪 渭蠈位喂蟼 蔚委未伪 蠈蟿喂 蟽蟿慰 蔚魏未慰蟿喂魏蠈 蟺蟻蠈纬蟻伪渭渭伪 蟿慰蠀 螝伪蟽蟿伪谓喂蠋蟿畏 纬喂伪 蟿慰 2017 蠀蟺维蟻蠂蔚喂 畏 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠀 Petals of Blood, 蟿慰蠀 尾喂尾位委慰蠀 未畏位伪未萎 蟺慰蠀 慰未萎纬畏蟽蔚 蟿慰 蟽蠀纬纬蟻伪蠁苇伪 蟽蔚 蠁蠀位伪魏萎 蠀蠄委蟽蟿畏蟼 伪蟽蠁伪位蔚委伪蟼 纬喂伪 苇谓伪 蠂蟻蠈谓慰. 韦慰 尉蔚魏委谓畏蟽伪 蟽蟿慰 伪蔚蟻慰蟺位维谓慰 纬喂伪 螞慰谓未委谓慰 蟽蔚 苇谓伪 PDF 蟿畏蟼 魏伪魏喂维蟼 蠋蟻伪蟼 (伪谓 魏慰位位萎蟽蔚喂蟼 谓伪 未喂伪尾维蟽蔚喂蟼 魏维蟿喂 蟿慰 未喂伪尾维味蔚喂蟼 魏 蟽蔚 蠂伪蟻蟿慰蟺蔚蟿蟽苇蟿蔚蟼) 魏 伪蟻蠂喂魏维 蟽蟿蟻伪渭蟺慰蠉位畏尉伪 蟿畏 纬位蠋蟽蟽伪 渭慰蠀 渭蔚 蟿伪 慰谓蠈渭伪蟿伪 蟿蠅谓 畏蟻蠋蠅谓 (Ngotho, Njoroge, Mwihaki 魏蟿位.) 魏 苇尾纬伪位伪 蟿伪 渭维蟿喂伪 渭慰蠀 蟽蟿畏谓 慰胃蠈谓畏 蟿慰蠀 reader. 螒位位维 纬喂伪 魏伪位萎 渭慰蠀 蟿蠉蠂畏 蟺苇蟿蠀蠂伪 蟽蔚 苇谓伪 魏伪位维胃喂 伪蠀蟿萎 蟿畏谓 蠈渭慰蟻蠁畏 苇魏未慰蟽畏 蟿畏蟼 Penguin 渭蔚 蟿慰 畏位喂慰尾伪蟽委位蔚渭伪 魏 蟿畏谓 魏伪蟿伪蟿慰蟺喂蟽蟿喂魏蠈蟿伪蟿畏 蔚喂蟽伪纬蠅纬萎 蟿慰蠀 Ben Okri, 魏伪胃蠋蟼 魏 蟿慰 蟺蟻蠋蟿慰 渭苇蟻慰蟼 蟿畏蟼 蟿蟻喂位慰纬委伪蟼-伪蠀蟿慰尾喂慰纬蟻伪蠁委伪蟼 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 魏 蟿伪 蟺萎蟻伪 蟿蟻苇蠂慰谓蟿伪蟼 魏 蟿伪 未蠀慰 (8 位委蟻蔚蟼 渭伪味喂!!!).
韦慰 尾喂尾位委慰 苇蠂蔚喂 苇谓蟿慰谓伪 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏维 蟽蟿慰喂蠂蔚委伪 蠈蟺蠅蟼 蠁伪委谓蔚蟿伪喂 魏 伪蟺'蟿喂蟼 蟺蟻蠋蟿蔚蟼 蟽蔚位委未蔚蟼 蟿畏蟼 伪蠀蟿慰尾喂慰纬蟻伪蠁委伪蟼 蟿慰蠀 蟺慰蠀 苇蠂蠅 未喂伪尾维蟽蔚喂 魏 蔚蟽蟿喂维味蔚喂 蟽蟿畏谓 蟺蔚蟻委慰未慰 蟺慰蠀 慰喂 魏维蟿慰喂魏慰喂 伪蠀蟿慰蠉 蟿慰蠀 魏慰渭渭伪蟿喂慰蠉 蟿畏蟼 螒谓伪蟿慰位喂魏萎蟼 螒蠁蟻喂魏萎蟼 蔚尉蔚纬蔚委蟻慰谓蟿伪喂 伪蟺苇谓伪谓蟿喂 蟽蟿慰蠀蟼 伪蟺慰喂魏喂慰魏蟻维蟿蔚蟼 螁纬纬位慰蠀蟼 魏 蟿慰蠀蟼 渭蔚蟿蟻畏渭苇谓慰蠀蟼 蟽蟿伪 未维蠂蟿蠀位伪 纬伪喂慰魏蟿萎渭慰谓蔚蟼-蟽蠀渭蟺伪蟿蟻喂蠋蟿蔚蟼 蟿慰蠀. 韦慰 喂蟽蟿慰蟻喂魏蠈 蟺位伪委蟽喂慰 未委谓蔚蟿伪喂 蔚蟺伪蟻魏蠋蟼 伪蟺'蟿慰谓 Thiong'o 魏 伪谓 慰 蔚魏维蟽蟿慰蟿蔚 伪谓伪纬谓蠋蟽蟿畏蟼 尾纬蔚喂 伪蟺'蟿慰 蟺蟻蠈纬蟻伪渭渭伪 蟿慰蠀 魏 蠄维尉蔚喂 蟿畏谓 喂蟽蟿慰蟻委伪 纬喂伪 渭喂伪 蟺喂慰 蟽蠁伪喂蟻喂魏萎 伪谓蟿委位畏蠄畏 蔚委谓伪喂 胃蔚渭喂蟿蠈. 螤维谓蠅 伪蟺'蠈位伪, 蟿慰 尾喂尾位委慰 纬慰畏蟿蔚蠉蔚喂 渭蔚 蟿慰谓 伪蟺委胃伪谓慰 蟻蠀胃渭蠈 蟿慰蠀 魏 蟽蔚 纬蟻伪蟺蠋谓蔚喂 蟽蟿慰 未蔚蠉蟿蔚蟻慰 渭喂蟽蠈 蟺慰蠀 魏慰蟻蠀蠁蠋谓蔚蟿伪喂 畏 喂蟽蟿慰蟻委伪. 螒蟺蠈 魏蔚喂 蟺苇蟻伪 未喂伪蟿畏蟻蔚委蟿伪喂 蟽蔚 尾伪蟽喂魏苇蟼 蟺蟻慰尾位畏渭伪蟿喂魏苇蟼, 蟺喂蟽蟿苇蟼 蟽蟿畏谓 畏位喂魏委伪 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 (畏 未蠉谓伪渭畏 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 蟿畏蟼 蔚魏蟺伪委未蔚蠀蟽畏蟼 魏 蟿畏蟼 谓喂蠈蟿畏蟼, 蟺蠅蟼 蟿慰 蟺慰位喂蟿喂魏蠈 渭蟺慰蟻蔚委 谓伪 苇蠂蔚喂 蠂蔚喂蟻慰蟺喂伪蟽蟿苇蟼 蔚蟺喂蟺位慰魏苇蟼 蟽蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪 蟿慰蠀 魏伪胃蔚谓蠈蟼, 畏 蟽畏渭伪蟽委伪 蟿畏蟼 蟽蠀渭渭蔚蟿慰蠂萎蟼 魏 蟿畏蟼 伪谓蟿委蟽蟿伪蟽畏蟼 魏慰魏) 魏 蟽蠀谓慰位喂魏维 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 喂未伪谓喂魏蠈 纬喂伪 谓蔚蠋蟿蔚蟻慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟺慰蠀 蠄维蠂谓慰蠀谓 蟽蠁伪喂蟻喂魏苇蟼 位慰纬慰蟿蔚蠂谓喂魏苇蟼 魏 喂蟽蟿慰蟻喂魏苇蟼 纬谓蠋蟽蔚喂蟼.
螆蠂蠅 未喂伪尾维蟽蔚喂 蟺蟻喂谓 维蟺蔚喂蟻伪 蠂蟻蠈谓喂伪 蟿慰 Matigari 渭蔚 蟿慰 慰蟺慰委慰 蔚委蠂伪 蔚谓胃慰蠀蟽喂伪蟽蟿蔚委 蟿蠈蟿蔚 魏 委蟽蠅蟼 谓伪 蟿慰 尉伪谓伪未喂伪尾维蟽蠅. 螘委谓伪喂 蟽委纬慰蠀蟻慰 蠈蟿喂 慰 蠀蟺慰蠄萎蠁喂慰蟼 螡慰渭蟺蔚位委蟽蟿伪蟼 (蔚委谓伪喂 渭维位位慰谓 未蔚未慰渭苇谓慰 蠈蟿喂 蠈蟿伪谓 畏 危慰蠀畏未喂魏萎 螒魏伪未畏渭委伪 伪蟺慰蠁伪蟽委蟽蔚喂 谓伪 未蠋蟽蔚喂 蟿慰 蔚蟺蠈渭蔚谓慰 尾蟻伪尾蔚委慰 蟽蔚 螒蠁蟻喂魏伪谓蠈 蟽蠀纬纬蟻伪蠁苇伪 伪蠀蟿蠈 胃伪 蟺维蔚喂 蟽蟿慰谓 Thiong'o) 胃伪 伪蟺伪蟽蠂慰位萎蟽蔚喂 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿畏蟼 渭蔚蟿伪蠁蟻伪蟽渭苇谓畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 魏 蟺慰位蠉 魏伪位维 胃伪 魏维谓蔚喂. 螤蟻慰蟽蠅蟺喂魏维, 蟿慰 伪谓伪纬谓蠅蟽蟿喂魏蠈 蟺蟻蠈纬蟻伪渭渭伪 渭慰蠀 纬喂伪 蟿慰 2017 胃伪 萎胃蔚位伪 谓伪 苇蠂蔚喂 魏 维位位慰蠀蟼 伪蠁蟻喂魏伪谓慰蠉蟼 魏 伪蟽喂维蟿蔚蟼 蟽蠀纬纬蟻伪蠁蔚委蟼. 螡伪 未慰蠉渭蔚 伪谓 胃伪 蟿伪 魏伪蟿伪蠁苇蟻蠅.
韦慰 尾喂尾位委慰 蟿慰 苇蟺喂伪蟽伪 渭蠈位喂蟼 蔚委未伪 蠈蟿喂 蟽蟿慰 蔚魏未慰蟿喂魏蠈 蟺蟻蠈纬蟻伪渭渭伪 蟿慰蠀 螝伪蟽蟿伪谓喂蠋蟿畏 纬喂伪 蟿慰 2017 蠀蟺维蟻蠂蔚喂 畏 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠀 Petals of Blood, 蟿慰蠀 尾喂尾位委慰蠀 未畏位伪未萎 蟺慰蠀 慰未萎纬畏蟽蔚 蟿慰 蟽蠀纬纬蟻伪蠁苇伪 蟽蔚 蠁蠀位伪魏萎 蠀蠄委蟽蟿畏蟼 伪蟽蠁伪位蔚委伪蟼 纬喂伪 苇谓伪 蠂蟻蠈谓慰. 韦慰 尉蔚魏委谓畏蟽伪 蟽蟿慰 伪蔚蟻慰蟺位维谓慰 纬喂伪 螞慰谓未委谓慰 蟽蔚 苇谓伪 PDF 蟿畏蟼 魏伪魏喂维蟼 蠋蟻伪蟼 (伪谓 魏慰位位萎蟽蔚喂蟼 谓伪 未喂伪尾维蟽蔚喂蟼 魏维蟿喂 蟿慰 未喂伪尾维味蔚喂蟼 魏 蟽蔚 蠂伪蟻蟿慰蟺蔚蟿蟽苇蟿蔚蟼) 魏 伪蟻蠂喂魏维 蟽蟿蟻伪渭蟺慰蠉位畏尉伪 蟿畏 纬位蠋蟽蟽伪 渭慰蠀 渭蔚 蟿伪 慰谓蠈渭伪蟿伪 蟿蠅谓 畏蟻蠋蠅谓 (Ngotho, Njoroge, Mwihaki 魏蟿位.) 魏 苇尾纬伪位伪 蟿伪 渭维蟿喂伪 渭慰蠀 蟽蟿畏谓 慰胃蠈谓畏 蟿慰蠀 reader. 螒位位维 纬喂伪 魏伪位萎 渭慰蠀 蟿蠉蠂畏 蟺苇蟿蠀蠂伪 蟽蔚 苇谓伪 魏伪位维胃喂 伪蠀蟿萎 蟿畏谓 蠈渭慰蟻蠁畏 苇魏未慰蟽畏 蟿畏蟼 Penguin 渭蔚 蟿慰 畏位喂慰尾伪蟽委位蔚渭伪 魏 蟿畏谓 魏伪蟿伪蟿慰蟺喂蟽蟿喂魏蠈蟿伪蟿畏 蔚喂蟽伪纬蠅纬萎 蟿慰蠀 Ben Okri, 魏伪胃蠋蟼 魏 蟿慰 蟺蟻蠋蟿慰 渭苇蟻慰蟼 蟿畏蟼 蟿蟻喂位慰纬委伪蟼-伪蠀蟿慰尾喂慰纬蟻伪蠁委伪蟼 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 魏 蟿伪 蟺萎蟻伪 蟿蟻苇蠂慰谓蟿伪蟼 魏 蟿伪 未蠀慰 (8 位委蟻蔚蟼 渭伪味喂!!!).
韦慰 尾喂尾位委慰 苇蠂蔚喂 苇谓蟿慰谓伪 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏维 蟽蟿慰喂蠂蔚委伪 蠈蟺蠅蟼 蠁伪委谓蔚蟿伪喂 魏 伪蟺'蟿喂蟼 蟺蟻蠋蟿蔚蟼 蟽蔚位委未蔚蟼 蟿畏蟼 伪蠀蟿慰尾喂慰纬蟻伪蠁委伪蟼 蟿慰蠀 蟺慰蠀 苇蠂蠅 未喂伪尾维蟽蔚喂 魏 蔚蟽蟿喂维味蔚喂 蟽蟿畏谓 蟺蔚蟻委慰未慰 蟺慰蠀 慰喂 魏维蟿慰喂魏慰喂 伪蠀蟿慰蠉 蟿慰蠀 魏慰渭渭伪蟿喂慰蠉 蟿畏蟼 螒谓伪蟿慰位喂魏萎蟼 螒蠁蟻喂魏萎蟼 蔚尉蔚纬蔚委蟻慰谓蟿伪喂 伪蟺苇谓伪谓蟿喂 蟽蟿慰蠀蟼 伪蟺慰喂魏喂慰魏蟻维蟿蔚蟼 螁纬纬位慰蠀蟼 魏 蟿慰蠀蟼 渭蔚蟿蟻畏渭苇谓慰蠀蟼 蟽蟿伪 未维蠂蟿蠀位伪 纬伪喂慰魏蟿萎渭慰谓蔚蟼-蟽蠀渭蟺伪蟿蟻喂蠋蟿蔚蟼 蟿慰蠀. 韦慰 喂蟽蟿慰蟻喂魏蠈 蟺位伪委蟽喂慰 未委谓蔚蟿伪喂 蔚蟺伪蟻魏蠋蟼 伪蟺'蟿慰谓 Thiong'o 魏 伪谓 慰 蔚魏维蟽蟿慰蟿蔚 伪谓伪纬谓蠋蟽蟿畏蟼 尾纬蔚喂 伪蟺'蟿慰 蟺蟻蠈纬蟻伪渭渭伪 蟿慰蠀 魏 蠄维尉蔚喂 蟿畏谓 喂蟽蟿慰蟻委伪 纬喂伪 渭喂伪 蟺喂慰 蟽蠁伪喂蟻喂魏萎 伪谓蟿委位畏蠄畏 蔚委谓伪喂 胃蔚渭喂蟿蠈. 螤维谓蠅 伪蟺'蠈位伪, 蟿慰 尾喂尾位委慰 纬慰畏蟿蔚蠉蔚喂 渭蔚 蟿慰谓 伪蟺委胃伪谓慰 蟻蠀胃渭蠈 蟿慰蠀 魏 蟽蔚 纬蟻伪蟺蠋谓蔚喂 蟽蟿慰 未蔚蠉蟿蔚蟻慰 渭喂蟽蠈 蟺慰蠀 魏慰蟻蠀蠁蠋谓蔚蟿伪喂 畏 喂蟽蟿慰蟻委伪. 螒蟺蠈 魏蔚喂 蟺苇蟻伪 未喂伪蟿畏蟻蔚委蟿伪喂 蟽蔚 尾伪蟽喂魏苇蟼 蟺蟻慰尾位畏渭伪蟿喂魏苇蟼, 蟺喂蟽蟿苇蟼 蟽蟿畏谓 畏位喂魏委伪 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 (畏 未蠉谓伪渭畏 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 蟿畏蟼 蔚魏蟺伪委未蔚蠀蟽畏蟼 魏 蟿畏蟼 谓喂蠈蟿畏蟼, 蟺蠅蟼 蟿慰 蟺慰位喂蟿喂魏蠈 渭蟺慰蟻蔚委 谓伪 苇蠂蔚喂 蠂蔚喂蟻慰蟺喂伪蟽蟿苇蟼 蔚蟺喂蟺位慰魏苇蟼 蟽蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪 蟿慰蠀 魏伪胃蔚谓蠈蟼, 畏 蟽畏渭伪蟽委伪 蟿畏蟼 蟽蠀渭渭蔚蟿慰蠂萎蟼 魏 蟿畏蟼 伪谓蟿委蟽蟿伪蟽畏蟼 魏慰魏) 魏 蟽蠀谓慰位喂魏维 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 喂未伪谓喂魏蠈 纬喂伪 谓蔚蠋蟿蔚蟻慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟺慰蠀 蠄维蠂谓慰蠀谓 蟽蠁伪喂蟻喂魏苇蟼 位慰纬慰蟿蔚蠂谓喂魏苇蟼 魏 喂蟽蟿慰蟻喂魏苇蟼 纬谓蠋蟽蔚喂蟼.
螆蠂蠅 未喂伪尾维蟽蔚喂 蟺蟻喂谓 维蟺蔚喂蟻伪 蠂蟻蠈谓喂伪 蟿慰 Matigari 渭蔚 蟿慰 慰蟺慰委慰 蔚委蠂伪 蔚谓胃慰蠀蟽喂伪蟽蟿蔚委 蟿蠈蟿蔚 魏 委蟽蠅蟼 谓伪 蟿慰 尉伪谓伪未喂伪尾维蟽蠅. 螘委谓伪喂 蟽委纬慰蠀蟻慰 蠈蟿喂 慰 蠀蟺慰蠄萎蠁喂慰蟼 螡慰渭蟺蔚位委蟽蟿伪蟼 (蔚委谓伪喂 渭维位位慰谓 未蔚未慰渭苇谓慰 蠈蟿喂 蠈蟿伪谓 畏 危慰蠀畏未喂魏萎 螒魏伪未畏渭委伪 伪蟺慰蠁伪蟽委蟽蔚喂 谓伪 未蠋蟽蔚喂 蟿慰 蔚蟺蠈渭蔚谓慰 尾蟻伪尾蔚委慰 蟽蔚 螒蠁蟻喂魏伪谓蠈 蟽蠀纬纬蟻伪蠁苇伪 伪蠀蟿蠈 胃伪 蟺维蔚喂 蟽蟿慰谓 Thiong'o) 胃伪 伪蟺伪蟽蠂慰位萎蟽蔚喂 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿畏蟼 渭蔚蟿伪蠁蟻伪蟽渭苇谓畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 魏 蟺慰位蠉 魏伪位维 胃伪 魏维谓蔚喂. 螤蟻慰蟽蠅蟺喂魏维, 蟿慰 伪谓伪纬谓蠅蟽蟿喂魏蠈 蟺蟻蠈纬蟻伪渭渭伪 渭慰蠀 纬喂伪 蟿慰 2017 胃伪 萎胃蔚位伪 谓伪 苇蠂蔚喂 魏 维位位慰蠀蟼 伪蠁蟻喂魏伪谓慰蠉蟼 魏 伪蟽喂维蟿蔚蟼 蟽蠀纬纬蟻伪蠁蔚委蟼. 螡伪 未慰蠉渭蔚 伪谓 胃伪 蟿伪 魏伪蟿伪蠁苇蟻蠅.
June 26, 2015
I am not a fan of Classics but the synopsis caught my interest. It was good in the beginning but then the character soon became dismiss able as the pages turned. My main problem with this book was the lack of characterization and how silly it came across. There was absolutely no direction or anything that motivated me to continue reading. This book only emphasized why I do not read many Classics, cause most of the time I am disappointed with the execution.
Oh well it was "okay" but I doubt I would be reading novels by this author.
Oh well it was "okay" but I doubt I would be reading novels by this author.
January 25, 2013
Like most people faced with challenges-this book is all about them and how much dreams are blurred by brutality and how the only people who you think have lost it all still gain the strength to hope for another day.
October 10, 2017
Os ser茅 sincera: no conoc铆a esta historia. Las palabras 芦Mau Mau禄 despertaban un recuerdo t铆mido en mi cabeza, de algo quiz谩s aprendido por encima en el colegio, pero la cosa no iba m谩s all谩. Y tras la lectura y comprensi贸n de todos los sucesos, una no puede evitar una enorme tristeza, tanto por no conocer la historia con anterioridad como por el hecho de que se trata un relato de privaciones y vejaciones constantes, contado por un experimentado narrador con una voz impecable y un gusto exquisito para escribir. Wa Thiong鈥檕 escribe de una forma muy directa, sin sutilezas, pero exprimiendo al m谩ximo el mon贸logo interno y la sencillez de las intervenciones de los personajes para que el relato adquiera un estilo muy cercano pero cortante, familiar pero rompedor. Cr铆tica completa:
July 11, 2021
This is a very good and short novel that addresses the stress and anguish of late colonialism in Kenya. This text is rich on many levels as it deals with hope, despair, injustice, redemption, etc. I'm going to teach this in both African history and World History.
I鈥檓 teaching it in my Honors World History Class now.
I just completed my third reading of this book, and it was nearly like reading for the first time. I found it more heart-wrenching and sharp in its criticism of British colonialism. I noted how racism and white supremacy run through this text.
I鈥檓 teaching it in my Honors World History Class now.
I just completed my third reading of this book, and it was nearly like reading for the first time. I found it more heart-wrenching and sharp in its criticism of British colonialism. I noted how racism and white supremacy run through this text.
February 23, 2020
This little book is actually a very slow read 鈥� it has a long fuse. But in the end, one sees that it is a work of some brilliance. This was the first novel that Ngugi published (though The River Between was written earlier), and it is fully accomplished. It was written before his much later radicalization. It is also moving. Clearly an author that deserves further exploration.
May 26, 2009
This book was a jumbled mess that had a lot of potential. The writer's style was too simple, and the direction of the story was horrible. That's as much critique as I can muster. It was a waste of reading time.
October 21, 2024
毓賲賱 賲賳 丕賱賯丕乇丞 丕賱爻賲乇丕亍 賵亘丕賱鬲丨丿賷丿 賮賷 賰賷賳賷丕 貙 丨賷孬 氐乇丕毓 丕賱胤亘賯丞 丕賱丕爻鬲毓賲丕乇賷丞 丕賱賲鬲賲孬賱丞 賮賷 丕賱乇噩賱 丕賱兀亘賷囟: 亘乇賷胤丕賳賷丕 賵賯亘丨 賵噩賴賴丕 丕賱丕爻鬲毓賲丕乇賷 賵賲賲丕乇爻丕鬲賴丕 丕賱馗丕賱賲丞 亘丨賯 丕賱爻賰丕賳 丕賱兀氐賱賷賷賳 亘丕賱爻乇賯丞 賵丕賱賳賴亘 賵丕賱丕睾鬲氐丕亘 賵丕賱廿噩亘丕乇 毓賱賶 丕賱丕賳囟賲丕賲 賵鬲噩賳賷丿 丕賱賰賷賳賷賷賷賳 賮賷 氐賮賵賮 丕賱噩賷卮 丕賱亘乇賷胤丕賳賷 賱賱賲丨丕乇亘丞 囟丿 賴鬲賱乇 賵丕賱兀賱賲丕賳賷賷賳 賮賷 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞貙 賵丕賱賱毓亘 毓賱賶 賵鬲乇 丕賱丨乇賵亘 丕賱兀賴賱賷丞 丨賷孬 噩賲丕毓丞 丕賱賲丕賵 丕賱賲丕賵 丕賱賰賷賳賷丞 丕賱鬲賷 賳卮兀鬲 賱賲丨丕乇亘丞 丕賱爻賵丿 兀賳賮爻賴賲 亘兀亘卮毓 丕賱胤乇賯 丕賱賵丨卮賷丞 賵丨賷孬 賵賯賮 丕賱乇噩賱 丕賱兀亘賷囟 賲賵賯賮 丕賱丕賳鬲賴丕夭賷 賵丕賱賲丨乇賾囟 賵丕賱賲鬲賮乇噩 賱賴匕丕 丕賱丕賯鬲鬲丕賱.
丕賱毓賲賱 賷胤乇丨 賰賱 賴匕賴 丕賱兀賮賰丕乇 賲毓 賮賰乇丞 丕爻鬲噩賱丕亘 丕賱賴賳賵丿 賰爻丕毓丿 賷丿 賷賲賷賳 賱賱亘乇賷胤丕賳賷賷賳 賲賳 禺賱丕賱 賯賴乇 賵丕爻鬲毓亘丕丿 丕賱卮毓亘 丕賱賰賷賳賷 賵丕賱鬲爻賱胤 毓賱賷賴賲 賮賷 兀乇夭丕賯賴賲 賵兀乇囟賴賲 賵賲丕 賷賲鬲 賱賴賲 亘氐賱丞 賲賳 賰乇丕賲丞 賵丕爻鬲丨賯丕賯 毓賳 胤乇賷賯 賴匕丕 丕賱爻丕毓丿 丕賱禺亘賷孬 賵丕賱賵氐賵賱賷 賵丕賱賲賳鬲夭賴..
丕賱兀毓賲丕賱 丕賱兀賮乇賷賯賷丞 鬲賰丕丿 賮賷 賲毓馗賲賴丕 鬲丨賲賱 孬賷賲丞 賲鬲卮丕亘賴丞 賵賮賷 賰賱 賲乇丞 鬲賰卮賮 賵亘卮賰賱 賮丕囟丨 賵賵丕囟丨 賵噩賴 丕賱乇噩賱 丕賱兀亘賷囟 丕賱亘睾賷囟 賵賲丕 毓丕孬 賮爻丕丿賸丕 賵馗賱賲賸丕 賮賷 丕賱賯丕乇丞 丕賱爻賲乇丕亍貙 賵毓丕丿丞賸 賲丕 鬲賰卮賮 賱賳丕 毓賳 睾乇丕卅亘賷丞 賵毓丕丿丕鬲 丕賱卮毓賵亘 丕賱兀賮乇賷賯賷丞 賵睾賳賶 兀乇丕囟賷賴丕 丕賱賲丨賲賱丞 亘丕賱爻丨乇 賵丕賱兀爻丕胤賷乇 鈥�
丕賱毓賲賱 賷丨賲賱 賲賮賴賵賲 丨賲賱 賵丕卮賴丕乇 乇丕賷丞 丕賱毓賱賲 賲賳 禺賱丕賱 賯氐丞 丕賱氐亘賷 丕賱氐睾賷乇 賳賵睾賵乇噩賷 賵丨賱賲賴 亘鬲丨賯賷賯 賲丕 賷胤賲丨 丕賱賷賴 賵鬲胤賲丨 賱賴 兀賲賴 賵丨賷孬 賷鬲賲賳賶 兀賴賱賴貙 賵丕賱賳賴丕賷丞 丕賱賲兀爻丕賵賷丞 丕賱鬲賷 噩丕亍鬲 毓賱賶 兀爻乇鬲賴 賵毓賱賷賴 賵匕賱賰 賲賳 禺賱丕賱 丕爻鬲毓乇丕囟 賯氐丞 丕賱毓丕卅賱丞 賵兀賮乇丕丿賴丕 賮乇丿丕 賮乇丿丕 賵賲丕 噩乇賶 毓賱賷賴賲 毓賱賶 兀賷丿賷 丕賱亘乇賷胤丕賳賷賷賳貙 賵丕賱鬲賷 丕賳鬲賴鬲 亘丕賱丨夭賳 賵丕賱賰賲丿 賵匕賱賰 賮賯胤 賲賳 禺賱丕賱 賲胤丕賱亘鬲賴丕 亘兀亘爻胤 丨賯賵賯賴丕貙 賵賲賳 禺賱丕賱 賯氐丞 氐丿丕賯丞 賵丨亘 亘乇賷卅丞 亘賷賳 賴匕丕 丕賱氐亘賷 賵氐丿賷賯丞 丿乇丕爻鬲賴 賵丕賱鬲賷 賰丕賳鬲 丕亘賳丞 賱兀丨丿 丕賱賰賷賳賷賷賳 丕賱賲鬲賳賮匕賷賳 賵丕賱賵氐賵賱賷賷賳 賵丕賱禺丕卅賳賷賳賳 賱卮毓亘賴 賵亘賳賷 噩賱丿鬲賴 貙 賵賷禺鬲鬲賲 丕賱毓賲賱 賰賲丕 丕亘鬲丿兀 丨賷孬 丕賱兀賲 丕賱鬲賷 鬲丿賮毓賴 廿賱賶 丕賱毓賱賲貙 廿賱賶 丕賱兀賲 丕賱鬲賷 鬲賳賯匕賴 賲賳 丕賱囟賷丕毓 賵丕賱賲賵鬲 賵丕賱丕賳鬲丨丕乇 丌禺匕丞 亘賷丿賴 丨賷孬 亘乇 丕賱賳噩丕丞 ..
丕賱賱睾丞 爻賴賱丞 賵賲亘丕卮乇丞 賵丕賱鬲乇噩賲丞 賲賲鬲丕夭丞 ..
丕賱毓賲賱 賷胤乇丨 賰賱 賴匕賴 丕賱兀賮賰丕乇 賲毓 賮賰乇丞 丕爻鬲噩賱丕亘 丕賱賴賳賵丿 賰爻丕毓丿 賷丿 賷賲賷賳 賱賱亘乇賷胤丕賳賷賷賳 賲賳 禺賱丕賱 賯賴乇 賵丕爻鬲毓亘丕丿 丕賱卮毓亘 丕賱賰賷賳賷 賵丕賱鬲爻賱胤 毓賱賷賴賲 賮賷 兀乇夭丕賯賴賲 賵兀乇囟賴賲 賵賲丕 賷賲鬲 賱賴賲 亘氐賱丞 賲賳 賰乇丕賲丞 賵丕爻鬲丨賯丕賯 毓賳 胤乇賷賯 賴匕丕 丕賱爻丕毓丿 丕賱禺亘賷孬 賵丕賱賵氐賵賱賷 賵丕賱賲賳鬲夭賴..
丕賱兀毓賲丕賱 丕賱兀賮乇賷賯賷丞 鬲賰丕丿 賮賷 賲毓馗賲賴丕 鬲丨賲賱 孬賷賲丞 賲鬲卮丕亘賴丞 賵賮賷 賰賱 賲乇丞 鬲賰卮賮 賵亘卮賰賱 賮丕囟丨 賵賵丕囟丨 賵噩賴 丕賱乇噩賱 丕賱兀亘賷囟 丕賱亘睾賷囟 賵賲丕 毓丕孬 賮爻丕丿賸丕 賵馗賱賲賸丕 賮賷 丕賱賯丕乇丞 丕賱爻賲乇丕亍貙 賵毓丕丿丞賸 賲丕 鬲賰卮賮 賱賳丕 毓賳 睾乇丕卅亘賷丞 賵毓丕丿丕鬲 丕賱卮毓賵亘 丕賱兀賮乇賷賯賷丞 賵睾賳賶 兀乇丕囟賷賴丕 丕賱賲丨賲賱丞 亘丕賱爻丨乇 賵丕賱兀爻丕胤賷乇 鈥�
丕賱毓賲賱 賷丨賲賱 賲賮賴賵賲 丨賲賱 賵丕卮賴丕乇 乇丕賷丞 丕賱毓賱賲 賲賳 禺賱丕賱 賯氐丞 丕賱氐亘賷 丕賱氐睾賷乇 賳賵睾賵乇噩賷 賵丨賱賲賴 亘鬲丨賯賷賯 賲丕 賷胤賲丨 丕賱賷賴 賵鬲胤賲丨 賱賴 兀賲賴 賵丨賷孬 賷鬲賲賳賶 兀賴賱賴貙 賵丕賱賳賴丕賷丞 丕賱賲兀爻丕賵賷丞 丕賱鬲賷 噩丕亍鬲 毓賱賶 兀爻乇鬲賴 賵毓賱賷賴 賵匕賱賰 賲賳 禺賱丕賱 丕爻鬲毓乇丕囟 賯氐丞 丕賱毓丕卅賱丞 賵兀賮乇丕丿賴丕 賮乇丿丕 賮乇丿丕 賵賲丕 噩乇賶 毓賱賷賴賲 毓賱賶 兀賷丿賷 丕賱亘乇賷胤丕賳賷賷賳貙 賵丕賱鬲賷 丕賳鬲賴鬲 亘丕賱丨夭賳 賵丕賱賰賲丿 賵匕賱賰 賮賯胤 賲賳 禺賱丕賱 賲胤丕賱亘鬲賴丕 亘兀亘爻胤 丨賯賵賯賴丕貙 賵賲賳 禺賱丕賱 賯氐丞 氐丿丕賯丞 賵丨亘 亘乇賷卅丞 亘賷賳 賴匕丕 丕賱氐亘賷 賵氐丿賷賯丞 丿乇丕爻鬲賴 賵丕賱鬲賷 賰丕賳鬲 丕亘賳丞 賱兀丨丿 丕賱賰賷賳賷賷賳 丕賱賲鬲賳賮匕賷賳 賵丕賱賵氐賵賱賷賷賳 賵丕賱禺丕卅賳賷賳賳 賱卮毓亘賴 賵亘賳賷 噩賱丿鬲賴 貙 賵賷禺鬲鬲賲 丕賱毓賲賱 賰賲丕 丕亘鬲丿兀 丨賷孬 丕賱兀賲 丕賱鬲賷 鬲丿賮毓賴 廿賱賶 丕賱毓賱賲貙 廿賱賶 丕賱兀賲 丕賱鬲賷 鬲賳賯匕賴 賲賳 丕賱囟賷丕毓 賵丕賱賲賵鬲 賵丕賱丕賳鬲丨丕乇 丌禺匕丞 亘賷丿賴 丨賷孬 亘乇 丕賱賳噩丕丞 ..
丕賱賱睾丞 爻賴賱丞 賵賲亘丕卮乇丞 賵丕賱鬲乇噩賲丞 賲賲鬲丕夭丞 ..
November 3, 2024
"No llores, peque帽o", es un emotivo relato sobre los terribles efectos del levantamiento del Mau Mau en las vidas de hombres y mujeres keniatas a trav茅s de los ojos de Njoroge. Njorege es un ni帽o que por fortuna lo manda a la escuela con el fin de buscar su sue帽o, aunque la lucha contra el dominio blanco lo hace dudar.
Una historia corta que est谩 bien escrita y que nos transmite desde los ojos de un ni帽os los que muchas personas siguen viviendo en sus pa铆ses a d铆a de hoy. Una pena ver c贸mo esos ni帽os no puedes avanzar hacia un buen futuro por culpa de adultos egoistas que no miran m谩s haya de su ombligo.
Un descubrimiento gracias al reto "Literatura en vuelo" de LoslibrosdeMaux, donde ten铆amos que leer un autor que hubiese nacido en 脕frica.
Una historia corta que est谩 bien escrita y que nos transmite desde los ojos de un ni帽os los que muchas personas siguen viviendo en sus pa铆ses a d铆a de hoy. Una pena ver c贸mo esos ni帽os no puedes avanzar hacia un buen futuro por culpa de adultos egoistas que no miran m谩s haya de su ombligo.
Un descubrimiento gracias al reto "Literatura en vuelo" de LoslibrosdeMaux, donde ten铆amos que leer un autor que hubiese nacido en 脕frica.
July 7, 2020
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