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鬲賵賷噩丕鬲 丕賱丿賲
The puzzling murder of three African directors of a foreign-owned brewery sets the scene for this fervent, hard-hitting novel about disillusionment in independent Kenya. A deceptively simple tale, Petals of Blood is on the surface a suspenseful investigation of a spectacular triple murder in upcountry Kenya. Yet as the intertwined stories of the four suspects unfold, a devastating picture emerges of a modern third-world nation whose frustrated people feel their leaders have failed them time after time. First published in 1977, this novel was so explosive that its author was imprisoned without charges by the Kenyan government. His incarceration was so shocking that newspapers around the world called attention to the case, and protests were raised by human- rights groups, scholars, and writers, including James Baldwin, Toni Morrison, Donald Barthelme, Harold Pinter, and Margaret Drabble.
526 pages, Paperback
First published January 1, 1977
275 people are currently reading
8329 people want to read
About the author
Ng农g末 wa Thiong'o
108听books1,859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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October 20, 2018
I once gave up on the ambitious narrative sprawl of , only to find my mind and body buried within the passionate scribble of these Petals of Blood,
To find oneself lost within an arresting read of love, sex, betrayal, oppression, censorship, and economic strife, while also courted by narrative strength of style, voice and reflection, is a reason to love a piece of art. But to find oneself lost in the beautiful tragedy of 1960 Eastern Africa, to traverse the mire and loveliness of the peasant landscape of 鈥渁 forgotten village,鈥� to endure the stench of strife, feel the warm rush of 罢丑别苍驳鈥檈迟补, and yet become enthralled by endurance, is to find oneself forever inspired by a piece of art. Putting aside the somewhat frustrating use of the ellipsis, this novel employs an unusual rotation of one-paragraph pages and one-word sentences; fragmented thought and elegant phraseology鈥攊ts style and story are contradictions that parallel the confusion of a newly formed democracy.
Wanja is a tortured soul like Cynthia Bond鈥檚 Ruby; like Enchi鈥檚 Suga, she is at first economically powerless and the men she comes across only want to 鈥榩ossess鈥� her; like Kawabata鈥檚 Komako, she feels hopeless, as if prostitution has defined her; but unlike these characters, she is also an empowered entrepreneur and seductress. She is fascinating, even when her mindset is a bit discomfiting. Three men鈥擜bdulla, Munira, and Karega鈥攁re linked to this poised prostitute, a victim who chooses to use rather than be used again, and each man like her, has escaped a past. Soon, they learn how their pasts are linked.
Like his post-colonial peers Soyinka and Achebe, wa Thiong鈥檕 was arrested in 1977 by the Kenyan government when this novel was first published. Not surprisingly, it was similarly minded American writers like Baldwin and Morrison who were strong protesters of his arrest.
What can I say; I have too many highlighted passages, too many thoughts, all too jumbled within this distracted brain that I can鈥檛 give coherent justice to this great novel. What I do know is that it stands apart in my collection of noteworthy postcolonial African novels.
A flower with petals of blood. It was a solitary red beanflower in a field dominated by white, blue, and violet flowers. No matter how you looked at it, it gave you the impression of a flow of blood.
To find oneself lost within an arresting read of love, sex, betrayal, oppression, censorship, and economic strife, while also courted by narrative strength of style, voice and reflection, is a reason to love a piece of art. But to find oneself lost in the beautiful tragedy of 1960 Eastern Africa, to traverse the mire and loveliness of the peasant landscape of 鈥渁 forgotten village,鈥� to endure the stench of strife, feel the warm rush of 罢丑别苍驳鈥檈迟补, and yet become enthralled by endurance, is to find oneself forever inspired by a piece of art. Putting aside the somewhat frustrating use of the ellipsis, this novel employs an unusual rotation of one-paragraph pages and one-word sentences; fragmented thought and elegant phraseology鈥攊ts style and story are contradictions that parallel the confusion of a newly formed democracy.
Wanja is a tortured soul like Cynthia Bond鈥檚 Ruby; like Enchi鈥檚 Suga, she is at first economically powerless and the men she comes across only want to 鈥榩ossess鈥� her; like Kawabata鈥檚 Komako, she feels hopeless, as if prostitution has defined her; but unlike these characters, she is also an empowered entrepreneur and seductress. She is fascinating, even when her mindset is a bit discomfiting. Three men鈥擜bdulla, Munira, and Karega鈥攁re linked to this poised prostitute, a victim who chooses to use rather than be used again, and each man like her, has escaped a past. Soon, they learn how their pasts are linked.
Like his post-colonial peers Soyinka and Achebe, wa Thiong鈥檕 was arrested in 1977 by the Kenyan government when this novel was first published. Not surprisingly, it was similarly minded American writers like Baldwin and Morrison who were strong protesters of his arrest.
The true lesson of history was this: that the so-called victims, the poor, the downtrodden, the masses, had always struggled with spears and arrows, with their hands and songs of courage and hope, to end their oppression and exploitation: that they would continue struggling until a human kingdom came: a world in which goodness and beauty and strength and courage would be seen not in how cunning one can be, not in how much power to oppress one possessed, but only in one鈥檚 contribution in creating a more humane world鈥�
What can I say; I have too many highlighted passages, too many thoughts, all too jumbled within this distracted brain that I can鈥檛 give coherent justice to this great novel. What I do know is that it stands apart in my collection of noteworthy postcolonial African novels.
July 1, 2012
This is the first book I have read by Ng农g末 wa Thiong'o, and I was swept away by it. Written in 1977, Petals of Blood recreates many of the tensions in Kenya at the time. Although the book is anchored by investigation into the murder of three highly placed Kenyan officials, it is at heart a sweeping exploration of the tensions tearing apart Kenyan society: misplaced quest for wealth, modernity, and power; the continued stranglehold of Western imperialism on Kenyan society; the questions of the responsibility of the state for the community and the individual within the community; and the tensions between modern tensions and an aching for traditions, myths, history.
I found Ng农g末 wa Thiong'o's central characters to be well-developed, layered, and moving. The novel can be read on many levels: an indictment of Western imperialism, including through Christianity; an anxious statement of concern over the political and economic path taken by Kenya at the time; an exploration of the wide gap between the faux authenticity of Kenya's past as depicted in tourism and the richness of Kenya's true history, as shown in oral history and myth. Throughout, though, Ng农g末 wa Thiong'o's focus remains on individuals - the decisions they make; their dreams and aspirations set against their realities; the different paths taken by Kenyans as they negotiate the treacherous landscape of modern West Africa. It's a wonderfully written novel, highly recommended.
I found Ng农g末 wa Thiong'o's central characters to be well-developed, layered, and moving. The novel can be read on many levels: an indictment of Western imperialism, including through Christianity; an anxious statement of concern over the political and economic path taken by Kenya at the time; an exploration of the wide gap between the faux authenticity of Kenya's past as depicted in tourism and the richness of Kenya's true history, as shown in oral history and myth. Throughout, though, Ng农g末 wa Thiong'o's focus remains on individuals - the decisions they make; their dreams and aspirations set against their realities; the different paths taken by Kenyans as they negotiate the treacherous landscape of modern West Africa. It's a wonderfully written novel, highly recommended.
March 1, 2016
Reading literature that is not written for your eyes is hard as a white man. So many of the narratives that I have encountered in my life, from books to movies to advertising to cultural mythologies, have been developed for me to eat up and enjoy with remarkable ease. It is quite easy for me to make it through the day without encountering much that challenges these narratives. And, even as a gay man, it is easy for me to discover just enough culture through the internet in daily doses of glitter beards and drag queens and tormented smalltown boys to feel like the world is made for me. And so reading something that isn鈥檛 written for me is difficult to do.
Ngugi wa Thiong鈥檕 doesn鈥檛 write for me. He doesn鈥檛 write for the presumed white audience, for our silly simplistic liberal views of the world, for our notions of justice and our silly historical guilt as though the guilt itself can justify both our ignorance and the privilege of being ignorant. Ngugi doesn鈥檛 give a damn about me. I am nowhere in his literature, I am invisible in his world. I am relegated to a plot device in Fraudsham, to a figure who has no character, no voice, no means of explaining themself. I鈥檓 a white man - reading something that wasn鈥檛 made for me is difficult because I鈥檓 so used to reading something that is written for me.
Reading something like this is an important act, though - and one of the reasons that I really enjoyed this work is that it decentered me. It, to steal Chakrabarty for a second, provincialized Europe and made Kenya the centre of the universe. I know it just reveals how privileged I am when I say this, but Ngugi wa Thiong鈥檕 startled me by putting black people - his own people - at the centre of the universe. In the process he made me realize that I, in addition to reading more books by women, I must also read more books by people of colour. By people from different regions. I must read from literary cannons that I have never learned enough about.
Coming to this realization has, of course, been a long process, and it would be foolish of me to suggest that Ngugi has led me to this realization on his own. I鈥檝e been working on adding to my shelves books from parts of the world that confound me, parts of the world that I don鈥檛 understand - regions inhabited by the billions in individual humans who have amazing stories and histories and mythologies and frustrations and joys to share which have no relation to my own or which, by my sheltered ignorance,are hidden from my small world.
To this end I am glad that this is not the first of Ngugi鈥檚 books I have read, and I hope that it isn鈥檛 the only book by him that you will read (because I do think you should read this book). About four years ago I read A Grain of Wheat - which was my first book of literature from Africa written by a black African. It was a revelation to me at the time. Brilliant, intelligent, incisive, and powerful. There, as in Petals of Blood, Ngugi is dedicated to splaying open the body politic of his nation and its history. He talks about colonialism, he talks about neo-colonialism, he talks about racism, he talks about misogyny, he talks about corruption - he takes the structures of power in the world around him and reveals just how they are created and just how they reinforce themselves.
Petals of Blood, though, is very different from A Grain of Wheat.
Here, rather than talking about the Mau Mau Rebellion and Kenya鈥檚 incredible efforts to overcome the binds of British colonial oppression he takes his final theme of injustice and expands it into a book that is historical. He does it well, with a small but effective cast of characters - Wanja, Munira, Abdulla, Karega - all of whom have been displaced by the new independence of Kenya, and all of whom have found some sort of refuge in Ilmorog. All of whom are, at the outset of the book, suspected of murdering prominent Kenyans - the murder is the conceit which makes the story possible, but the important parts of the story, the powerful moments, are totally separate from this murder.
Ilmorog becomes New Ilmorog. This transformation is fascinating, and essential, and I don鈥檛 wish to spoil it, but it hurtles forward without any level of local control and stained by the blood of corruption. It is that age-old African theme of tradition combatting modernity, and potentially losing. But Ngugi isn鈥檛 quite so thin in his thematic development to leave it there - he is a worldly man, educated, careful in his regard and precise in his admiration for justice. He sees things which are impossible to see to somebody equipped only with a frustrated anti-Colonialism. He sees things which show the great shame and sham of the post-Colonial era of African history. It is no wonder, then, that he has spent so much of his life in exile to his home land, or in prison (I can only imagine the pain of this experience for a man whose writing reveals his great love for the Kenyan landscape).
Speaking of his writing, it is worth noting that Ngugi writes with incredible clarity and power, with spiked declarative phrases. He dawdles perhaps too long on ideas and descriptions and thoughts and thought processes for his characters, but they push forward. Revelation after revelation - the awakening of a human to disappointment and corruption and the potential for joy. It is tiring for the reader - it makes picking up the book a daunting task. At times the book feels like an essay in novel format. Perhaps it is.
Perhaps that is where its two biggest weaknesses pop up. The first I have previously mentioned - that his original conceit - the murders - isn鈥檛 really all that important a plot device, though it does, in the end, help reveal more about one of the four suspects. The second is that all four suspects, and, indeed, all of the major characters in the novel, really are only ideas rather than characters. I wonder if I can explain this well, but I鈥檓 not sure I can say it any other way than this - its kind of the difference between an Alice Munro character as compared to a Margaret Atwood character. Atwood鈥檚 characters feel two-dimensional by comparison to Munro鈥檚, whose numerous figures feel more human in their desires and disappointments. Ngugi straddles that closeness to humanity much better than Atwood has (as far as I can tell, anyways), but he doesn鈥檛 quite cross the fence. It is too bad - the characters are good but they feel like they are themselves devices for Ngugi to share his ideas about Kenya after it had wrestled its independence. Maybe that is their point. Maybe that is Ngugi鈥檚 approach to writing. But I wonder if the fictional aspect of his essays in novel form suffer as a result.
It doesn鈥檛 suffer too much though. This is a fantastic piece of work, which demands attention. An incisive condemnation of power, its corruption, and the ways in which its many invasive tentacles crawl into our lives.
Ngugi wa Thiong鈥檕 doesn鈥檛 write for me. He doesn鈥檛 write for the presumed white audience, for our silly simplistic liberal views of the world, for our notions of justice and our silly historical guilt as though the guilt itself can justify both our ignorance and the privilege of being ignorant. Ngugi doesn鈥檛 give a damn about me. I am nowhere in his literature, I am invisible in his world. I am relegated to a plot device in Fraudsham, to a figure who has no character, no voice, no means of explaining themself. I鈥檓 a white man - reading something that wasn鈥檛 made for me is difficult because I鈥檓 so used to reading something that is written for me.
Reading something like this is an important act, though - and one of the reasons that I really enjoyed this work is that it decentered me. It, to steal Chakrabarty for a second, provincialized Europe and made Kenya the centre of the universe. I know it just reveals how privileged I am when I say this, but Ngugi wa Thiong鈥檕 startled me by putting black people - his own people - at the centre of the universe. In the process he made me realize that I, in addition to reading more books by women, I must also read more books by people of colour. By people from different regions. I must read from literary cannons that I have never learned enough about.
Coming to this realization has, of course, been a long process, and it would be foolish of me to suggest that Ngugi has led me to this realization on his own. I鈥檝e been working on adding to my shelves books from parts of the world that confound me, parts of the world that I don鈥檛 understand - regions inhabited by the billions in individual humans who have amazing stories and histories and mythologies and frustrations and joys to share which have no relation to my own or which, by my sheltered ignorance,are hidden from my small world.
To this end I am glad that this is not the first of Ngugi鈥檚 books I have read, and I hope that it isn鈥檛 the only book by him that you will read (because I do think you should read this book). About four years ago I read A Grain of Wheat - which was my first book of literature from Africa written by a black African. It was a revelation to me at the time. Brilliant, intelligent, incisive, and powerful. There, as in Petals of Blood, Ngugi is dedicated to splaying open the body politic of his nation and its history. He talks about colonialism, he talks about neo-colonialism, he talks about racism, he talks about misogyny, he talks about corruption - he takes the structures of power in the world around him and reveals just how they are created and just how they reinforce themselves.
Petals of Blood, though, is very different from A Grain of Wheat.
Here, rather than talking about the Mau Mau Rebellion and Kenya鈥檚 incredible efforts to overcome the binds of British colonial oppression he takes his final theme of injustice and expands it into a book that is historical. He does it well, with a small but effective cast of characters - Wanja, Munira, Abdulla, Karega - all of whom have been displaced by the new independence of Kenya, and all of whom have found some sort of refuge in Ilmorog. All of whom are, at the outset of the book, suspected of murdering prominent Kenyans - the murder is the conceit which makes the story possible, but the important parts of the story, the powerful moments, are totally separate from this murder.
Ilmorog becomes New Ilmorog. This transformation is fascinating, and essential, and I don鈥檛 wish to spoil it, but it hurtles forward without any level of local control and stained by the blood of corruption. It is that age-old African theme of tradition combatting modernity, and potentially losing. But Ngugi isn鈥檛 quite so thin in his thematic development to leave it there - he is a worldly man, educated, careful in his regard and precise in his admiration for justice. He sees things which are impossible to see to somebody equipped only with a frustrated anti-Colonialism. He sees things which show the great shame and sham of the post-Colonial era of African history. It is no wonder, then, that he has spent so much of his life in exile to his home land, or in prison (I can only imagine the pain of this experience for a man whose writing reveals his great love for the Kenyan landscape).
Speaking of his writing, it is worth noting that Ngugi writes with incredible clarity and power, with spiked declarative phrases. He dawdles perhaps too long on ideas and descriptions and thoughts and thought processes for his characters, but they push forward. Revelation after revelation - the awakening of a human to disappointment and corruption and the potential for joy. It is tiring for the reader - it makes picking up the book a daunting task. At times the book feels like an essay in novel format. Perhaps it is.
Perhaps that is where its two biggest weaknesses pop up. The first I have previously mentioned - that his original conceit - the murders - isn鈥檛 really all that important a plot device, though it does, in the end, help reveal more about one of the four suspects. The second is that all four suspects, and, indeed, all of the major characters in the novel, really are only ideas rather than characters. I wonder if I can explain this well, but I鈥檓 not sure I can say it any other way than this - its kind of the difference between an Alice Munro character as compared to a Margaret Atwood character. Atwood鈥檚 characters feel two-dimensional by comparison to Munro鈥檚, whose numerous figures feel more human in their desires and disappointments. Ngugi straddles that closeness to humanity much better than Atwood has (as far as I can tell, anyways), but he doesn鈥檛 quite cross the fence. It is too bad - the characters are good but they feel like they are themselves devices for Ngugi to share his ideas about Kenya after it had wrestled its independence. Maybe that is their point. Maybe that is Ngugi鈥檚 approach to writing. But I wonder if the fictional aspect of his essays in novel form suffer as a result.
It doesn鈥檛 suffer too much though. This is a fantastic piece of work, which demands attention. An incisive condemnation of power, its corruption, and the ways in which its many invasive tentacles crawl into our lives.
January 25, 2021
"Ba艧ka bir d眉nya, yeni bir d眉nya! Ger莽ekten olabilir miydi? M眉mk眉n m眉yd眉?"
脟ok al谋艧谋k oldu臒um diyarlar de臒il, belki bu sebepten i莽ine girmekte zorland谋m. Bir olay谋 (cinayet?) 4 ki艧inin g枚z眉nden okurken arka planda da s枚m眉rgecilik etkilerini g枚r眉yoruz.
Munira sana g谋c谋臒谋m.
脟ok al谋艧谋k oldu臒um diyarlar de臒il, belki bu sebepten i莽ine girmekte zorland谋m. Bir olay谋 (cinayet?) 4 ki艧inin g枚z眉nden okurken arka planda da s枚m眉rgecilik etkilerini g枚r眉yoruz.
Munira sana g谋c谋臒谋m.
Read
May 4, 2022Not really a murder mystery though it is set around a triple murder. This is a sprawling, intense, excoriating epic of post-independence Kenya for which its author was arrested by the Kenyan government. It pulls no punches in the depiction of post-colonial capitalism: greed and corruption holding a whole society to ransom; the agony of false hopes and ever-destroyed optimism, the lost potential of the poor, the endless abuse of women, and the way that everyone must choose between being abused or abuser, or more likely be both.
Racism and colonialism are both shown to have created this mess, but it's hard not to conclude that there is also a very deep problem with human beings in general. A bleak read with a few very faint glimmers of hope.
Racism and colonialism are both shown to have created this mess, but it's hard not to conclude that there is also a very deep problem with human beings in general. A bleak read with a few very faint glimmers of hope.
July 9, 2021
螠委伪 蟺蠈蟻谓畏, 苇谓伪蟼 未维蟽魏伪位慰蟼, 苇谓伪蟼 蟽蠀谓未喂魏伪位喂蟽蟿萎蟼 魏伪喂 苇谓伪蟼 苇魏蟺蟿蠅蟿慰蟼 伪谓蟿维蟻蟿畏蟼 蠀蠁伪委谓慰蠀谓 蔚喂蟼 蟿蔚蟿蟻伪蟺位慰蠉谓 蟿畏谓 渭伪魏蟻慰蟽魏蔚位苇蟽蟿伪蟿畏 蟺位慰魏萎 渭蔚 蠁蠈谓蟿慰 蟿慰 位蠀魏伪蠀纬苇蟼 蟿畏蟼 渭蔚蟿伪-伪蟺慰喂魏喂慰魏蟻伪蟿委伪蟼 蟽蟿畏谓 螝苇谓蠀伪. 螠苇蟽伪 伪蟺蠈 蟿喂蟼 味蠅苇蟼 蟿慰蠀蟼 慰喂 慰蟺慰委蔚蟼 维位位慰蟿蔚 渭蟺位苇魏慰谓蟿伪喂 蟽伪谓 谓萎渭伪蟿伪 魏慰蠀蟻蔚位喂伪蟽渭苇谓畏蟼 蠁慰蟻蔚蟽喂维蟼 魏伪喂 维位位慰蟿蔚 蟽伪谓 喂未蟻蠅渭苇谓伪 蟽蠋渭伪蟿伪 纬蔚渭维蟿伪 蟽魏慰蟿蠅渭苇谓畏 魏伪喂 苇谓慰蠂畏 畏未慰谓萎, 蟽伪蟽蟿委味慰蠀渭蔚 渭蔚 蟿慰谓 维胃位慰 蟿慰蠀 螛喂蠈谓纬魏慰 蟽蟿慰 谓伪 未畏渭喂慰蠀蟻纬萎蟽蔚喂 苇谓伪 蟽蠉渭蟺伪谓 渭蔚 蟿苇蟽蟽蔚蟻喂蟼 伪蠀胃蠉蟺伪蟻魏蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 渭蔚 畏胃喂魏蠈 魏伪喂 蠄蠀蠂喂魏蠈 尾维胃慰蟼 蟺慰蠀 胃伪 味萎位蔚蠀伪谓 蟺慰位位慰委 (蟽蠉纬蠂蟻慰谓慰喂 魏伪喂 渭畏) 魏伪蟿伪尉喂蠅渭苇谓慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼.
螒谓 魏维蟺慰喂慰蟼 尉蔚蟺蔚蟻维蟽蔚喂 蟿畏谓 蟺蟻慰蠁伪谓萎 (尾位苇蟺蔚 尾喂慰纬蟻伪蠁喂魏维 蟽蠀纬纬蟻伪蠁苇伪) 伪谓蟿喂魏伪蟺喂蟿伪位喂蟽蟿喂魏萎 蟽蟿蟻维蟿蔚蠀蟽畏, 胃伪 伪蟺慰位伪蠉蟽蔚喂 魏伪喂 胃伪 未伪魏蟻蠉蟽蔚喂 蟽蠀谓维渭伪 渭蔚 蟿畏 蟽魏喂伪纬蟻维蠁畏蟽畏 蟿畏蟼 未喂伪蠁胃慰蟻维蟼, 蟿蠅谓 未喂伪蠄蔚蠀蟽渭苇谓蠅谓 慰谓蔚委蟻蠅谓, 蟿畏蟼 芦伪谓蠋蟿蔚蟻畏蟼禄 位蔚蠀魏萎蟼 蠁蠀位萎蟼 伪位位维 魏伪喂 蟿畏蟼 苇纬蠂蟻蠅渭畏蟼 渭蟺慰蠀蟻味慰蠀伪味委伪蟼 蟺慰蠀 蟺伪委蟻谓蔚喂 蟿伪 畏谓委伪 魏伪喂 蟽蟿苇魏蔚蟿伪喂 蔚蟺维尉喂慰蟼 蟿蠉蟻伪谓谓慰蟼 渭蔚 伪纬纬位慰蟽伪尉慰谓喂魏萎 蟺伪喂未蔚委伪.
韦慰 渭喂魏蟻蠈 蟺蟻蠅蟿蠈纬慰谓慰 蠂蠅蟻喂蠈 螉位渭慰蟻慰纬魏 芦蟺蟻慰慰未蔚蠉蔚喂禄, 蔚魏尾喂慰渭畏蠂伪谓委味蔚蟿伪喂 魏伪喂 蟽伪蟺委味蔚喂 伪蟺蠈 蟿慰谓 慰蟺慰蟻蟿慰蠀谓喂蟽渭蠈 魏伪喂 蟿慰谓 蔚魏蠁蠀位喂蟽渭蠈 魏维胃蔚 畏胃喂魏萎蟼 伪尉委伪蟼. 螘委谓伪喂 畏 渭喂魏蟻慰纬蟻伪蠁委伪 蟿畏蟼 委未喂伪蟼 蟿畏蟼 螝苇谓蠀伪蟼 魏伪喂 蟿畏蟼 渭蔚蟿维尾伪蟽畏蟼 伪蟺蠈 蟿慰谓 味蠀纬蠈 蟿畏蟼 螕畏蟻伪喂维蟼 螒位尾喂蠋谓伪蟼 蟽蟿慰 伪蟺伪蟻蟿蠂维喂谓蟿 渭蔚蟿伪尉蠉 苇纬蠂蟻蠅渭蠅谓 伪蠀蟿萎 蟿畏 蠁慰蟻维, 伪位位维 魏伪喂 蟽蟿慰 未喂纬位蠅蟽蟽喂魏蠈 蟽蠂委蟽渭伪 渭蔚蟿伪尉蠉 蟿畏蟼 魏伪胃伪蟻萎蟼 纬位蠋蟽蟽伪蟼 魏伪喂 蟿蠅谓 未喂伪位苇魏蟿蠅谓 蟿蠅谓 蟺蟻慰位蔚蟿维蟻喂蠅谓.
螢蔚魏喂谓蠋谓蟿伪蟼 蠅蟼 伪蠁蟻喂魏伪谓喂魏蠈 伪蟽蟿蠀谓慰渭喂魏蠈 谓慰蠀维蟻, 魏伪蟿伪位萎纬蔚喂 位慰纬慰蟿蔚蠂谓喂魏蠈 未喂伪渭维谓蟿喂 蟿慰 慰蟺慰委慰 渭蔚 苇谓伪谓 蔚蠉蟽蟿慰蠂慰 魏伪喂 未喂蠈位慰蠀 纬位蠀魏伪谓维位伪蟿慰 位蠀蟻喂蟽渭蠈, 位蔚喂伪委谓蔚喂 蟿喂蟼 维魏蟻蔚蟼 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽伪谓 谓伪 蟿慰 魏伪蟿伪蟽蟿萎蟽慰蠀谓 蟺蔚味蠈 魏伪喂 蠁位蠉伪蟻慰 渭伪谓喂蠁苇蟽蟿慰. 螘尉伪喂蟻蠋谓蟿伪蟼 魏维蟺慰喂蔚蟼 魏慰蠀蟻伪蟽蟿喂魏苇蟼 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 伪蠁畏纬萎蟽蔚喂蟼, 苇蠂慰蠀渭蔚 苇谓伪 位慰纬慰蟿蔚蠂谓喂魏蠈 未喂伪渭维谓蟿喂 未喂蠈位慰蠀 伪魏伪蟿苇蟻纬伪蟽蟿慰, 伪蠁慰蠉 畏 未蠉谓伪渭畏, 畏 纬位伪蠁蠀蟻蠈蟿畏蟿伪 蟽蟿喂蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 魏伪喂 畏 蟽魏位畏蟻蠈蟿畏蟿伪 蟿蠅谓 未喂伪位慰纬喂魏蠋谓 魏慰渭渭伪蟿喂蠋谓, 蟽蔚 魏维谓蔚喂 谓伪 蟺喂蟽蟿苇蠄蔚喂蟼 蠈蟿喂 尾蟻委蟽魏蔚蟽伪喂 魏伪蟿维魏慰蟺慰蟼 魏伪喂 蟺位畏纬蠅渭苇谓慰蟼 蟽蔚 苇谓伪谓 伪蠁蟻喂魏伪谓喂魏蠈 位蠈蠁慰, 伪纬谓伪谓蟿蔚蠉慰谓蟿伪蟼 蟿慰 渭慰蠉蠂蟻蠅渭伪 蟿慰蠀 畏位喂慰尾伪蟽喂位苇渭伪蟿慰蟼 蟽蟿伪 维纬慰谓伪 蔚未维蠁畏 蟿畏蟼 魏蔚谓蠀伪蟿喂魏萎蟼 蔚谓未慰蠂蠋蟻伪蟼.
螆谓伪 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 蟺慰蠀 蟽蟿畏 蠂蠋蟻伪 渭伪蟼 蟺蟻慰蠁伪谓蠋蟼 未蔚谓 萎蟿伪谓 伪蟻魏蔚蟿维 喂谓蟽蟿伪纬魏蟻伪渭喂魏蠈 纬喂伪 谓伪 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟽蔚喂 蟽蔚 蠁蠅蟿慰纬蟻伪蠁委蔚蟼 魏伪喂 giveaways鈥un fact 蠈蟿喂 慰 (蟺伪蟻鈥� 慰位委纬慰谓 谓慰渭蟺蔚位委蟽蟿伪蟼) 螛喂蠈谓纬魏慰 苇蠂蔚喂 蔚纬魏伪蟿伪位蔚委蠄蔚喂 蟿畏 蟽蠀纬纬蟻伪蠁萎 蟽蟿畏谓 伪纬纬位喂魏萎 纬位蠋蟽蟽伪 魏伪喂 蟺位苇慰谓 蠂蟻畏蟽喂渭慰蟺慰喂蔚委 蟿畏 渭畏蟿蟻喂魏萎 蟿慰蠀 未喂维位蔚魏蟿慰, 渭蔚 蟺蟻慰蠁伪谓苇蟼 蔚魏未慰蟿喂魏蠈 魏伪喂 慰喂魏慰谓慰渭喂魏蠈 魏蠈蟽蟿慰蟼, 魏伪胃喂蟽蟿蠋谓蟿伪蟼 渭伪蟼 蟽伪蠁萎 蟿畏谓 蔚谓伪谓蟿委蠅蟽萎 蟿慰蠀 蟽蟿伪 蟺蔚蟻委 蟺蔚蟻委 喂蟽蠂蠀蟻蠋谓 魏伪喂 伪蟽胃蔚谓蠋谓 纬位蠅蟽蟽蠋谓.
螒谓 魏维蟺慰喂慰蟼 尉蔚蟺蔚蟻维蟽蔚喂 蟿畏谓 蟺蟻慰蠁伪谓萎 (尾位苇蟺蔚 尾喂慰纬蟻伪蠁喂魏维 蟽蠀纬纬蟻伪蠁苇伪) 伪谓蟿喂魏伪蟺喂蟿伪位喂蟽蟿喂魏萎 蟽蟿蟻维蟿蔚蠀蟽畏, 胃伪 伪蟺慰位伪蠉蟽蔚喂 魏伪喂 胃伪 未伪魏蟻蠉蟽蔚喂 蟽蠀谓维渭伪 渭蔚 蟿畏 蟽魏喂伪纬蟻维蠁畏蟽畏 蟿畏蟼 未喂伪蠁胃慰蟻维蟼, 蟿蠅谓 未喂伪蠄蔚蠀蟽渭苇谓蠅谓 慰谓蔚委蟻蠅谓, 蟿畏蟼 芦伪谓蠋蟿蔚蟻畏蟼禄 位蔚蠀魏萎蟼 蠁蠀位萎蟼 伪位位维 魏伪喂 蟿畏蟼 苇纬蠂蟻蠅渭畏蟼 渭蟺慰蠀蟻味慰蠀伪味委伪蟼 蟺慰蠀 蟺伪委蟻谓蔚喂 蟿伪 畏谓委伪 魏伪喂 蟽蟿苇魏蔚蟿伪喂 蔚蟺维尉喂慰蟼 蟿蠉蟻伪谓谓慰蟼 渭蔚 伪纬纬位慰蟽伪尉慰谓喂魏萎 蟺伪喂未蔚委伪.
韦慰 渭喂魏蟻蠈 蟺蟻蠅蟿蠈纬慰谓慰 蠂蠅蟻喂蠈 螉位渭慰蟻慰纬魏 芦蟺蟻慰慰未蔚蠉蔚喂禄, 蔚魏尾喂慰渭畏蠂伪谓委味蔚蟿伪喂 魏伪喂 蟽伪蟺委味蔚喂 伪蟺蠈 蟿慰谓 慰蟺慰蟻蟿慰蠀谓喂蟽渭蠈 魏伪喂 蟿慰谓 蔚魏蠁蠀位喂蟽渭蠈 魏维胃蔚 畏胃喂魏萎蟼 伪尉委伪蟼. 螘委谓伪喂 畏 渭喂魏蟻慰纬蟻伪蠁委伪 蟿畏蟼 委未喂伪蟼 蟿畏蟼 螝苇谓蠀伪蟼 魏伪喂 蟿畏蟼 渭蔚蟿维尾伪蟽畏蟼 伪蟺蠈 蟿慰谓 味蠀纬蠈 蟿畏蟼 螕畏蟻伪喂维蟼 螒位尾喂蠋谓伪蟼 蟽蟿慰 伪蟺伪蟻蟿蠂维喂谓蟿 渭蔚蟿伪尉蠉 苇纬蠂蟻蠅渭蠅谓 伪蠀蟿萎 蟿畏 蠁慰蟻维, 伪位位维 魏伪喂 蟽蟿慰 未喂纬位蠅蟽蟽喂魏蠈 蟽蠂委蟽渭伪 渭蔚蟿伪尉蠉 蟿畏蟼 魏伪胃伪蟻萎蟼 纬位蠋蟽蟽伪蟼 魏伪喂 蟿蠅谓 未喂伪位苇魏蟿蠅谓 蟿蠅谓 蟺蟻慰位蔚蟿维蟻喂蠅谓.
螢蔚魏喂谓蠋谓蟿伪蟼 蠅蟼 伪蠁蟻喂魏伪谓喂魏蠈 伪蟽蟿蠀谓慰渭喂魏蠈 谓慰蠀维蟻, 魏伪蟿伪位萎纬蔚喂 位慰纬慰蟿蔚蠂谓喂魏蠈 未喂伪渭维谓蟿喂 蟿慰 慰蟺慰委慰 渭蔚 苇谓伪谓 蔚蠉蟽蟿慰蠂慰 魏伪喂 未喂蠈位慰蠀 纬位蠀魏伪谓维位伪蟿慰 位蠀蟻喂蟽渭蠈, 位蔚喂伪委谓蔚喂 蟿喂蟼 维魏蟻蔚蟼 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽伪谓 谓伪 蟿慰 魏伪蟿伪蟽蟿萎蟽慰蠀谓 蟺蔚味蠈 魏伪喂 蠁位蠉伪蟻慰 渭伪谓喂蠁苇蟽蟿慰. 螘尉伪喂蟻蠋谓蟿伪蟼 魏维蟺慰喂蔚蟼 魏慰蠀蟻伪蟽蟿喂魏苇蟼 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 伪蠁畏纬萎蟽蔚喂蟼, 苇蠂慰蠀渭蔚 苇谓伪 位慰纬慰蟿蔚蠂谓喂魏蠈 未喂伪渭维谓蟿喂 未喂蠈位慰蠀 伪魏伪蟿苇蟻纬伪蟽蟿慰, 伪蠁慰蠉 畏 未蠉谓伪渭畏, 畏 纬位伪蠁蠀蟻蠈蟿畏蟿伪 蟽蟿喂蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 魏伪喂 畏 蟽魏位畏蟻蠈蟿畏蟿伪 蟿蠅谓 未喂伪位慰纬喂魏蠋谓 魏慰渭渭伪蟿喂蠋谓, 蟽蔚 魏维谓蔚喂 谓伪 蟺喂蟽蟿苇蠄蔚喂蟼 蠈蟿喂 尾蟻委蟽魏蔚蟽伪喂 魏伪蟿维魏慰蟺慰蟼 魏伪喂 蟺位畏纬蠅渭苇谓慰蟼 蟽蔚 苇谓伪谓 伪蠁蟻喂魏伪谓喂魏蠈 位蠈蠁慰, 伪纬谓伪谓蟿蔚蠉慰谓蟿伪蟼 蟿慰 渭慰蠉蠂蟻蠅渭伪 蟿慰蠀 畏位喂慰尾伪蟽喂位苇渭伪蟿慰蟼 蟽蟿伪 维纬慰谓伪 蔚未维蠁畏 蟿畏蟼 魏蔚谓蠀伪蟿喂魏萎蟼 蔚谓未慰蠂蠋蟻伪蟼.
螆谓伪 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 蟺慰蠀 蟽蟿畏 蠂蠋蟻伪 渭伪蟼 蟺蟻慰蠁伪谓蠋蟼 未蔚谓 萎蟿伪谓 伪蟻魏蔚蟿维 喂谓蟽蟿伪纬魏蟻伪渭喂魏蠈 纬喂伪 谓伪 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟽蔚喂 蟽蔚 蠁蠅蟿慰纬蟻伪蠁委蔚蟼 魏伪喂 giveaways鈥un fact 蠈蟿喂 慰 (蟺伪蟻鈥� 慰位委纬慰谓 谓慰渭蟺蔚位委蟽蟿伪蟼) 螛喂蠈谓纬魏慰 苇蠂蔚喂 蔚纬魏伪蟿伪位蔚委蠄蔚喂 蟿畏 蟽蠀纬纬蟻伪蠁萎 蟽蟿畏谓 伪纬纬位喂魏萎 纬位蠋蟽蟽伪 魏伪喂 蟺位苇慰谓 蠂蟻畏蟽喂渭慰蟺慰喂蔚委 蟿畏 渭畏蟿蟻喂魏萎 蟿慰蠀 未喂维位蔚魏蟿慰, 渭蔚 蟺蟻慰蠁伪谓苇蟼 蔚魏未慰蟿喂魏蠈 魏伪喂 慰喂魏慰谓慰渭喂魏蠈 魏蠈蟽蟿慰蟼, 魏伪胃喂蟽蟿蠋谓蟿伪蟼 渭伪蟼 蟽伪蠁萎 蟿畏谓 蔚谓伪谓蟿委蠅蟽萎 蟿慰蠀 蟽蟿伪 蟺蔚蟻委 蟺蔚蟻委 喂蟽蠂蠀蟻蠋谓 魏伪喂 伪蟽胃蔚谓蠋谓 纬位蠅蟽蟽蠋谓.
June 17, 2023
螤蟻蠋蟿畏 蔚蟺伪蠁萎 渭蔚 蟿慰谓 螒蠁蟻喂魏伪谓蠈 魏伪喂 胃伪 蟺蠅 伪蟺位维 未喂伪尾维蟽蟿蔚 蟿慰!
韦苇蟽蟽蔚蟻喂蟼 螝蔚谓蠀维蟿蔚蟼 蟽蠀谓未苇慰谓蟿伪喂 渭苇蟽伪 伪蟺蠈 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 魏伪喂 伪蠁畏纬慰蠉谓蟿伪喂 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀蟼 蟽蟿畏 螡苇伪 螝苇谓蠀伪.
韦慰 尾喂尾位委慰 伪蠀蟿蠈 渭蟺位苇魏蔚喂 蟺慰位位维 蔚委未畏 位慰纬慰蟿蔚蠂谓委伪蟼. 螢蔚魏喂谓维 蠅蟼 伪蟽蟿蠀谓慰渭喂魏蠈, 蟺蔚蟻谓维 蟽蟿慰 喂蟽蟿慰蟻喂魏蠈- 蟺慰位喂蟿喂魏蠈 魏伪喂 魏伪蟿伪位萎纬蔚喂 蟽蟿慰 魏慰喂谓蠅谓喂魏蠈.
螆谓伪 蠂蠅蟻喂蠈, 蟿慰 螉位渭慰蟻慰纬魏, 蟺慰蠀 蠁伪委谓蔚蟿伪喂 尉蔚蠂伪蟽渭苇谓慰 伪蟺蠈 蟿慰 蠂蟻蠈谓慰 渭蔚 蔚位维蠂喂蟽蟿慰蠀蟼 蟺蠈蟻慰蠀蟼 蠋蟽蟿蔚 谓伪 渭蟺慰蟻苇蟽慰蠀谓 谓伪 蟽蠀谓蟿畏蟻畏胃慰蠉谓 慰喂 魏维蟿慰喂魏慰喂 蟺蟻慰慰未蔚蠉蔚喂 魏伪喂 蔚魏蟽蠀纬蠂蟻慰谓委味蔚蟿伪喂. 违蟺蠈 蟿慰 蟺蟻委蟽渭伪 蟿畏蟼 伪蟺慰喂魏喂慰魏蟻伪蟿委伪蟼 蟿蠅谓 螔蟻蔚蟿伪谓蠋谓 蟽蟿畏谓 螝苇谓蠀伪 魏伪喂 蟿畏 渭蔚蟿维- 伪蟺慰喂魏喂慰魏蟻伪蟿喂魏萎 蟺蔚蟻委慰未慰 蟿慰 蠂蠅蟻喂蠈 伪蟺慰魏蟿维 维位位畏 蔚喂魏蠈谓伪 魏伪喂 慰喂 蟺慰位委蟿蔚蟼 蟿慰蠀 蟺位苇慰谓 蠀蟺畏蟻蔚蟿慰蠉谓 蟿慰蠀蟼 蟺位慰蠉蟽喂慰蠀蟼 伪蟺慰喂魏喂慰魏蟻维蟿蔚蟼. 螌位伪 伪位位维味慰蠀谓 伪魏蠈渭伪 魏伪喂 慰喂 伪尉委蔚蟼 蟿蠅谓 畏蟻蠋蠅谓. 螣喂 蟿蠉蠄蔚喂蟼 蟿慰蠀蟼 蠈渭蠅蟼 蟿慰蠀蟼 魏伪蟿伪蟿蟻蠉蠂慰蠀谓 魏伪喂 魏维蟺慰喂慰喂 胃伪 蟽蠀谓蔚蠂委蟽慰蠀谓 谓伪 伪纬蠅谓委味慰谓蟿伪喂 纬喂伪 蟿慰 魏伪位蠈 蟿畏蟼 蟺伪蟿蟻委未伪蟼.
螣 维谓胃蟻蠅蟺慰蟼 未蔚谓 蟺伪蠉蔚喂 谓伪 蔚蟺伪谓伪蟽蟿伪蟿蔚委 魏伪喂 谓伪 未喂蔚魏未喂魏蔚委 蔚未维蠁畏 蟿畏蟼 蠂蠋蟻伪蟼 蟿慰蠀 魏伪喂 蟿伪 未喂魏伪喂蠋渭伪蟿维 蟿慰蠀 蠈蟺慰喂伪 魏喂 伪谓 蔚委谓伪喂 伪蠀蟿维, 蠁蠀位蔚蟿喂魏维 萎 蟺慰位喂蟿喂魏维.
螖喂伪尾维味慰谓蟿伪蟼 尾喂尾位委伪 渭蔚 胃苇渭伪 蟿畏谓 伪蟺慰喂魏喂慰魏蟻伪蟿委伪 渭蔚 蟺喂维谓蔚喂 胃位委蠄畏, 蟽蠀渭蟺蠈谓喂伪 魏伪喂 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪 蔚蠀纬谓蠅渭慰谓蠋 蟺慰蠀 味蠅 蟽蔚 渭喂伪 蠂蠋蟻伪 蟺慰蠀 蔚蠀蟿蠀蠂蠋蟼 芦纬位委蟿蠅蟽蔚禄 伪蟺蠈 蔚蠂胃蟻慰蠉蟼 蟺慰蠀 味慰蠀谓 蟽蔚 渭喂伪 蠂蠋蟻伪 蟺慰蠀 蔚蠀蟿蠀蠂蠋蟼 芦纬位委蟿蠅蟽蔚禄 伪蟺蠈 蔚蠂胃蟻慰蠉蟼 魏 未蔚谓 蔚委谓伪喂 蠀蟺慰未慰蠀位蠅渭苇谓畏. 螔苇尾伪喂伪, 伪蠀蟿蠈 未蔚 蟽畏渭伪委谓蔚喂 蟺蠅蟼 未蔚谓 蟺伪委味慰谓蟿伪喂 蟺慰位喂蟿喂魏维 蟺伪喂蠂谓委未喂伪, 蟺蠅蟼 蠅蟼 蠂蠋蟻伪 未蔚谓 蔚尉蠀蟺畏蟻蔚蟿慰蠉渭蔚 蟽蠀渭蠁苇蟻慰谓蟿伪 魏伪喂 蟺蠅蟼 未蔚谓 蔚委渭伪蟽蟿蔚 蠀蟺慰蟿伪纬渭苇谓慰喂 蟽蔚 渭蔚纬维位蔚蟼 未蠀谓维渭蔚喂蟼.
螆谓伪蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 渭蔚 纬位伪蠁蠀蟻萎, 渭蔚蟽蟿萎 纬蟻伪蠁萎 魏伪喂 渭蔚 蟺慰位喂蟿喂魏慰喂蟽蟿慰蟻喂魏蠈 蠀蟺蠈尾伪胃蟻慰 蟺慰蠀 伪尉委味蔚喂 谓伪 未喂伪尾伪蟽蟿蔚委 蠈蟺蠅蟼 伪尉委味蔚喂, 蟺蟻慰蟽蠅蟺喂魏萎 维蟺慰蠄畏, 尾蟻伪尾蔚委慰 螡蠈渭蟺蔚位.
韦苇蟽蟽蔚蟻喂蟼 螝蔚谓蠀维蟿蔚蟼 蟽蠀谓未苇慰谓蟿伪喂 渭苇蟽伪 伪蟺蠈 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 魏伪喂 伪蠁畏纬慰蠉谓蟿伪喂 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀蟼 蟽蟿畏 螡苇伪 螝苇谓蠀伪.
韦慰 尾喂尾位委慰 伪蠀蟿蠈 渭蟺位苇魏蔚喂 蟺慰位位维 蔚委未畏 位慰纬慰蟿蔚蠂谓委伪蟼. 螢蔚魏喂谓维 蠅蟼 伪蟽蟿蠀谓慰渭喂魏蠈, 蟺蔚蟻谓维 蟽蟿慰 喂蟽蟿慰蟻喂魏蠈- 蟺慰位喂蟿喂魏蠈 魏伪喂 魏伪蟿伪位萎纬蔚喂 蟽蟿慰 魏慰喂谓蠅谓喂魏蠈.
螆谓伪 蠂蠅蟻喂蠈, 蟿慰 螉位渭慰蟻慰纬魏, 蟺慰蠀 蠁伪委谓蔚蟿伪喂 尉蔚蠂伪蟽渭苇谓慰 伪蟺蠈 蟿慰 蠂蟻蠈谓慰 渭蔚 蔚位维蠂喂蟽蟿慰蠀蟼 蟺蠈蟻慰蠀蟼 蠋蟽蟿蔚 谓伪 渭蟺慰蟻苇蟽慰蠀谓 谓伪 蟽蠀谓蟿畏蟻畏胃慰蠉谓 慰喂 魏维蟿慰喂魏慰喂 蟺蟻慰慰未蔚蠉蔚喂 魏伪喂 蔚魏蟽蠀纬蠂蟻慰谓委味蔚蟿伪喂. 违蟺蠈 蟿慰 蟺蟻委蟽渭伪 蟿畏蟼 伪蟺慰喂魏喂慰魏蟻伪蟿委伪蟼 蟿蠅谓 螔蟻蔚蟿伪谓蠋谓 蟽蟿畏谓 螝苇谓蠀伪 魏伪喂 蟿畏 渭蔚蟿维- 伪蟺慰喂魏喂慰魏蟻伪蟿喂魏萎 蟺蔚蟻委慰未慰 蟿慰 蠂蠅蟻喂蠈 伪蟺慰魏蟿维 维位位畏 蔚喂魏蠈谓伪 魏伪喂 慰喂 蟺慰位委蟿蔚蟼 蟿慰蠀 蟺位苇慰谓 蠀蟺畏蟻蔚蟿慰蠉谓 蟿慰蠀蟼 蟺位慰蠉蟽喂慰蠀蟼 伪蟺慰喂魏喂慰魏蟻维蟿蔚蟼. 螌位伪 伪位位维味慰蠀谓 伪魏蠈渭伪 魏伪喂 慰喂 伪尉委蔚蟼 蟿蠅谓 畏蟻蠋蠅谓. 螣喂 蟿蠉蠄蔚喂蟼 蟿慰蠀蟼 蠈渭蠅蟼 蟿慰蠀蟼 魏伪蟿伪蟿蟻蠉蠂慰蠀谓 魏伪喂 魏维蟺慰喂慰喂 胃伪 蟽蠀谓蔚蠂委蟽慰蠀谓 谓伪 伪纬蠅谓委味慰谓蟿伪喂 纬喂伪 蟿慰 魏伪位蠈 蟿畏蟼 蟺伪蟿蟻委未伪蟼.
螣 维谓胃蟻蠅蟺慰蟼 未蔚谓 蟺伪蠉蔚喂 谓伪 蔚蟺伪谓伪蟽蟿伪蟿蔚委 魏伪喂 谓伪 未喂蔚魏未喂魏蔚委 蔚未维蠁畏 蟿畏蟼 蠂蠋蟻伪蟼 蟿慰蠀 魏伪喂 蟿伪 未喂魏伪喂蠋渭伪蟿维 蟿慰蠀 蠈蟺慰喂伪 魏喂 伪谓 蔚委谓伪喂 伪蠀蟿维, 蠁蠀位蔚蟿喂魏维 萎 蟺慰位喂蟿喂魏维.
螖喂伪尾维味慰谓蟿伪蟼 尾喂尾位委伪 渭蔚 胃苇渭伪 蟿畏谓 伪蟺慰喂魏喂慰魏蟻伪蟿委伪 渭蔚 蟺喂维谓蔚喂 胃位委蠄畏, 蟽蠀渭蟺蠈谓喂伪 魏伪喂 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪 蔚蠀纬谓蠅渭慰谓蠋 蟺慰蠀 味蠅 蟽蔚 渭喂伪 蠂蠋蟻伪 蟺慰蠀 蔚蠀蟿蠀蠂蠋蟼 芦纬位委蟿蠅蟽蔚禄 伪蟺蠈 蔚蠂胃蟻慰蠉蟼 蟺慰蠀 味慰蠀谓 蟽蔚 渭喂伪 蠂蠋蟻伪 蟺慰蠀 蔚蠀蟿蠀蠂蠋蟼 芦纬位委蟿蠅蟽蔚禄 伪蟺蠈 蔚蠂胃蟻慰蠉蟼 魏 未蔚谓 蔚委谓伪喂 蠀蟺慰未慰蠀位蠅渭苇谓畏. 螔苇尾伪喂伪, 伪蠀蟿蠈 未蔚 蟽畏渭伪委谓蔚喂 蟺蠅蟼 未蔚谓 蟺伪委味慰谓蟿伪喂 蟺慰位喂蟿喂魏维 蟺伪喂蠂谓委未喂伪, 蟺蠅蟼 蠅蟼 蠂蠋蟻伪 未蔚谓 蔚尉蠀蟺畏蟻蔚蟿慰蠉渭蔚 蟽蠀渭蠁苇蟻慰谓蟿伪 魏伪喂 蟺蠅蟼 未蔚谓 蔚委渭伪蟽蟿蔚 蠀蟺慰蟿伪纬渭苇谓慰喂 蟽蔚 渭蔚纬维位蔚蟼 未蠀谓维渭蔚喂蟼.
螆谓伪蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 渭蔚 纬位伪蠁蠀蟻萎, 渭蔚蟽蟿萎 纬蟻伪蠁萎 魏伪喂 渭蔚 蟺慰位喂蟿喂魏慰喂蟽蟿慰蟻喂魏蠈 蠀蟺蠈尾伪胃蟻慰 蟺慰蠀 伪尉委味蔚喂 谓伪 未喂伪尾伪蟽蟿蔚委 蠈蟺蠅蟼 伪尉委味蔚喂, 蟺蟻慰蟽蠅蟺喂魏萎 维蟺慰蠄畏, 尾蟻伪尾蔚委慰 螡蠈渭蟺蔚位.
December 26, 2018
韦慰 尾喂尾位委慰 尉蔚魏喂谓维 渭蔚 苇谓伪 蟿蟻喂蟺位蠈 蠁蠈谓慰 魏伪喂 蟿蔚位蔚喂蠋谓蔚喂, 渭蔚蟿维 伪蟺蠈 600 蟺蔚蟻委蟺慰蠀 蟽蔚位委未蔚蟼, 渭蔚 蟿畏谓 伪蟺慰魏维位蠀蠄畏 蟿慰蠀 蔚谓蠈蠂慰蠀.
螇蟿伪谓 蠈渭蠅蟼 苇谓慰蠂慰蟼; 螇蟿伪谓 慰 蟺蟻伪纬渭伪蟿喂魏蠈蟼 苇谓慰蠂慰蟼;
螒谓维渭蔚蟽伪 蟽蟿喂蟼 蟺蟻蠋蟿蔚蟼 魏伪喂 蟿喂蟼 蟿蔚位蔚蠀蟿伪委蔚蟼 蟽蔚位委未蔚蟼 蟺伪蟻蔚位伪蠉谓蔚喂 蠈位畏 畏 喂蟽蟿慰蟻委伪 蟿畏蟼 螝苇谓蠀伪蟼, 伪蟺蠈 蟿慰谓 伪蟺蔚位蔚蠀胃蔚蟻蠅蟿喂魏蠈 伪纬蠋谓伪 蟿蠅谓 螠维慰蠀 螠维慰蠀, 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 '50, 渭苇蠂蟻喂 伪蟻魏蔚蟿维 蠂蟻蠈谓喂伪 渭蔚蟿维 蟿畏谓 伪谓蔚尉伪蟻蟿畏蟿慰蟺慰委畏蟽畏 蟿畏蟼 蠂蠋蟻伪蟼 伪蟺蠈 蟿畏 尾蟻蔚蟿伪谓喂魏萎 "蠁蟻慰谓蟿委未伪".
螚 伪喂渭伪蟿慰蠂蠀蟽委伪 蔚魏蔚委谓慰蠀 蟿慰蠀 伪纬蠋谓伪 (32 位蔚蠀魏慰委 魏伪喂 蠂喂位喂维未蔚蟼 螝喂魏慰蠉纬喂慰蠀, 畏 魏蠀蟻喂蠈蟿蔚蟻畏 蔚胃谓蠈蟿畏蟿伪 蟿畏蟼 螝苇谓蠀伪蟼) 苇尾伪位蔚 蟿苇位慰蟼 蟽蟿畏 尾蟻蔚蟿伪谓喂魏萎 伪蟺慰喂魏喂慰魏蟻伪蟿委伪 魏伪喂 维蠁畏蟽蔚 蟿畏 蠂蠋蟻伪 谓伪 尾蟻蔚喂 蟿慰 未蟻蠈渭慰 蟿畏蟼, 魏维蟿喂 蟿慰 慰蟺慰委慰 蟽蟿畏谓 蟺蟻维尉畏 未蔚谓 伪蟺慰未蔚委蠂蟿畏魏蔚 蟺慰位蠉 蔚蠉魏慰位慰.
螤慰位蠉 蔚谓未喂伪蠁苇蟻慰谓 尾喂尾位委慰, 蟽蠂蔚蟿喂魏维 未蠉蟽魏慰位慰 蟽蟿慰 未喂维尾伪蟽渭伪 蟿慰蠀 纬喂伪 魏维蟺慰喂慰谓 蟺慰蠀 未蔚谓 苇蠂蔚喂 喂未苇伪 伪蟺蠈 螒蠁蟻喂魏萎.
螌位伪 蟿伪 胃苇渭伪蟿伪 蟺慰蠀 胃委纬蔚喂 蠈渭蠅蟼 (魏伪喂 蔚委谓伪喂 伪蟻魏蔚蟿维) 苇蠂慰蠀谓 蟽畏渭伪谓蟿喂魏苇蟼 慰渭慰喂蠈蟿畏蟿蔚蟼 渭蔚 蟿伪 胃苇渭伪蟿伪 蟺慰蠀 蟺蟻慰尾位畏渭伪蟿委味慰蠀谓 魏维胃蔚 魏慰喂谓蠅谓委伪. 螚 蟺慰位喂蟿喂魏萎 未喂伪蠁胃慰蟻维, 畏 蟺慰位喂蟿喂魏萎 蠅蟼 蟺蔚蟿蠀蠂畏渭苇谓慰 魏伪喂 蟺蟻慰蟽慰未慰蠁蠈蟻慰 蔚蟺维纬纬蔚位渭伪, 畏 蔚魏蟺伪委未蔚蠀蟽畏 魏伪喂 畏 伪蠁蠉蟺谓喂蟽畏 蟿蠅谓 位伪蠋谓, 慰喂 蟺慰喂魏委位蔚蟼 未喂伪蠄蔚蠉蟽蔚喂蟼... 螕蟻伪渭渭苇谓慰 蟺蟻喂谓 40 蠂蟻蠈谓喂伪, 未喂伪蟿畏蟻蔚委 蟿畏谓 蔚蟺喂魏伪喂蟻蠈蟿畏蟿伪 蟿慰蠀, 尉蔚蠁蔚蠉纬慰谓蟿伪蟼 伪蟺蠈 蟿伪 蟽蠉谓慰蟻伪 蟿畏蟼 螝苇谓蠀伪蟼.
螕喂伪 蟿慰谓 蟺蠈位蔚渭慰 蟿蠅谓 螠维慰蠀 螠维慰蠀 魏伪喂 渭蔚蟻喂魏维 蟽蟿慰喂蠂蔚委伪 纬喂伪 蟿畏谓 喂蟽蟿慰蟻委伪 蟿畏蟼 螝苇谓蠀伪蟼 尾蟻萎魏伪 蟽蔚 维蟻胃蟻慰 蟿畏蟼 螝伪胃畏渭蔚蟻喂谓萎蟼 (螝蠈蟽渭慰蟼 7/4/2013 纬蟻伪渭渭苇谓慰 伪蟺蠈 蟿慰谓 魏. 螒蟽蟿苇蟻畏 围慰蠀位喂伪蟻维).
螒蟺慰蟿蔚位蔚委 渭蔚纬维位畏 蟺伪蟻畏纬慰蟻喂维 谓伪 蠀蟺维蟻蠂慰蠀谓 蔚魏未慰蟿喂魏慰委 慰委魏慰喂 蟺慰蠀 蔚蟺喂位苇纬慰蠀谓 蟿畏 纬谓蠅蟻喂渭委伪 渭蔚 蟽蠀纬纬蟻伪蠁蔚委蟼 伪蟺蠈 蠈位慰 蟿慰谓 魏蠈蟽渭慰 魏伪喂 喂未喂伪委蟿蔚蟻伪 伪蟺蠈 蠂蠋蟻蔚蟼 蟺慰位蠉 位委纬慰 纬谓蠅蟽蟿苇蟼 蟽蟿慰 渭苇蟽慰 伪谓伪纬谓蠋蟽蟿畏.
螒谓 蟽魏蔚蠁蟿慰蠉渭蔚 蟿畏谓 蟺位畏渭渭蠀蟻委未伪 蔚魏未蠈蟽蔚蠅谓 魏伪喂 蔚蟺伪谓蔚魏未蠈蟽蔚蠅谓 蟿委蟿位蠅谓 魏伪喂 蔚尉蠅蠁蠉位位蠅谓 渭蔚 蔚魏蔚委谓伪 蟿伪 胃位喂尾蔚蟻维 纬蠀谓伪喂魏蔚委伪 蟺蟻蠈蟽蠅蟺伪, 蟿蠈蟽慰 伪蟺伪蟻维位位伪蠂蟿伪 谓伪 伪蟿蔚谓委味慰蠀谓 蠁蔚纬纬维蟻喂伪, 尾伪位委蟿蟽蔚蟼, 胃维位伪蟽蟽蔚蟼, 未苇谓蟿蟻伪, 魏伪蟻维尾喂伪 魏位蟺., 蟿蠈蟿蔚, 委蟽蠅蟼 蠀蟺维蟻蠂蔚喂 蔚位蟺委未伪 伪魏蠈渭伪.
螤慰位蠉 蠈渭慰蟻蠁慰 蟿慰 蔚尉蠋蠁蠀位位慰 伪蟺蠈 蟿畏谓 慰渭维未伪 The Zyme, 未畏渭喂慰蠀蟻纬畏渭苇谓畏 伪蟺蠈 蟿慰谓 螠蟺维渭蟺畏 韦慰蠀纬位萎. 螆谓伪 伪魏蠈渭伪 蟽蠀谓 蟿慰蠀 蔚魏未慰蟿喂魏慰蠉 慰委魏慰蠀.
螇蟿伪谓 蠈渭蠅蟼 苇谓慰蠂慰蟼; 螇蟿伪谓 慰 蟺蟻伪纬渭伪蟿喂魏蠈蟼 苇谓慰蠂慰蟼;
螒谓维渭蔚蟽伪 蟽蟿喂蟼 蟺蟻蠋蟿蔚蟼 魏伪喂 蟿喂蟼 蟿蔚位蔚蠀蟿伪委蔚蟼 蟽蔚位委未蔚蟼 蟺伪蟻蔚位伪蠉谓蔚喂 蠈位畏 畏 喂蟽蟿慰蟻委伪 蟿畏蟼 螝苇谓蠀伪蟼, 伪蟺蠈 蟿慰谓 伪蟺蔚位蔚蠀胃蔚蟻蠅蟿喂魏蠈 伪纬蠋谓伪 蟿蠅谓 螠维慰蠀 螠维慰蠀, 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 '50, 渭苇蠂蟻喂 伪蟻魏蔚蟿维 蠂蟻蠈谓喂伪 渭蔚蟿维 蟿畏谓 伪谓蔚尉伪蟻蟿畏蟿慰蟺慰委畏蟽畏 蟿畏蟼 蠂蠋蟻伪蟼 伪蟺蠈 蟿畏 尾蟻蔚蟿伪谓喂魏萎 "蠁蟻慰谓蟿委未伪".
螚 伪喂渭伪蟿慰蠂蠀蟽委伪 蔚魏蔚委谓慰蠀 蟿慰蠀 伪纬蠋谓伪 (32 位蔚蠀魏慰委 魏伪喂 蠂喂位喂维未蔚蟼 螝喂魏慰蠉纬喂慰蠀, 畏 魏蠀蟻喂蠈蟿蔚蟻畏 蔚胃谓蠈蟿畏蟿伪 蟿畏蟼 螝苇谓蠀伪蟼) 苇尾伪位蔚 蟿苇位慰蟼 蟽蟿畏 尾蟻蔚蟿伪谓喂魏萎 伪蟺慰喂魏喂慰魏蟻伪蟿委伪 魏伪喂 维蠁畏蟽蔚 蟿畏 蠂蠋蟻伪 谓伪 尾蟻蔚喂 蟿慰 未蟻蠈渭慰 蟿畏蟼, 魏维蟿喂 蟿慰 慰蟺慰委慰 蟽蟿畏谓 蟺蟻维尉畏 未蔚谓 伪蟺慰未蔚委蠂蟿畏魏蔚 蟺慰位蠉 蔚蠉魏慰位慰.
螤慰位蠉 蔚谓未喂伪蠁苇蟻慰谓 尾喂尾位委慰, 蟽蠂蔚蟿喂魏维 未蠉蟽魏慰位慰 蟽蟿慰 未喂维尾伪蟽渭伪 蟿慰蠀 纬喂伪 魏维蟺慰喂慰谓 蟺慰蠀 未蔚谓 苇蠂蔚喂 喂未苇伪 伪蟺蠈 螒蠁蟻喂魏萎.
螌位伪 蟿伪 胃苇渭伪蟿伪 蟺慰蠀 胃委纬蔚喂 蠈渭蠅蟼 (魏伪喂 蔚委谓伪喂 伪蟻魏蔚蟿维) 苇蠂慰蠀谓 蟽畏渭伪谓蟿喂魏苇蟼 慰渭慰喂蠈蟿畏蟿蔚蟼 渭蔚 蟿伪 胃苇渭伪蟿伪 蟺慰蠀 蟺蟻慰尾位畏渭伪蟿委味慰蠀谓 魏维胃蔚 魏慰喂谓蠅谓委伪. 螚 蟺慰位喂蟿喂魏萎 未喂伪蠁胃慰蟻维, 畏 蟺慰位喂蟿喂魏萎 蠅蟼 蟺蔚蟿蠀蠂畏渭苇谓慰 魏伪喂 蟺蟻慰蟽慰未慰蠁蠈蟻慰 蔚蟺维纬纬蔚位渭伪, 畏 蔚魏蟺伪委未蔚蠀蟽畏 魏伪喂 畏 伪蠁蠉蟺谓喂蟽畏 蟿蠅谓 位伪蠋谓, 慰喂 蟺慰喂魏委位蔚蟼 未喂伪蠄蔚蠉蟽蔚喂蟼... 螕蟻伪渭渭苇谓慰 蟺蟻喂谓 40 蠂蟻蠈谓喂伪, 未喂伪蟿畏蟻蔚委 蟿畏谓 蔚蟺喂魏伪喂蟻蠈蟿畏蟿伪 蟿慰蠀, 尉蔚蠁蔚蠉纬慰谓蟿伪蟼 伪蟺蠈 蟿伪 蟽蠉谓慰蟻伪 蟿畏蟼 螝苇谓蠀伪蟼.
螕喂伪 蟿慰谓 蟺蠈位蔚渭慰 蟿蠅谓 螠维慰蠀 螠维慰蠀 魏伪喂 渭蔚蟻喂魏维 蟽蟿慰喂蠂蔚委伪 纬喂伪 蟿畏谓 喂蟽蟿慰蟻委伪 蟿畏蟼 螝苇谓蠀伪蟼 尾蟻萎魏伪 蟽蔚 维蟻胃蟻慰 蟿畏蟼 螝伪胃畏渭蔚蟻喂谓萎蟼 (螝蠈蟽渭慰蟼 7/4/2013 纬蟻伪渭渭苇谓慰 伪蟺蠈 蟿慰谓 魏. 螒蟽蟿苇蟻畏 围慰蠀位喂伪蟻维).
螒蟺慰蟿蔚位蔚委 渭蔚纬维位畏 蟺伪蟻畏纬慰蟻喂维 谓伪 蠀蟺维蟻蠂慰蠀谓 蔚魏未慰蟿喂魏慰委 慰委魏慰喂 蟺慰蠀 蔚蟺喂位苇纬慰蠀谓 蟿畏 纬谓蠅蟻喂渭委伪 渭蔚 蟽蠀纬纬蟻伪蠁蔚委蟼 伪蟺蠈 蠈位慰 蟿慰谓 魏蠈蟽渭慰 魏伪喂 喂未喂伪委蟿蔚蟻伪 伪蟺蠈 蠂蠋蟻蔚蟼 蟺慰位蠉 位委纬慰 纬谓蠅蟽蟿苇蟼 蟽蟿慰 渭苇蟽慰 伪谓伪纬谓蠋蟽蟿畏.
螒谓 蟽魏蔚蠁蟿慰蠉渭蔚 蟿畏谓 蟺位畏渭渭蠀蟻委未伪 蔚魏未蠈蟽蔚蠅谓 魏伪喂 蔚蟺伪谓蔚魏未蠈蟽蔚蠅谓 蟿委蟿位蠅谓 魏伪喂 蔚尉蠅蠁蠉位位蠅谓 渭蔚 蔚魏蔚委谓伪 蟿伪 胃位喂尾蔚蟻维 纬蠀谓伪喂魏蔚委伪 蟺蟻蠈蟽蠅蟺伪, 蟿蠈蟽慰 伪蟺伪蟻维位位伪蠂蟿伪 谓伪 伪蟿蔚谓委味慰蠀谓 蠁蔚纬纬维蟻喂伪, 尾伪位委蟿蟽蔚蟼, 胃维位伪蟽蟽蔚蟼, 未苇谓蟿蟻伪, 魏伪蟻维尾喂伪 魏位蟺., 蟿蠈蟿蔚, 委蟽蠅蟼 蠀蟺维蟻蠂蔚喂 蔚位蟺委未伪 伪魏蠈渭伪.
螤慰位蠉 蠈渭慰蟻蠁慰 蟿慰 蔚尉蠋蠁蠀位位慰 伪蟺蠈 蟿畏谓 慰渭维未伪 The Zyme, 未畏渭喂慰蠀蟻纬畏渭苇谓畏 伪蟺蠈 蟿慰谓 螠蟺维渭蟺畏 韦慰蠀纬位萎. 螆谓伪 伪魏蠈渭伪 蟽蠀谓 蟿慰蠀 蔚魏未慰蟿喂魏慰蠉 慰委魏慰蠀.
October 12, 2022
PETALS OF BLOOD (first published in 1977) is a novel about the history of Kenya after independence. Formerly under British rule, the Mau Mau (also known as the Kenya Land Freedom Army), waged a war against the powerful colonial government and, against all odds, won. The Mau Mau were peasants who fought bravely for their land, for the dispossessed, for their culture. In the end they betrayed their people: they became a corrupt political clique who exploited the peasants and workers, putting the interests of foreign capital first, in a cruel version of neocolonialism.
PETALS OF BLOOD is set in a place called Ilmorog, a barren, drought stricken land of poor peasants and herders. Everyone is leaving Ilmorog, there is no future in that miserable village. The novel revolves around four characters: three men-Munira, Abdulla, Kagera- and a woman- Wanja. At the beginning the three men are arrested in connection with the murder of three petty, corrupt, black businessmen. Wanja is in hospital fighting for her life. Munira is the most important character: he comes from a landowning family and he represents the middle class. He is a schoolteacher who considers himself a failure and struggles hard to fit into his community. The whole narrative is based on Munira's scattered reminiscences and broodings. Munira tells his own story and the story of his family, also the story of Abdulla, a one-legged former freedom fighter during the wars of independence turned merchant. Abdulla is now reduced to beggary. We also learn about Kagera, formerly a promising student, now an activist and revolutionary. Then, there is the story of Wanja, a tormented woman who became a prostitute and then, a rather cynical brothel madam.
This novel was written originally in G墨k霉y奴 so that the peasants about whom the author was writing about could read his books. For a while, I found the narrative voice hard to follow; Ngugi makes no concessions for his non-African readers. Most disturbing though, were some episodes containing gratuitous depiction of sexual violence against women. Despite these issues, I believe PETALS OF BLOOD remains a great history lesson, the story of Kenya's struggle with neocolonialism, the story of a country betrayed by its new ruling class but which, nevertheless, Ngugi hopes, will keep on fighting against oppression and ignorance.
3.5 馃専
PETALS OF BLOOD is set in a place called Ilmorog, a barren, drought stricken land of poor peasants and herders. Everyone is leaving Ilmorog, there is no future in that miserable village. The novel revolves around four characters: three men-Munira, Abdulla, Kagera- and a woman- Wanja. At the beginning the three men are arrested in connection with the murder of three petty, corrupt, black businessmen. Wanja is in hospital fighting for her life. Munira is the most important character: he comes from a landowning family and he represents the middle class. He is a schoolteacher who considers himself a failure and struggles hard to fit into his community. The whole narrative is based on Munira's scattered reminiscences and broodings. Munira tells his own story and the story of his family, also the story of Abdulla, a one-legged former freedom fighter during the wars of independence turned merchant. Abdulla is now reduced to beggary. We also learn about Kagera, formerly a promising student, now an activist and revolutionary. Then, there is the story of Wanja, a tormented woman who became a prostitute and then, a rather cynical brothel madam.
This novel was written originally in G墨k霉y奴 so that the peasants about whom the author was writing about could read his books. For a while, I found the narrative voice hard to follow; Ngugi makes no concessions for his non-African readers. Most disturbing though, were some episodes containing gratuitous depiction of sexual violence against women. Despite these issues, I believe PETALS OF BLOOD remains a great history lesson, the story of Kenya's struggle with neocolonialism, the story of a country betrayed by its new ruling class but which, nevertheless, Ngugi hopes, will keep on fighting against oppression and ignorance.
3.5 馃専
September 23, 2016
Petals of Blood comes up in discussions about the most important African novels of the 20th century. Ng农g末 wa Thiong'o (pronunciation - if you want to pick one name, Ng农g末 is correct) was a disciple of Chinua Achebe's, until they had a violent falling out over philosophy: Ng农g末 decided to stop writing in English, switching to his native Kenyan language of Gikuyu. African language for African people. Achebe had a broader audience in mind. 1977's Petals of Blood was Ng农g末's final English work.
It's a deep and intense read. Its four lead characters - weak schoolteacher Munira, activist Karega, shopkeeper and donkey aficionado Abdulla, and the woman they're all in love with, Wanja - are archetypical. One or more of them may be murderers, and the book is a mystery: who has killed three evil businessmen? The story flashes back to fill us in.
Ng农g末's writing can be frustratingly coy. A character returns: "Five years since he went away," but you don't find out for ten pages who "he" even is. Why the obfuscation, dude? I found it difficult: it was hard to lose myself in the book, even though the plot was often exciting.
There's a Dickensian sort of coincidence at work. Characters turn out to be connected in surprisingly intimate ways. (Or maybe it's not so much Dickensian as Agatha Christie-an.)
Ng农g末 carefully shows the dismantling of African culture: first by European colonialism, then by the rebels who fought it, as they take power and are in turn corrupted. The road comes, and then the banks come, and the villages never have any chance at all. This is depressing. Ng农g末 is depressed:
It's a deep and intense read. Its four lead characters - weak schoolteacher Munira, activist Karega, shopkeeper and donkey aficionado Abdulla, and the woman they're all in love with, Wanja - are archetypical. One or more of them may be murderers, and the book is a mystery: who has killed three evil businessmen? The story flashes back to fill us in.
Ng农g末's writing can be frustratingly coy. A character returns: "Five years since he went away," but you don't find out for ten pages who "he" even is. Why the obfuscation, dude? I found it difficult: it was hard to lose myself in the book, even though the plot was often exciting.
There's a Dickensian sort of coincidence at work. Characters turn out to be connected in surprisingly intimate ways. (Or maybe it's not so much Dickensian as Agatha Christie-an.)
Ng农g末 carefully shows the dismantling of African culture: first by European colonialism, then by the rebels who fought it, as they take power and are in turn corrupted. The road comes, and then the banks come, and the villages never have any chance at all. This is depressing. Ng农g末 is depressed:
Imaginative literature [of Africa] was not much different: the authors described the conditions correctly: they seemed able to reflect accurately the contemporary situation of fear, oppressions and deprivation: but thereafter they led him down the paths of pessimism, obscurity and mysticism: was there no way out except cynicism? Were people helpless victims?He lays out three possible paths forward: business, socialist activism, and violence, personified by respectively. (If there's a fourth way I missed it.) I get the impression that some combination of strategies may be his best guess for success. Dismissed entirely is the idea of staying out of it. "If you would learn look about you," he warns: "Choose your side."
October 2, 2019
Roman Krvave latice je sme拧ten u Keniju za vreme turbulentnih 鈥�50-ih godina, a interesantno je da je roman bio zabranjen kada je iza拧ao, i da je sam pisac zavr拧io u zatvoru jer ga je napisao. Za拧to je ovaj roman toliko skandalozan? Elem, roman po膷inje jednim ubistvom, tako da se sti膷e utisak da je u pitanju samo jedan triler. Me膽utim, ve膰 u drugom poglavlju pisac nas vodi neko vreme unazad, kada upoznajemo glavne aktere ovog romana. Tu je Munira, protagonista romana koji dolazi u selo Ilmorog u Keniji da radi kao u膷itelj u seoskoj 拧koli. Stanovnici ovog sela ga isprva ne do啪ivljavaju ozbiljno i veruju da 膰e da ode iz sela kao i svaki prethodni u膷itelj, me膽utim Munira u sebi nosi ne拧to 拧to drugi ljudi ne nose. Tu je i Vand啪a, devojka koja je po svakom principu druga膷ija. Ona je zavodnica ali i vrlo buntovna devojka 鈥� na momente biznismenka, na momente prostitutka. Na kraju, tu je i Karega, momak koji je nadahnut politikom i revolucionarnim idejama.
Roman se odigrava u trenutku kada se u Keniji de拧avaju opasne politi膷ke promene. Pre svega tu je industrionalizacija malih sela, stvaranje firmi i novih poslova, ali s druge strane tu je i Mau Mau revolucija, odnosno grupa ljudi koja se bori da vrati Keniju njenim stanovnicima, a ne belcima. Ovo je glavna podela u romanu 鈥� podela na belce koji su tu do拧li da pru啪e Keniji 拧ansu da zaradi dok im je u glavnom interesu da sami zarade, i na crnce koji 膰e opet glumiti robove belcima, i to u sopstvenoj dr啪avi. S druge strane tu je podela na crnce koji vole Keniju i 啪ele je da bude ista kao 拧to je bila pre, i da se ose膰aju sigurno i slobodno u sopstvenoj dr啪avi, i na one koji su ipak na strani belaca jer su im obe膰ali visoke pozicije i dosta novca.
Iz ovoga se mo啪e zaklju膷iti da industrijalizacija jedne dr啪ave nije glavna tema ovog romana, ve膰 i korupcija. Korupcija me膽u sopstvenom dr啪avom i me膽u sopstvenim narodom. Korupcija koja tera ljude da okrenu le膽a svojima. Va Tiongo opisuje ovo na jedan jako dobar na膷in, a sam momenat industrijalizacije i Mau Mau revolucije je svepriisutan u romanu, od po膷etka do kraja. Tako膽e, na jedan jako upe膷atljiv na膷in mo啪emo osetiti na koji na膷in se Kenija menja, i kako to uti膷e na ljude koji tamo 啪ive. Zatvaranje uli膷nih poslova preko kojih su stariji seljani zara膽ivali kako bi se tu izgradio put koji 膰e da poverzuje dva grada i zatvaranje prodavnica kako bi se otvorile novije prodavnice samo su neki primeri kako se to zaista i de拧avalo tamo.
Osim ovih bitnih tema, Va Tiongo je zaista osmislio jedan interesantan roman. Na momente zna da bude monoton, posebno tre膰a 膷etvrtina romana, ali ga kraj zaista izvla膷i. Neki likovi su zaista lepo osmi拧ljeni i razra膽eni, dok je za druge ipak trebalo mo啪da malo vi拧e prostora. U svakom slu膷aju, ovo nije roman koji 膰e se svima dopasti, ali ukoliko volite politi膷ke romane, ili romane koji pokazuju kako je tamo negde daleko, ili na kraju krajeva romane koji 膰e Vas nau膷iti ne拧to novo, onda poku拧ajte da pro膷itae Krvave latice.
Roman se odigrava u trenutku kada se u Keniji de拧avaju opasne politi膷ke promene. Pre svega tu je industrionalizacija malih sela, stvaranje firmi i novih poslova, ali s druge strane tu je i Mau Mau revolucija, odnosno grupa ljudi koja se bori da vrati Keniju njenim stanovnicima, a ne belcima. Ovo je glavna podela u romanu 鈥� podela na belce koji su tu do拧li da pru啪e Keniji 拧ansu da zaradi dok im je u glavnom interesu da sami zarade, i na crnce koji 膰e opet glumiti robove belcima, i to u sopstvenoj dr啪avi. S druge strane tu je podela na crnce koji vole Keniju i 啪ele je da bude ista kao 拧to je bila pre, i da se ose膰aju sigurno i slobodno u sopstvenoj dr啪avi, i na one koji su ipak na strani belaca jer su im obe膰ali visoke pozicije i dosta novca.
Iz ovoga se mo啪e zaklju膷iti da industrijalizacija jedne dr啪ave nije glavna tema ovog romana, ve膰 i korupcija. Korupcija me膽u sopstvenom dr啪avom i me膽u sopstvenim narodom. Korupcija koja tera ljude da okrenu le膽a svojima. Va Tiongo opisuje ovo na jedan jako dobar na膷in, a sam momenat industrijalizacije i Mau Mau revolucije je svepriisutan u romanu, od po膷etka do kraja. Tako膽e, na jedan jako upe膷atljiv na膷in mo啪emo osetiti na koji na膷in se Kenija menja, i kako to uti膷e na ljude koji tamo 啪ive. Zatvaranje uli膷nih poslova preko kojih su stariji seljani zara膽ivali kako bi se tu izgradio put koji 膰e da poverzuje dva grada i zatvaranje prodavnica kako bi se otvorile novije prodavnice samo su neki primeri kako se to zaista i de拧avalo tamo.
Osim ovih bitnih tema, Va Tiongo je zaista osmislio jedan interesantan roman. Na momente zna da bude monoton, posebno tre膰a 膷etvrtina romana, ali ga kraj zaista izvla膷i. Neki likovi su zaista lepo osmi拧ljeni i razra膽eni, dok je za druge ipak trebalo mo啪da malo vi拧e prostora. U svakom slu膷aju, ovo nije roman koji 膰e se svima dopasti, ali ukoliko volite politi膷ke romane, ili romane koji pokazuju kako je tamo negde daleko, ili na kraju krajeva romane koji 膰e Vas nau膷iti ne拧to novo, onda poku拧ajte da pro膷itae Krvave latice.
August 24, 2021
This is a rather difficult book to read for several, conflicting reasons. Firstly, it will make any decent person angry. After all the sacrifices made by ordinary Kenyans to rid themselves of the colonial masters they were then subjected by their own people 鈥� politicians in the service of international capital. Secondly (and, as I said, conflictingly) it is difficult to read because it too often lapses into extended polemic. Frankly, it preaches to a degree that is simply tedious.
Ngugi wa Thiong鈥檕 has a big, deserved reputation for having upset Kenyan governments for decades. I understand his desire to explain, in detail, what he sees as wrong with his country 鈥� but style is also important and I believe his repetitiveness works against him.
Ngugi wa Thiong鈥檕 has a big, deserved reputation for having upset Kenyan governments for decades. I understand his desire to explain, in detail, what he sees as wrong with his country 鈥� but style is also important and I believe his repetitiveness works against him.
September 20, 2019
How, now, how could the young, the bright and the hopeful deteriorate so? Was there no way of using their energies and dreams to a purpose higher than the bottle, the juke-box and sickness on a cement floor?In less than a month, two Nobel Prize for Lit winners will be announced, and if neither of them is Ng农g末 wa Thiong'o, I won't be surprised, but I will be sorely disappointed. He is an author who writes the way I would write if I had the gumption for it, but thank the gods that Ng农g末 has it and not me, if only due to the comparative plethora of white women authors of repute when compared to black authors as a whole. Detractors will accuse sections of this of pontification and digression, but if they're not saying the same thing about Hugo, it's impossible to take them seriously. In these days when white liberals quibble about socialism and democratic socialism and communism, Ng农g末 goes to the roots of a postcolonial time and portrays the mechanisms of malaise of a black bourgeoisie so accurately and so scathingly that he is thrown in jail for his pains. Yes, this is a murder mystery. The question, though, is not who committed the murders, but one of the murders, rapes, pillaging, and obsequious sanctifying that sacrificed many before three golden calves, and a nation that criminalized only the act of finally overthrowing said idols.
Could property, wealth, status, religion, plus education not hold a family together?
'This land used to yield. Rains used not to fail. What happened?' inquired Ruoro.This work is no , and for all that the more contemporary work outweighs PoB by a good three hundred pages, this work makes for a more difficult progression. Here are epic journeys through time and space as the underpinnings of representative democracy were violated in every way imaginable, save for perhaps the obscene proliferation of casinos and the circumspect murder of owners of oil deposits, but then again, why delve into such specifics when the tourism industry and landed agricultural corporations accomplish nearly the same? This is not a story for those in favor of happy endings or easy solutions or communal political action to be treated as the bugaboo that the US loves to parade around in order to justify its legalized slavery and glorified settler state. I will say, though, that the ending, however harrowing, is indeed hopeful: it is simply a fire and brimstone, French Revolution sort, where if one doesn't heeds the trends of dehumanization and seek to actively reverse them soon enough, it'll be the reversal of the attachment of one's head to one's shoulders that occurs instead.
It was Muturi who answered.
'You forget that in those days the land was not for buying. It was for use. It was also plenty, you need not have beaten one yard over and over again.[']
Pity would be no more
If we did not make somebody Poor.
鈥擶illiam Blake
[W]ho was better off, the peasant in a forgotten village or the city dweller thrown onto these rubbish heaps they called locations?It's likely that I'm going to read Ng农g末's entire bibliography at some point, which offers a nice counterpoint to my ongoing devotion to Woolf. Much as I love the woman, her perspective of the world and its people was incontrovertibly limited, and my committing to reading the works of someone steeped in practically the utmost Other that figures in Woolfian works is almost a necessity in my line of autodidactic pursuit. Again, it would be a great disappointment if Ng农g末 didn't win one of this year's proclaimed awards, but he is still living, and I can't say that I can't think of a number of others who would be more than worthy, as well as break up the tedium of the still rather inviolate ivory tower of winners. I suppose Ng农g末 has simply won a place close to my heart, enough that I can comfortably declare him a favorite without also declaring any single one of his works to be of the same individually favored caliber. I'm sure I'll find one to declare as such as I continue through the Ng农g末 canon, but for now, I'm just thrilled to find something I love that was written by someone who loves literature as I do. That is likely the highest praise I can give to a writer who yet lives.
God save the Queen, they sang after every massacre and then went to church for blessings and cleansing: it had always fallen to the priest to ordain human sacrifice's to appease every dominant God in history.
He held Sembene Ousmane's novel, , in his hands but he was not reading much.
You, who will seek the truth about words emitted by a voice, look first for the body behind the voice. The voice merely rationalises the needs, whims, caprices, of its owner, the master. Better therefore to know the master in whose service the intellect is and you'll be able to properly evaluate the import and imagery of his utterances. You serve the people who struggle; or you serve those who rob the people. In a situation of the robber and the robbed, in a situation in which the old man of the sea is sitting on Sindbad, there can be no neutral history and politics. If you would learn look about you: choose your side.
June 29, 2020
At the outset, it is a murder fiction. The plot unravels with an ongoing investigation of the triple murder of three socially eminent men Kimeria, Chui, and Mzigo. The investigation leads us to a journey into the past; the past of not just the prime accused Karera and Munira but also the victims Kimeria, Chui, Mzigo, and the past of Africa itself. Set in nascent Kenya, the novel is a pungent criticism of the erstwhile European imperialism and its cankerous impact on the African nation. It is also a stirring portrayal of continuing ethical, cultural, and political decay of a nation under neocolonialism. The language is peppered with African oral literature while faithfully registering their humble and contented lifestyle. It turns acerbic while rebuking the follies of capitalism, morality, history, religion, urbanization, and cultural tourism. The major characters, each fettered to a festering wound of the past, each gnawed by their inner conflicts grope to discover hope and answers in a nation moving towards dystopia. Thiong'O deftly analyses different themes through the interior monologues of the different characters. Through Wanja he explores the dubiousness of morality, through Munira he denounces the hypocrisy of religion, through Karera he chides the shallowness of a British-modeled education system, through Abdullah he exposes the futility and disillusionment of war. Thus in resonating the pain and plight of all colonized nations, Ngugi wa Thiong'o's Petals of Blood is undoubtedly one of the classics of postcolonial literature.
March 9, 2014
The plot goes nowhere after the initial murder mystery dissolves into a sparsely conceived framing device, dislocated in both time and attention by the agonizingly slow progression of the main narrative, itself enacted via extended flashback. The characters are abstract and lifeless, and the novel's sociopolitical impetus, though admirable and understandable, impede the development of anything of interest. The prose is generally flavourless, if technically sound, but the descriptions of a Kenya struggling for an identity in the wake of independence are quite evocative.
As a historical and cultural document, Petals of Blood is undoubtedly important, but I can't recommend it on any other grounds. As a novel, it is boring, under-conceived, and directionless, and possesses neither the stylistic strength nor the depth of character necessary to overcome those faults. Had I been less neurotic (i.e. able to stop reading anything before the end), I would never have finished reading this book; having done so, I can't say that I got anything from it that a chapter from a history book on post-independence Kenya wouldn't have more succinctly provided.
As a historical and cultural document, Petals of Blood is undoubtedly important, but I can't recommend it on any other grounds. As a novel, it is boring, under-conceived, and directionless, and possesses neither the stylistic strength nor the depth of character necessary to overcome those faults. Had I been less neurotic (i.e. able to stop reading anything before the end), I would never have finished reading this book; having done so, I can't say that I got anything from it that a chapter from a history book on post-independence Kenya wouldn't have more succinctly provided.
May 3, 2010
A very symbolic, yet simultaneously open critique of colonialism and the system it set in place in Kenya. It clearly outlines the path of exploitation and corruption that has so defined Kenyan politics. This is a must read for anyone coming to visit Kenya or interested in African culture and literature. It is no surprise this book was so contentious and that Ngugi was later jailed...
March 30, 2023
An interesting, memorable, historical political fiction novel set in Kenya during the 1950s to early 1970s. The story begins with the arrest of three individuals for the murder of three corrupt directors of a foreign owned brewing company in the house of successful businesswoman and prostitute, Wanja. The life stories of Wanja and the three accused are described. Abdulla is an ex revolutionary fighter maimed in the 1950s rebellion. Munira, a teacher, whose religion and sexual jealousy blunts his political efficacy. Karega is a revolutionary figure, a union leader. He develops from a young unqualified teacher to a man of conviction.
This book is a dense reading experience with slow, steady plot momentum. Readers interested in Kenyan history will find the book very informative. This book attacks the Kenyan neo-colonial order.
A very worthwhile reading experience.
This book was first published in 1977.
This book is a dense reading experience with slow, steady plot momentum. Readers interested in Kenyan history will find the book very informative. This book attacks the Kenyan neo-colonial order.
A very worthwhile reading experience.
This book was first published in 1977.
February 22, 2016
Ngugi's writing commands attention.
This book was published in 1977 but the story was written within seven years pre-publication set in an imaginary town of Ilmorog along the Trans-Africa highway.
The story revolves around four main characters: Munira, Abdulla, Karega, and Wanja all of whom meet in Ilmorog, and find themselves caught up in the failed promises of post independence in Kenya. Munira is a teacher who is posted to the school and struggles to get the basics including keeping the pupils in school. Abdulla is a shopkeeper with a stump, he has a donkey that eats more than the goats and cattle in Ilmorog and the people want to do away with it, but Abdulla cannot let go of his companion. It is the first donkey the people have seen in that place.
Karega is drawn to Ilmorog, and like Munira he was expelled from one of the best boy schools in the country called Siriana. Munira appoints him as a teacher in the school and together they bring hope to the pupils in the school.
Then there is Wanja, a beautiful woman who is at the center of it all, she returns home to start over and is soon the attraction of the town, but with time Munira finds that she is not just an attraction in Ilmorog but also in the city from Lawyers to Member of Parliaments.
Ilmorog has an MP, but their roads are poor and no one wants to visit their small town, but when a drought hits them, they organize a troop and walk all the way to the city to meet their representative, but once there they realize that no one is out to help them and so they return disillusioned and hurt that their own MP did not care about the drought or offer any help or mercy regarding their dilemma.
This opens up the world to their plight and soon investors find their way into the town, roads, a police post, businesses and the face of Ilmorog changes. But the lack of concern they experienced at the city, haunts them. You have these common people who hoped that after they fought for independence, they would have leaders who would cater to their needs. Karega asks at some point, how long shall our people continue to sweat so that a few, a given few, might keep a thousand dollars in the bank of the one monster god that for four hundred years had ravished a continent?
Petals of Blood is written in form of a reminisce. Munira looks back at life in Ilmorog and how the changing times all led up to arson, and the murder of three famous businessmen and officials: Chui, Kimeria and Mzigo. It's divided into four parts each an attempt at divulging what led to the murder and who committed the crime and why. I'll say this is not a book for the faint hearted. Ngugi depicts a society destroyed by their own children. Like Wanja says it is 'eat or you are eaten,' and the release of the book is very symbolic. It's Ngugi's way of saying, 'look at what Kenya has become,' while asking "what were we fighting for? What use was Mau Mau? What happened to living as one in spite of being of different tribes?"
The prose is mixed with Biblical references and Shakespearean quotes aimed at bringing the irony of fully embracing the British ways and discarding the African customs, but also showing how Kenyans who came to power used the same to oppress their own all for the sake of wealth.
I started by saying that Ngugi's writing commands attention, and with this book though he points out the greed that is destroying Kenya, he is also pointing out that there are a few who still believe in what is right, whose idea of Uhuru/Freedom has not been tarnished. It is these few who are either killed for being the light, or find themselves living as bystanders only to resort to extreme measures that would have society question their sanity.
This book was published in 1977 but the story was written within seven years pre-publication set in an imaginary town of Ilmorog along the Trans-Africa highway.
The story revolves around four main characters: Munira, Abdulla, Karega, and Wanja all of whom meet in Ilmorog, and find themselves caught up in the failed promises of post independence in Kenya. Munira is a teacher who is posted to the school and struggles to get the basics including keeping the pupils in school. Abdulla is a shopkeeper with a stump, he has a donkey that eats more than the goats and cattle in Ilmorog and the people want to do away with it, but Abdulla cannot let go of his companion. It is the first donkey the people have seen in that place.
Karega is drawn to Ilmorog, and like Munira he was expelled from one of the best boy schools in the country called Siriana. Munira appoints him as a teacher in the school and together they bring hope to the pupils in the school.
Then there is Wanja, a beautiful woman who is at the center of it all, she returns home to start over and is soon the attraction of the town, but with time Munira finds that she is not just an attraction in Ilmorog but also in the city from Lawyers to Member of Parliaments.
Ilmorog has an MP, but their roads are poor and no one wants to visit their small town, but when a drought hits them, they organize a troop and walk all the way to the city to meet their representative, but once there they realize that no one is out to help them and so they return disillusioned and hurt that their own MP did not care about the drought or offer any help or mercy regarding their dilemma.
This opens up the world to their plight and soon investors find their way into the town, roads, a police post, businesses and the face of Ilmorog changes. But the lack of concern they experienced at the city, haunts them. You have these common people who hoped that after they fought for independence, they would have leaders who would cater to their needs. Karega asks at some point, how long shall our people continue to sweat so that a few, a given few, might keep a thousand dollars in the bank of the one monster god that for four hundred years had ravished a continent?
Petals of Blood is written in form of a reminisce. Munira looks back at life in Ilmorog and how the changing times all led up to arson, and the murder of three famous businessmen and officials: Chui, Kimeria and Mzigo. It's divided into four parts each an attempt at divulging what led to the murder and who committed the crime and why. I'll say this is not a book for the faint hearted. Ngugi depicts a society destroyed by their own children. Like Wanja says it is 'eat or you are eaten,' and the release of the book is very symbolic. It's Ngugi's way of saying, 'look at what Kenya has become,' while asking "what were we fighting for? What use was Mau Mau? What happened to living as one in spite of being of different tribes?"
The prose is mixed with Biblical references and Shakespearean quotes aimed at bringing the irony of fully embracing the British ways and discarding the African customs, but also showing how Kenyans who came to power used the same to oppress their own all for the sake of wealth.
I started by saying that Ngugi's writing commands attention, and with this book though he points out the greed that is destroying Kenya, he is also pointing out that there are a few who still believe in what is right, whose idea of Uhuru/Freedom has not been tarnished. It is these few who are either killed for being the light, or find themselves living as bystanders only to resort to extreme measures that would have society question their sanity.
December 29, 2014
The most telling thing I can say about this book is that I was within 20 pages of the end and I was hungry so I got up to make myself a sandwich, and didn't finish the book until later that night.
The pace of this book is slow. It has about 4 climaxes. It never really drew me in. But it has some great moments, and some interesting lessons. I see the four main characters as symbols of the four post-colonial African peasant archetypes. The prostitute, the merchant/beggar, the socialist/revolutionary, and the evangelical Christian. There are also elites in this book, but you don't ever get to know them- they are always evil, and you know from the beginning that they will burn to death in the end. The interesting thing about the four main characters is that you can see them evolve into their archetypes over time, and how their relationships with each other develop and fall apart. They aren't born into their archetypes, but circumstances and temperament lead them that way. I wish it were done in a more engrossing way.
I'm glad that I read this book. I'm sad to say it took me 5 months to do that. I'm not really a slow reader. It was too easy to put aside for months at a time. Now I wonder why I loved this book when I read it for a grad school class 4 years ago- it must have been a welcome vacation from reading straight political theory.
I would give it 2 1/2 stars, if possible.
UPDATE: 7 years after reading this book, I'm still haunted by it and think about reading another book by Ngugi wa Thiongo. I really enjoyed his prose and characters, but the pacing and the lack of coherent narrative killed it for me.
The pace of this book is slow. It has about 4 climaxes. It never really drew me in. But it has some great moments, and some interesting lessons. I see the four main characters as symbols of the four post-colonial African peasant archetypes. The prostitute, the merchant/beggar, the socialist/revolutionary, and the evangelical Christian. There are also elites in this book, but you don't ever get to know them- they are always evil, and you know from the beginning that they will burn to death in the end. The interesting thing about the four main characters is that you can see them evolve into their archetypes over time, and how their relationships with each other develop and fall apart. They aren't born into their archetypes, but circumstances and temperament lead them that way. I wish it were done in a more engrossing way.
I'm glad that I read this book. I'm sad to say it took me 5 months to do that. I'm not really a slow reader. It was too easy to put aside for months at a time. Now I wonder why I loved this book when I read it for a grad school class 4 years ago- it must have been a welcome vacation from reading straight political theory.
I would give it 2 1/2 stars, if possible.
UPDATE: 7 years after reading this book, I'm still haunted by it and think about reading another book by Ngugi wa Thiongo. I really enjoyed his prose and characters, but the pacing and the lack of coherent narrative killed it for me.
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February 9, 2019Fabula dosta zamr拧ena ocrtava tako i kompleksan odnos me膽u likovima gdje je 啪ivot Munire, direktora 拧kole isprepleten sa konobaricom Vand啪om, vje膷nim buntovnikom, u膷iteljom a poslije i sindikalnim funkcionerom Karagom i trgovcem Abdulom, koji se u pro拧losti borio kao heroj za nezavisnost Kenije. Njih sumnji膷e za ubistvo direktora lokalne pivare Tengeta, no, taj 鈥瀌etektivski鈥� zaplet je u pozadini jednog postkolonijalnog procesa, tranzicije kroz koji prolazi Kenija, kao i sve druge afri膷ke zemlje koje su ostavljene 鈥瀗apola鈥�, niti su evropeizirane do kraja, niti su zadr啪ale svoj plemenski identitet. Obi膷nim ljudima nije preostalo ni拧ta drugo do borba protiv smrtonosne eksploatacije koju sprovode zajedno stranci i naglo, preko no膰i oboga膰eni Afrikanci.
鈥濱, dok pada ki拧a i rastu cvjetovi krvavih latica, kakvi 膰e biti njihovi plodovi?鈥�
鈥濱, dok pada ki拧a i rastu cvjetovi krvavih latica, kakvi 膰e biti njihovi plodovi?鈥�
March 7, 2012
I expect he'll get the Nobel Prize sooner or later. In this book, what starts (and ends) as a murder mystery becomes a profound look at what happened to Kenya post-independence, and to Kenyan people. This is not an easy read for people expecting a quick mystery with stereotypic characters, but by the time your done, you'll have insight into complex characters not of our culture and what shaped them. Best book I've read in several years, even though it took me a while to get into it - largely because it's not a book about Kenya by a westerner written for westerners; it's written for Kenyans by their greatest author.
July 7, 2020
Perhaps...perhaps this or that...what I might have done or might not have done...these things we always turn over in our minds at the post mortem of a deed which cannot now be undone. Peace, my soul. But how can I, a mortal, help my heart's fluttering, I who was a priviled witness of the growth of Ilmorog from its beginnings in rain and drought to the present flowering in petals of blood?
April 6, 2015
Masterpiece. He shows the slow encroachment of a whole range of forces from capitalism to 'modernity' post-independence in Kenya and does it while implicitly critiquing almost every ideological position that can be taken in such a context.
October 14, 2018
Oh good grief I am DNFing this - I think that is the correct abbreviation here on 欧宝娱乐. It's boring, although I am sure very, very educational.
October 10, 2021
This book shook me up when I read it three decades ago. It led me to to read other fantastic Ngugi novels, and other African novelists. It could be a little didactic, but that was okay. I probably needed to know how ideology helped shape independence movements and post colonial conflicts. The book (and Grain of Wheat) probably also led me to study African history a bit, and to teach a little African history over the years. Ngugi was also a point of reference when I made Kenyan and Tanzanian college roommates and friends. In general, Ngugi helped me challenge many nostalgic assumptions I had about empire and its legacy. Previously, I had only encountered works by white Africans, works like Out of Africa and Flame Trees of Thika and Cry the Beloved Country. I saw Africa from my the perspective of my well-intentioned white mother, who had once lived briefly in what was then a British colony, Southern Rhodesia. Perhaps the book had something to do with my eventual marriage to an African. One never knows how great literature works on our emotional lives. After three decades, it鈥檚 definitely time to return to Ngugi.
February 28, 2021
驴Cu谩ndo empez贸 a salir todo mal en el pueblo? 驴Acas贸 con el arresto de su 煤nico maestro y otros m谩s? 驴Con el asesinato? 驴Quiz谩s con la construcci贸n de la carretera continental que pas贸 por una aldea que nunca hab铆a tenido ni siquiera una v铆a pavimentada? 驴Fue con la llegada de Vasco da Gama a sus costas, con el gobierno brit谩nico, o con la Independencia? Esta novela, sumamente pol铆tica y social, anticolonial y hasta polic铆a, salta entra una y otra hip贸tesis a medida que avanza en la voz de varios de sus protagonistas.
鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌
La novela hace un excelente trabajo presentando la corrupci贸n de la clase dirigente de la Kenia ya independiente as铆 como la inequidad, divisiones y traiciones que ocurren entre los campesinos y obreros negros de la Kenia post colonial. No es tanto una cr铆tica a la independencia como a la huella que dej贸 el colonialismo en la psiquis y en la cultura de los habitantes del pueblo de Ilmorog.
鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌
Es un libro que me cost贸 leer m谩s de la cuenta, no porque tenga una narrativa compleja ni una prosa aburrida 鈥攓ue ni lo uno ni lo otro鈥�, sino, quiz谩s, porque nunca pude terminar de identificarme con sus personajes y escenarios. Supongo que a veces eso ocurre...
***
鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌
El primer libro que ley贸 fue la Biblia presbiteriana, no por religioso sino porque en Kamirithu, la aldea en donde naci贸, era el 煤nico libro traducido al gikuyo, su lengua madre. Tres d茅cadas despu茅s, estando en la c谩rcel porque sus escritos sociales fueron considerados una amenaza para el Estado, volver铆a a este idioma para escribir sus novelas, abandonando para siempre el ingl茅s porque, en sus palabras, 芦all谩 donde ha habido un poder colonial, la primera cosa que destruye o controla es el idioma de la gente禄.
鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌
Su obra es social y pol铆tica, cr铆tica y reivindicativa, activista y racial, poniendo en evidencia las tensiones entre las culturas ancestrales africanas, el colonialismo y la independencia, una que pone en entredicho no como acto fundacional (芦No hay nada tan horrible para un ser humano como ser controlado por otra gente, como los colonos禄) sino porque cre贸 una nueva clase social de africanos negros que optaron por oprimir a otros africanos negros. No es casual que tanto el gobierno colonial ingl茅s como el republicano keniano lo haya considerado un enemigo. Su narrativa es descriptiva y discr贸nica, en la que los saltos en los tiempos y los m煤ltiples narradores son comunes.
鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌
La novela hace un excelente trabajo presentando la corrupci贸n de la clase dirigente de la Kenia ya independiente as铆 como la inequidad, divisiones y traiciones que ocurren entre los campesinos y obreros negros de la Kenia post colonial. No es tanto una cr铆tica a la independencia como a la huella que dej贸 el colonialismo en la psiquis y en la cultura de los habitantes del pueblo de Ilmorog.
鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌
Es un libro que me cost贸 leer m谩s de la cuenta, no porque tenga una narrativa compleja ni una prosa aburrida 鈥攓ue ni lo uno ni lo otro鈥�, sino, quiz谩s, porque nunca pude terminar de identificarme con sus personajes y escenarios. Supongo que a veces eso ocurre...
***
鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌
El primer libro que ley贸 fue la Biblia presbiteriana, no por religioso sino porque en Kamirithu, la aldea en donde naci贸, era el 煤nico libro traducido al gikuyo, su lengua madre. Tres d茅cadas despu茅s, estando en la c谩rcel porque sus escritos sociales fueron considerados una amenaza para el Estado, volver铆a a este idioma para escribir sus novelas, abandonando para siempre el ingl茅s porque, en sus palabras, 芦all谩 donde ha habido un poder colonial, la primera cosa que destruye o controla es el idioma de la gente禄.
鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌鉅赌
Su obra es social y pol铆tica, cr铆tica y reivindicativa, activista y racial, poniendo en evidencia las tensiones entre las culturas ancestrales africanas, el colonialismo y la independencia, una que pone en entredicho no como acto fundacional (芦No hay nada tan horrible para un ser humano como ser controlado por otra gente, como los colonos禄) sino porque cre贸 una nueva clase social de africanos negros que optaron por oprimir a otros africanos negros. No es casual que tanto el gobierno colonial ingl茅s como el republicano keniano lo haya considerado un enemigo. Su narrativa es descriptiva y discr贸nica, en la que los saltos en los tiempos y los m煤ltiples narradores son comunes.
September 1, 2011
This is one of the first Ngugi books I read and I have to admit I enjoyed his earlier work about the Mau Mau rebellion more as I was reading it. However, looking back I see the brilliance of Petals of Blood. This work takes incredible courage. I was visiting Kenya when he first came back after decades of exile and he was attacked by thugs. To take on the corrupt post-independence regime and not just create a mythology about the heroes of independence is what makes Ngugi a master. I wish an American writer in the early years after our independence could have exposed our government with this much passion.
July 31, 2011
Think of it as "Grapes of Wrath" set in Kenya. It's a highly political novel, chastising imperialism, capitalism, and corruption in Kenya, written by an author with Marxist leanings. Nevertheless, the interweaving of four people's stories leaves room for different perspectives, and the novel never descends to the level of a manifesto. I couldn't stop comparing Petals of Blood to Grapes of Wrath though, and I must plainly say that Steinbeck, taking more time to unfold a narrower story, delivers peasants' plight under capitalism much more powerful and harrowing than does Ngugi.
July 14, 2017
乇賵丕賷丞 賲賲賱丞 噩丿丕 賱賲 丕爻鬲胤毓 丕賳賴丕卅賴丕 丨賷孬 丕賱賰丕鬲亘 賰丕乇賴 賱賱乇兀爻賲丕賱賷丞 賵賲丨亘 賱賱丕卮鬲乇丕賰賷丞 賵賰丕乇賴 賱賰賱 賲丕 賴賵 兀亘賷囟 賵毓丕卮賯 賱賰賱 賲丕 賴賵 兀爻賵丿
亘丕賱廿囟丕賮丞 廿賱賶 兀賳 丕賱賰丕鬲亘 賱丿賷賴 丕賱賯丿乇丞 兀賳 賷毓賷丿 賵賷夭賷丿 賮賷 賳賮爻 丕賱賰賱丕賲 毓賳 丕賱丨賱賲 丕賱丕賮乇賷賯賷 賵丕賱乇噩賱 丕賱兀亘賷囟 丕賱亘睾賷囟 賵兀鬲亘丕毓賴賲 賲賳 丕賱禺賵賳丞 丕賱兀賮丕乇賯丞 丕賱匕賷賳 亘丕毓賵丕 兀賳賮爻賴賲 賲賳 兀噩賱 丕賱爻锟斤拷胤丞
亘丕賱廿囟丕賮丞 廿賱賶 兀賳 丕賱賰丕鬲亘 賱丿賷賴 丕賱賯丿乇丞 兀賳 賷毓賷丿 賵賷夭賷丿 賮賷 賳賮爻 丕賱賰賱丕賲 毓賳 丕賱丨賱賲 丕賱丕賮乇賷賯賷 賵丕賱乇噩賱 丕賱兀亘賷囟 丕賱亘睾賷囟 賵兀鬲亘丕毓賴賲 賲賳 丕賱禺賵賳丞 丕賱兀賮丕乇賯丞 丕賱匕賷賳 亘丕毓賵丕 兀賳賮爻賴賲 賲賳 兀噩賱 丕賱爻锟斤拷胤丞
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