Birth of a Dream Weaver: A Writer's Awakening Read online

  Birth of a Dream Weaver

  Also by Ngũgĩ wa Thiong’o

  Dreams in a Time of War: A Childhood Memoir

  In the House of the Interpreter: A Memoir

  Weep Not, Child

  The River Between

  A Grain of Wheat

  Petals of Blood

  Devil on the Cross

  Matigari

  Wizard of the Crow

  Decolonising the Mind: The Politics of Language in African Literature

  Something Torn and New: An African Renaissance

  In the Name of the Mother

  Globalectics: Theory and the Politics of Knowing

  Secure the Base: Making Africa Visible in the Globe

  © 2016 by Ngũgĩ wa Thiong’o

  All rights reserved.

  No part of this book may be reproduced, in any form, without written permission from the publisher.

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  Published in the United States by The New Press, New York, 2016

  Distributed by Perseus Distribution

  ISBN 978-1-62097-267-0 (e-book)

  CIP data is available.

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  Printed in the United States of America

  10 9 8 7 6 5 4 3 2 1

  In memory of Minneh Nyambura, now reborn in her grandchildren of the same name: Nyambura wa Mũkoma, Nyambura Sade Sallinen, and Nyambura wa Ndũcũ. Her spirit also lives on in her other grandchildren: June Wanjikũ, Chris Ng’ang’a, and Ngũgĩ Biko Kimunga.

  Contents

  Note on Nomenclature

  Prologue

  1. The Wound in the Heart

  2. A Wounded Land

  3. Reds and Blacks

  4. Benzes, Sneakers, Frisbees, and Flags

  5. Penpoints and Fig Trees

  6. Writing for the Money of It

  7. Black Dolls and Black Masks

  8. Transition and That Letter from Paris

  9. Boxers and Black Hermits

  10. Pages, Stages, Spaces

  11. Coal, Rubber, Silver, Gold, and New Flags

  12. Working for the Nation

  13. Notes and Notebooks

  14. A Hell of a Paradise

  Acknowledgments

  Notes

  Photograph Sources

  Note on Nomenclature

  In this memoir the armed resistance the British dubbed Mau Mau is called by its rightful name, Land and Freedom Army (LFA). Their fighters will be called soldiers.

  Prologue

  I entered Makerere University College in July 1959, subject of a British Crown Colony, and left in March 1964, citizen of an independent African state. Between subject and citizen, a writer was born. This is the story of how the herdsboy, child laborer, and high school dreamer in Dreams in a Time of War and In the House of the Interpreter became a weaver of dreams.

  Birth of a Dream Weaver

  Sir Bunsen with the Queen Mother at Makerere graduation, February 20, 1959

  1

  The Wound in the Heart

  “A British officer cannot do a thing like that. That’s why . . .

  “Why what?”

  “A British officer. That’s why. That’s all.”

  Queen’s Court, where I leaned against a pillar trying to make sense of the news, was named in honor of Queen Elizabeth after she and the Duke of Edinburgh visited Uganda in

  April 1954. The court, a rectangle enclosed by buildings and fronted by Grecian pillars, was the center of the arts complex, which housed, among others, the English Department. My fellow students Bahadur Tejani, Bethuel Kurutu, Selina Coelho, and Rhoda Kayanja passed me by, gesturing me to join them, but I ignored their overture. Would they feel my woes?

  Peter Nazareth might have understood. Though a year ahead of me in college, he was actually the younger by two years; he was born in Kampala, Uganda, in 1940 and I in Limuru, Kenya, in 1938. We had worked together for Penpoint, the literary magazine of the Department of English, but he had just graduated, having passed the editorship on to me. So I communed with myself, alone, trying to rally my nerves in a reality I felt helpless to alter. My one-act play, The Wound in the Heart, would not be allowed at the Kampala National Theater in the annual nationwide drama festival.

  We lived in different halls of residence, a life fraught with friendly rivalries in arenas ranging from sports to drama, and every winning play in the interhall English competition on the Hill had always been re-presented at the only major theater in town. Having the drama appear on a national stage was the most coveted outcome of a win. It carried no material reward, a little reminiscent of the drama on the Greek acropolis of old,1 where the recognition of a fictive creation surpassed any material gain.

  The previous year, 1961, The Rebels, my first ever one-act play, another Northcote Hall entrant, had placed second to the winner, Nazareth’s Brave New Cosmos, a Mitchell Hall entrant that subsequently saw light on the Kampala stage. Nazareth, at the time of his Cosmos, had already blossomed into the All-Makerere personality, a presence in music, sports, theater, student politics, and writing.2 I had lost the final accolade to an icon on the Hill, but I had not given up. And this year, 1962, my play The Wound in the Heart had won. My story “The Village Priest” garnered the prize in the short-fiction category, and the two had helped Northcote Hall win the entire competition. Hugh Dinwiddy, the hall warden, hailed the overall outcome as exciting news, “because the quality of the work done in order to win it was very good”3 and also because “so many members of the hall had offered their services towards this end.” My stars were well aligned. On to the National Theater we go, I thought.

  I sensed that something was wrong when, as time passed, the intense buzz surrounding the National Theater appearance fizzled out. The professors who I thought would know were evasive, but eventually I cornered David John Cook.

  Cook was one of the two faculty members most active in support of students’ artistic endeavors. A graduate of Birkbeck College, University of London, Cook had visited Makerere from the University of Southampton briefly in 1961 and then came back in 1962 with tenure. He threw his youthful weight behind the already growing local talent, those who came after the earlier generation of David Rubadiri, Erisa Kironde, and Rebecca Njau, who had been mentored by Margaret MacPherson, the spirit behind the emergence of the first generation of student writers on the Hill and the proud founding member of the English Department in 1948.4

  The department was the crown jewel of a college started in 1922 as a technical high school that became a degree-awarding institution, affiliated with the University of London, in 1949. MacPherson has chronicled this story in the book They Built for the Future,5 the title derived from the Makerere motto. The college served the entire British East and Central African empire, taking students from mainly Uganda, Kenya, Tanganyika, Zanzibar, Malawi (then Nyasaland), Zambia, and Zimbabwe (then Northern and Southern Rhodesia). The English Department was the house of the language of power in
the colony.

  I found Cook in his department offices. He had supported my efforts and was one of the first to congratulate me on the win. He was friends with John Butler, poet and headmaster of Lubiri Secondary, a leading high school in Kampala, who was a regular presence in both the Uganda Drama and Student Drama festivals and was the one who had adjudicated the competition that my play had won. Cook invited me to sit down, but he did not seem enthused to see me. I went straight to the point: Did he know why the play was denied the stage at the National Theater?

  Not looking directly at me, he said something about the British Council, race relations, and all that. And then the words. “They don’t think a British officer can do that.” He became uncharacteristically busy, shuffling the papers on the table. “They have nothing against the play as a play,” he mumbled, “but they think a British officer could not do that!”

  The play is set in Kenya during the armed liberation struggle against the British settler state. Mau Mau was the name the British had given to the liberation movement, otherwise known as the Land and Freedom Army, which started fighting the colonial state in 1952. The British sent many of its soldiers and civilian supporters to concentration camps, then deceptively called detention camps. The Wound in the Heart is built around an LFA (Mau Mau) soldier who returns home from such a concentration camp, only to find that a white district officer had raped his wife. The rape is not acted out; it’s mentioned, narrated rather than shown. The main thread in the theme is not the rape but the man’s initial refusal to come to terms with change.

  John Butler, the adjudicator, described the play as being beautifully written and finely constructed and praised the production and the players for living up to the quality of the play.6 And because Butler was a member of the drama festival committee, he must have been an advocate for the play’s inclusion. Was he outvoted, overruled even, all because it was inconceivable that a British officer could have forced himself on an African woman? The art of politics by some who did not like the politics in the play had trumped the art of drama.

  Cook was just the messenger of bad news, not the perpetrator, but as I stood in Queen’s Court, his words continued, repeating in my mind like a broken record: a British officer cannot . . . Eventually, I walked away and turned left toward the Main Building, not sure if I should go to the Library or back to my hall of residence. The Main Building, a replica of the main building of the University College, London, housed the offices of the principal, the registrar, and their underlings. It was the multipurpose center of Makerere political and administrative life; major assemblies were held here; its floor became a dancing arena on weekends, a display of moves and formal attire, often organized by the popular MABADA, acronym for Makerere Ballroom Dancing Association. Located at the highest point on the Hill, the Main Building was a cross-center for students and faculty and visitors from any point of the campus.

  I bumped into Ganesh Bagchi and his wife Sudharshana. They taught at Government Indian Secondary School, Old Kampala, which opened in 1954. They were an inseparable couple. They did a lot of performances together, some of them Bagchi’s own sketches. With Erisa Kironde, a black Ugandan, the Indian couple were the most prominent on a cultural scene otherwise largely dominated by the expatriate white community.

  Being in theater, Bagchi and Sudharshana seemed the prefect recipients of my woes. They had lived long enough in colonial Uganda, and I wondered whether, as Indian writers in the racially divided Kampala literati, they had had experiences similar to rejection of a play on account of its content.

  My listeners shook their heads in a gesture of helpless sympathy.

  I went back to my room, number 75 on the second floor, lay on my bed, a cacophony of sounds around the refrain “a British officer . . . that’s why . . . that’s all” played in my mind, leading to the same question: a British officer cannot do that, really?

  Absurd it seems?

  Sometimes we ask questions

  Not for answers we don’t have

  But for the answers we already have.

  2

  A Wounded Land

  I

  Images of the numerous atrocities committed by the white settler regime in Kenya compete within me. It is not so much the wanton massacres, the mass incarcerations, and the violent mass relocations; these were too large to take in wholly at the time. It’s the singular, the apparently errant, and the bizarre that creep to mind.

  It is Molo. A white settler lends his white visitor a horse to ride to the station, seventeen miles away. He orders a worker, probably the one who looks after the stable, to walk with the rider so he can bring the animal back. The iron-hoofed horse trots; the barefoot worker runs to keep pace. On the way back, the tired worker mounts the horse. Whites who see a black body on a horse report the sacrilege.

  The settler owner flogs the worker. European neighbors come to watch the sport. As evening descends, the exhausted master ties the worker with a rein and locks him up in a storehouse. After a sumptuous evening meal, the master goes back to the storehouse, finds the worker lying unconscious, the rein loosened a little. The master is concerned less with the unconscious condition than the loose chain. It’s a sign of attempted escape. He ties the captive tighter than before, fastens the man’s hands to a post, and locks the door. Master sleeps well; the worker sleeps forever. This takes place on June 10, 1923.

  When eventually the case reaches the courts held in the Nakuru Railways Institute before Justice Sheridan, the outcome rests on the intention, not of the killer, but of the murdered. Apparently before he passed out, he had been heard to say, “I am dead.” The all-white jury reached a unanimous verdict: the torture had nothing to do with his death. He had willed it. Natives did not die under settlers’ hands; they willed their death. The jury finds the settler guilty only of grievous hurt. The East African Standard of August 2–10, 1923, covered the case extensively, and clearly, judging from her archives, Karen Blixen drew from the coverage in her retelling of the story in her memoir, Out of Africa.1 She knew the settler’s real name, Jasper Abraham, but interestingly, never mentions it.

  Though the way she tells Kitosch’s story, the clarity of the details in particular, would suggest that the case disturbed her, Blixen, who writes as Isak Dinesen, ends up not denouncing the travesty of justice but seeing, in the death of the native, “a beauty all its own.” In his will to die is “embodied the fugitiveness of the wild things who are, in the hour of need, conscious of a refuge somewhere in existence; who go when they like; of whom we can never get hold.”2 Death from torture becomes a thing of beauty. It’s the way of the wild, a mystery, at which a rational mind can only marvel.

  How easily the zoological image flows out of the liberal and conservative pens of white travelers in Africa. In 1909 Theodore Roosevelt in his safari to East Africa was awed by the wild man and wild beast reminiscent of Europe twelve thousand years before. The Dane and the American looked through the same race-tinted glasses. Earlier in the book, she had said that what she learned from the game of the country was useful to her in her dealings with the native people.

  Blixen’s world straddled Kenya as a British company property and as a Crown Colony, 1920 being the demarcation year. Baroness Blixen left Kenya in 1931 for her Danish homeland. But when in 1952 the “Mau Mau” war for land and freedom broke out and Governor Evelyn Baring declared a state of emergency, the scene and the wish to die theory reappeared on a larger stage, the whole country. Its reappearance had a history to it.

  A year into the war (or the Emergency, as it was called), the government hired Doctor J.C. Carothers, MB, DPM, author of The African Mind and Disease,3 and paid the psychiatrist handsomely to study “Mau Mau.” In 1955 this expert on the African mind published the results under the title The Psychology of Mau Mau.4 He diagnosed Mau Mau as mass mania manifesting itself in violence and witchcraft.

  He was not original. In 1851, a hundred years before him, Samuel A. Cartwright, another self-avowed expert on the blac
k mind, this time in the USA, had presented a paper, “Diseases and Peculiarities of the Negro Race,”5 to the Louisiana Medical Association, diagnosing the desire to escape slavery as a mental disorder, which he gave the name drapetomania. A severe seizure of the mania resulted in the victim’s actually attempting to run away from the slave heaven.

  Carothers’s medical science and Cartwright’s before him tapped into a mix of the mythic and Christian: witches, witchcraft, and devil possession. The settler, like his historical slaver counterpart, saw his system as natural, rational, laudable, God’s goodness manifest; its defiance, a deviation and departure from the desirable norm, a devil’s manifesto. Now, hired medical science sided with his profitable but warped view of the universe. In Cartwright, the union of psychiatry, psychology, and Christianity found its apotheosis in a slave plantation; in Carothers, in a settler colony. Cartwright’s cure, amputation of the toes, making it impossible to get far on foot, is echoed in Carothers’s call for amputation of the soul, making it impossible to desire freedom. Both recommended prevention by casting out the devil that made them carry out crazy ideas: in Cartwright’s case, by continuous torture to induce permanent submission; in Carothers’s, by quarantine of thousands into concentration camps and by forced confession of their sins. But the most highly recommended cure by the two experts was the imperative: make them work. Work cleanses. In Kenya, the recommendations move from the desk of a psychologist to that of Evelyn Baring, former governor of Southern Rhodesia 1942–1944, appointed governor of Kenya in 1952. The doctrine becomes official: “Once a man can be led to the position of having to do some work and so purge himself of the Mau Mau oath he has taken, there is a chance that he will be rehabilitated.”6

  There’s a problem. The afflicted don’t want to be freed of their affliction. They are political prisoners, not slaves, they say. But to their British captors, captive rhymes with slave and native. Christianity had failed to reform the souls of benighted Kenya natives. Moral surgery by way of the physical was deemed necessary: the philosophy bears the name of John Cowan, then Kenya’s senior superintendent of prisons. It was put to the test in the notorious case of Hola.