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Ngũgĩ wa Thiong'oA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The text opens with a quote from Saint Lucian author Derek Walcott, a poem from his text The Swamp that contains the book’s title, “petals of blood.” It relates to the grotesque side of nature found within a swamp and its impact on the beauty underneath. Additionally, the epigraph to Part 1 includes two quotes—one from the Book of Revelation of the Bible, and one from American poet Walt Whitman. The quote from the Book of Revelation details the appearance of the Four Horseman of the Apocalypse, who are given power over a quarter of the Earth to kill by four means: conquest, war/conflict, famine, and death itself. The quote from Walt Whitman is from his poem “Europe (The 72nd and 73rd Years of These States)” and discusses the relationship between people and their rulers and the tools by which they rule.
The first chapter introduces the four main characters—Munira, Abdulla, Karega, and Wanja—as they are taken by the local police for questioning. Wanja’s brothel was burned down, and three men died in the fire: Chui, Kimeria, and Mzigo.
Munira is taken from his home while he lies on his bed reading the Book of Revelation. He agrees to go in, citing that the men are “only doing [their] duty in this world” (3). Abdulla is outside his home when the police come, contemplating what happened the night before and looking at his bandaged hand. He goes with them willingly but becomes enraged when he is locked in a cell. Wanja is found in the hospital—she was injured in the fire—and the police officers are stopped from entering by the doctor. Karega is sleeping in his home when the police come, and he goes with them willingly. However, his arrest is seen by Akinyi. As news spreads, it is assumed he is being arrested for the Theng’eta Breweries Union protests and violent confrontations between the striking workers and the police.
The second chapter is a flashback to when Munira first arrived in the village of Ilmorog 12 years earlier, leaving his wife and children behind in the city. He comes to the village to be a teacher, and his arrival is marked by comments about “another” teacher arriving; the others have come and gone, and he is met with apprehension and uncertainty. One elder woman confronts him, telling him that their youth are leaving the village to go to the city and asking why he is really there. Additionally, given the village’s poverty and the need for farm workers—particularly during the ongoing drought—the idea of schooling is often rejected. All of this leads to poor attendance at the school, and Munira struggles to establish himself.
Ultimately, Munira questions his idea to come to Ilmorog in the first place and returns to Ruwa-ini to speak with Mzigo, his employer, about his position. In doing so, he begins to think of the villagers’ poverty, curiosity, and sincerity, which contrasts with the city and the privilege of its people. He decides to remain in Ilmorog, where he feels that he can make a difference despite the villagers’ guarded reception to his arrival.
Although Munira continues to be an “outsider” and feels “sad and a little abandoned” during the farming season (25), he passes time with Abdulla and begins to fit in more and more with the people. He makes conscious decisions to connect the children’s schooling with their labor and slowly brings more students into the classroom. During one such lesson, as the students are outside looking at beanflowers, one student exclaims that it is “a flower with petals of blood” (26). Munira attempts to explain that blood is not a color and return the conversation to the scientific structures of the flower, but he is instead bombarded with philosophical questions. These make him uncomfortable and uncertain, leading him to keep the class in the school and avoid such discussions in the future.
Six months into his time in Ilmorog, he meets Wanja for the first time; she arrived back from the city the day before. When he meets her over drinks with Abdulla, she expresses interest in his school, even joking that he and Abdulla should come learn from him.
This leads Munira to tell a story from when he was in school at Siriana. A student named Chui was academically and athletically talented and popular. When a new headmaster, Cambridge Fraudsham, came to the school, he made the children dress down and eat poorly to keep them subservient, respecting both God and the British Empire. In response, Chui led the children on a strike, refusing to salute the British flag and protesting their treatment, until Munira, Chui, and others were expelled and the riot police arrived. Munira explains that this episode caused him to realize that leading a rebellion and strike is not for him, as his stuff is not “stern” enough. Instead, he wants a simple classroom with pupils to educate. Munira later regrets telling this story and revealing this weakness to Abdulla and Wanja, but ultimately, it leads to Wanja offering to work for Abdulla so that his young worker, Joseph, can go to school.
As time passes, Munira, Wanja, and Abdulla grow closer and often meet together at Abdulla’s bar to gossip. One such discussion involves the arrival of a land surveyor, who comes to measure and scout the land for the highway that would eventually be built through Ilmorog. Munira begins to think of Wanja often, even having dreams of her and developing an attraction to her.
The chapter ends with Wanja telling Abdulla and Munira about her past. In school, she began a secret relationship with a wealthy man who came to the village, skipping school to see him. She ended up pregnant, and when she went to him, he laughed in her face and refused to take her in, causing her to run away from home and contemplate suicide. This story, she explains, is the reason she wants Joseph to attend school and have the chance to graduate and make a better life than hers.
In the present, after telling the story from the previous chapter, Munira deals with the frustrated police as they try to talk about the arson rather than tell stories of his past. Munira reflects on their lack of understanding that it is all connected, as well as their struggle to trust in the brotherhood of God rather than human law. The next day, the police bring in Inspector Godfrey to try to get Munira to speak. He is considered good at his job due to his ability to work under whoever is in charge instead of choosing to always serve law and order. Godfrey instructs Munira to record whatever information he has, and Munira flashes back in time again.
Munira begins by reflecting on his inability, at the time, to see the direction in which things were headed. He feels bitterness toward Wanja as she does not return his love for her, and he feels she is only after power. He considers Karega’s path toward labor struggles and strikes, where Munira himself had almost gone.
Returning to the day after Wanja told the story of her past, Munira meets Karega in Ilmorog and learns he had previously been Karega’s teacher. He gave him a recommendation to be admitted to Siriana, and Karega recounts to Munira how he succeeded in removing Cambridge Fraudsham from the school, though he was, in turn, expelled. Additionally, Karega recounts meeting Munira’s sister, Mukami, and how she told him about Karega’s brother, Nding’uri, who was hanged during the Mau Mau Rebellion. Hearing these things unsettles Munira, but he fails to find a way to bring the subject up to Karega to hear more about it.
Meanwhile, Wanja, recovering from her injuries in the fire in New Ilmorog Hospital, also thinks back to that same day 12 years earlier. On her first day of work for Abdulla, she takes stock and makes repairs. When there are no customers in the afternoon, she decides to put up a sign saying everything is on sale and that the shop will be closing, bringing in a handful of customers. It is revealed through her workday that Wanja enjoys the power her beauty gives her over men but that using them often leaves her feeling empty. In the city, she started trying to become impregnated by these men but failed, and she returned to Ilmorog for advice from her grandmother. A village elder, Mwathi wa Mugo, told her that this night—with a new moon—would be her opportunity.
At Wanja’s home, Abdulla, Munira, Karega, and Wanja drink and talk until Abdulla begins to tell a story from the Mau Mau Rebellion. However, the lights go out, and he stops and leaves. This, in turn, allows Wanja to invite Munira to go for a walk, leaving only Karega behind. Wanja tells Munira about her cousin, who left her husband and became incredibly wealthy and used to visit Wanja’s house with gifts. One day, however, her cousin’s home was burned down, and her aunt died in the fire. Wanja contemplates how death by fire is a sort of “cleansing,” and she has thought about what it would be like for herself to burn to death. When Munira asks what happened to her baby, she does not answer and instead returns home with him. When they get there, Karega is gone. The moon comes out, and Munira stays the night with her.
In the present, Munira reflects on this night and considers how Wanja’s actions that night are “yet another example of [her] cunning and devilry” (78), as he realizes that she manipulated him into staying with her in the hopes of becoming pregnant.
Munira reflects on his first time having sex with a woman; he paid her two shillings and had an embarrassing experience. This, coupled with Wanja’s changing moods and distance after they are together, causes Munira to question his relationship with her.
On one such occasion, Wanja brings up Abdulla and asks Munira what he is running from and why he came to Ilmorog. She makes a comparison between her pain and suffering and Abdulla’s missing leg and trauma. She asks Munira about his reasons for coming to Ilmorog, and he lies to make himself seem stronger than he is, explaining that he was seeking a new life after independence and felt he was “obeying the call in [his] own way” (87). Wanja responds that she knows his story about Siriana and that his belief that he is too weak for true resistance is untrue.
Wanja fits in with the village women, throwing herself into the work and gossiping with them, even telling them of her “man” in the city. At the same time, as the harvest is poor due to drought, she often mocks the village and its people. Her eyes “[are] more and more turned away from Ilmorog” (89). Her frustration and annoyance build until she turns her anger toward Abdulla and complains of working too hard for little pay. She then recounts how it was in the city, where she lured men in for money and took advantage of them. Abdulla offers to allow her to own the business with him instead of working for him. As she calms down, she realizes that she must leave.
Joseph is called from school the next day to go back to work for Abdulla, and Wanja’s grandmother comes to tell them she has left. However, she has not taken all of her things, so she could be coming back.
The chapter begins with the political assassination of a man from Asia who fought for Nigerian independence and continued to resist imperialism. It brings up discussions of the agrarian revolution, the end of poverty, and communism. It also brings fear to the people of Nigeria. Meanwhile, Ilmorog continues to struggle as drought affects the harvest for another year.
The elders meet regularly at Abdulla’s to discuss the drought and the past, reflecting on how it used to rain regularly before they were colonized. They discuss how the sons continue to leave for the city, yet they find it difficult to blame them when there is less land, and it produces so little. They’re hopeful that “now that [they] have an African Governor and African big chiefs, they will return some of the fat back to these parts” (99). For now, they come to Abdulla and request that he slaughter his donkey as it eats too much grass, but he adamantly refuses.
Meanwhile, the village receives two visitors from the government. The first is a tax collector, from whom all of the men in the village hide to avoid paying taxes. The second are two men from the government, who say they were sent by Nderi wa Riera (the Ilmorog representative in parliament). They demand that men and women from all regions go to Gatundu for the Kamwene Cultural Organization to create peace among the cultural groups of the area. The people of Ilmorog refuse, especially the women, who yell at and threaten the men until they leave.
Although the incident with the government men shocks Munira and he considers what “madness” overcame the women to resist, he also reflects on his dislike for the city of Ruwa-ini—and its wealth. He asks for more teachers for his school to help with his increasing number of classes. Instead of receiving more teachers, he is named Headmaster of Ilmorog Full Primary School and is given a letter inviting him to the delegation of the Kamwene Cultural Organization. He is proud and excited, feeling as though he has finally made something of himself and will impress his father. He returns home to Limuru and goes with his wife to Gatundu for tea. However, he is shocked when they are taken past Gatundu, put into two lines, and forced to swear a loyalty oath under the threat of a machete.
Devastated, Munira decides he must speak with his father. Despite his shame at not living up to his expectations, Munira respects his father’s decision to stand up for his faith and the church despite opposition throughout his life, and he hopes to learn how he found the courage. Instead, his father expresses his disappointment in him, encourages him to stop drinking and go back to teaching, and tells him that the Kamwene Cultural Organization is a good thing that will soon be working with the church.
When he stops in Kamiritho on his way back to Ilmorog, Munira runs into Wanja at a bar. She informs him that she is on her way back to Ilmorog because of what had happened to her in the city: While working at a golf course as a sex worker, many of the women were taken to “tea” as Munira was, but she was able to avoid it. As a result, she returned home one night with a man to find that her apartment had been burned. This scared her enough to make her realize that she should return to Ilmorog, as the city continues to change and become more dangerous.
Wanja and Munira go from bar to bar throughout the city, eventually running into Karega, whom they had not seen since he left Wanja’s house. He recounts how after being expelled from Siriana, he lived in poverty and was angry and resentful toward the school and the wealthy. He agrees to come back to Ilmorog with them.
On their journey to Ilmorog, Munira, Wanja, and Karega each reflect on how they ended up where they are and what they will do going forward. Munira feels a sense of guilt over taking the invitation for “tea” and once again failing to live up to the courage needed to resist oppression and control. Wanja feels humiliated over what she went through in the city and decides that she needs to discover herself in Ilmorog and stop romanticizing the city and the poor decisions she made there. Karega is optimistic about getting a job teaching with Munira while also questioning his feelings for Wanja and the idea of “fate.”
Back at the school, Karega struggles to help the children understand the history of their people—in their village, district, Kenya, and Africa as a whole—as they understand it as an abstract concept but cannot grasp what it truly means, something that he learned by living in the world outside the village. Additionally, he wonders what their education will do for them if they ignore the larger problems of their poverty and the drought.
Meanwhile, the discussion over whether to kill Abdulla’s donkey continues among the elders. One day, Wanja informs Munira and Karega that Mwathi wa Mugo has decided the donkey should be sent away and a goat sacrificed. This prompts Karega to consider a way to help the village, ultimately deciding that they should send a delegation to the city to see their parliamentary representative for help. After a debate among the villagers, they decide to use Karega’s plan and leave on their journey for the city.
The first epigraph to this section of the text, the quote from the Book of Revelation in the Bible, is relevant throughout the novel due to the suffering revealed in Part 1. The quote discusses the Four Horsemen of the Apocalypse, who were given dominion over part of the Earth to bring destruction to it. Each horseman represents a different form of suffering—conquest, war, famine, and death. These aspects are seen in Part 1 as the citizens of Ilmorog deal with the enduring results of European conquest in the Neocolonial Control of Kenya: The Mau Mau Rebellion and the fight for independence represent war, as does Abdulla’s missing limb from the battle; the town suffers from famine due to drought; and from the opening scene and the arrest of the four protagonists, it is clear that death will play a central role in the story. At the outset, three citizens are already dead. The four main characters—and the town, Kenya, and Africa as a whole—have suffered from these four horsemen throughout their history and continue to do so even after gaining their independence.
The reader is introduced to the four protagonists—Munira, Wanja, Abdulla, and Karega—and their relationships with each other as well as the setting of the text, the village of Ilmorog. At the center is Wanja: Munira begins a tumultuous sexual relationship with her, Abdulla forms a bond with her that alleviates his anger after losing his leg in the Mau Mau Rebellion, and Karega begins to fall in love with her after their night in the city. Additionally, these characters share a connection with Ilmorog as they come to the village to start their lives anew, paralleling the search for identity in a postcolonial nation. These characters seek more authentic lives in a rural setting, but their aspirations are affected by drought and poverty, implied by village elders to be the result of British conquest. By the end of the novel, Ilmorog will be a bustling city; as Munira explains it, the characters are “privileged witness[es] of the growth of Ilmorog from its beginnings in rain and drought to the present flowering in petals of blood” (54). This “blood” refers not only to the murders for which they are all being questioned but also to the village’s rapid growth and corruption due to the road that is built there, which is hinted at in this section of the text.
From the opening lines where he is found reading his Bible and discussing the Book of Revelation with the policemen, Munira is shown to be a religious man who struggles to stand up for what he believes in. After failing to stand up to headmaster Fraudsham and being expelled from Sirianna, he recognizes that he would rather remain in a school and teach children than fight as Abdulla does. He struggles with this throughout Part 1, even meeting with his father to see where his strength comes from and realizing that the village women who stand up to the tax collector and government officials have more strength than he does. When he faces the ultimate humiliation of being invited to “tea” and being coerced into swearing an oath to the government, the irony of his decision is revealed: Although he did what his government asked, something that would normally be considered patriotic, he instead feels that “he [...] actively participated in an oath of national betrayal” (128). This irony leads to a key theme of the text: the Neocolonial Control of Kenya. Munira recognizes that these governmental actions in postcolonial Kenya are wrong and, in themselves, a betrayal of the people, represented in their need for deceit in extracting these loyalty oaths.
Additionally, Munira’s struggle with setting up the school introduces another key theme: Education as a Tool of Both Oppression and Liberation. On the one hand, the people of Ilmorog will benefit from their children being educated; however, there is an inherent mistrust of educators in the town of Ilmorog because of the elders’ experiences in the colonial education system, which was concerned with creating good colonial subjects rather than self-actualized students. This theme is further explored through Munira’s story of headmaster Cambridge Fraudsham, who used harsh methods to teach the children to be “good” Africans, not striving to live above their means and respecting the British Empire and Christianity. The colonial government was interested in educating the students, but only in an effort to control them. As a teacher in a newly postcolonial nation, Munira is responsible for helping change this education system and giving these children a new way of viewing themselves and their culture. Still, school is resented by community members, in part because the youth keep leaving the village for the city. Additionally, because they are struggling to survive off the land, it seems an unnecessary burden to lose their children’s labor by sending them to school, thereby rendering them unable to overcome their poverty and current station.
Ngũgĩ uses a shifting point of view to introduce the main characters, Ilmorog, and its history. Most of the story is told in the third-person perspective, giving insight into different characters’ thoughts and motivations. However, parts of the story are told in the first-person perspective, for example, when Munira sits in the jail cell and writes his story for the police. This shifting perspective allows for a deeper understanding of each character. For example, the reader is told through Munira’s perspective that he develops feelings for Wanja but that Wanja also enjoys using her body and men to achieve her goals, which calls her feelings for him into question. Notably, Wanja is most frequently characterized by the male narrators, introducing an unreliable aspect to her characterization as she is defined by others and not herself. Additionally, the different perspectives allow for a better understanding of neocolonialism’s continued impact on Ilmorog and the struggle between the village, the larger city, and the social classes within each.
Several dualities exist in Part 1 that are in constant battle with each other. Typically, it is the government’s responsibility to ensure that its people are cared for and capable of surviving and leading a good life. Instead, in postcolonial Kenya—free but still heavily influenced by its former rulers—there is a constant struggle. One such conflict is the village versus the city, as Ilmorog struggles to keep its young men from leaving for the city and more opportunities. As a result, they fail to have a strong education system, businesses, or enough workers for their fields and crops. Another is the struggle between classes, as both Munira and Wanja are drawn to the city, its wealth, and its bars while also hating its excessive wealth and privilege. Additionally, there is discord between the traditional religion of the villagers and the advancement of science and knowledge. For example, in this part’s conclusion, the village elders have decided to let Abdulla’s donkey go and sacrifice a goat in the hopes of ending the drought. They are stopped by Karega and his hopes that the government in the city will have a more reliable solution, and his solution wins out, indicating that the old ways are fading away, for better or for worse.
Lastly, there is a battle between the ideas of education and its practicality in a village where time is better spent working in the fields for food and sustenance. Both Munira and Karega struggle with this, as Munira works hard to get any children to come to school and Karega considers the usefulness of the knowledge he is trying to convey, wondering “How could they as teachers[…] ignore the reality of the drought, the listless faces before them? What had education […] got to say to this drought?” (132). Each of these conflicts explored in Part 1 shows the struggle of the people in Ilmorog—and Africa more widely—to live practically and survive while also contending with modernization in a postcolonial world, all without the support of their corrupt government.
By Ngũgĩ wa Thiong'o
African American Literature
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African Literature
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Challenging Authority
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Class
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Class
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Colonialism & Postcolonialism
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Colonialism Unit
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Education
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Nation & Nationalism
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Power
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