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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.
There are three epigraphs in this section of the text. The first is again from William Blake, from his poem “The Everlasting Gospel,” while the other two are from Song of Solomon in the Bible.
Munira is kept in jail for eight days and continues writing his story for Inspector Godfrey. He is given a newspaper by the police officer guarding him, through which he learns of Chui, Mzigo, and Kimeria’s deaths. The three men sought to buy out the shares of ownership of Theng’eta Breweries that belonged to foreigners. This leads to questions about whether their deaths were politically motivated to keep the brewery in foreign hands.
As Karega continues teaching, he contemplates their journey to the city, the charity they received, and what it means. With a firm belief in “solidarity and unity of blackness” (236), he struggles with the idea that his village, which produces crops and its own food, would be impeded by drought and forced to rely on the wealth of those in the city to survive. He reflects on the irony that those who do not produce their own food or work the land still have all of the wealth. He writes to the lawyer, who sends him books. As he reads through history books, he finds the period of Kenyan history before colonialism is missing. Political science avoids the subject entirely, and literature accurately describes the period but fails to glean anything from it other than cynicism.
At a circumcision ceremony, Nyakinyua sings of the villagers’ recent trip to the city, as well as Ilmorog and Kenya’s broader histories. She sings of the importance of youth to drive out enemies and foreigners, and the bloodshed in doing so is celebrated at this ceremony. Through it all, Karega feels sadness, thinking that he is listening to something from a “dying world.”
At Wanja’s insistence, Wanja, Karega, Munira, Abdulla, and the elders seek the Theng’eta plant to add to their drink using her grandmother’s remembered recipe. They gather with it in a circle. When Munira drinks it, he has a spiritual experience that allows him to see the past, present, and future as one. He is asked what he desires, and he thinks he needs Wanja to sleep with him again for him to feel fulfillment.
When asked to explain their dreams and Munira’s vision of the past, present, and future, Nyakinyua states that there are many things she does not know or understand, such as how the Europeans could conquer all of their people or how the dualities of drought and rain, birth and death, and more exist in the world. Instead, she tells the story of her husband, who was forced to fight in a European colonial war. Traveling through the forest, he and the army came across a long, hissing animal with a forked tongue. Despite being told not to touch it as a creature of God, some of the men threw rocks at it. It responded by breathing firing and slithering away, and none of those men returned home. Although Nyakinyua’s man returned, he was not the person he was when he left. When the strange animal spit fire, he had visions of their people struggling, not only against white Europeans but against their own greedy few. He also foresaw that one day, the struggling and impoverished people would rise up.
As Karega considers Nyakinyua’s story, he thinks of his own and all the pieces that construct it—Mukami, Siriana, and their journey to the city. He considers that their national history is likewise made of pieces: the history of the workers, those who fought for freedom, those who sided with Europeans, and countless others.
This encourages Karega to finally tell the story of his love, Mukami, Munira’s sister. They first met at a quarry’s edge. Mukami encouraged him to attend school and helped him study until he got into Siriana. They formed a relationship and eventually had sex before Mukami informed him that her father wanted them to stop seeing each other. Her father lost his ear during the Mau Mau Rebellion for allegedly helping the white men and preaching against the Mau Mau in church, and he blames Karega’s brother, Nding’uri. When Karega asked his mother about Nding’uri, all she would tell him was that he did “carry bullets” for the Mau Mau and was hanged at the Rebellion’s end. Mukami, meanwhile, returned to the quarry and died by suicide.
Munira is shaken by the story of his sister, unsure of who is to blame, and leaves. Abdulla, however, is shocked to learn that Nding’uri is Karega’s brother, as they were friends in the war. He informs Karega that his brother’s girlfriend offered them guns and bullets but then turned on them and informed the police, causing Nding’uri’s death as Abdulla escaped. He still feels guilt over abandoning the cause and coming to “hide” from his guilt in Ilmorog.
As everyone returns home, Wanja walks with both Abdulla and Karega but not Munira. He confronts her out of jealousy and asks why she returned, to which she gives no answer and catches up with Karega.
Karega reflects on the events from the circle. He has a newfound respect for Abdulla’s actions in the Rebellion, seeing him as a “symbol of Kenya’s truest courage” as his actions, previously only imagined, became “immediate flesh and blood” in Karega’s eyes (271). As Wanja joins him, she comments on his brother’s participation in the Rebellion and Karega’s participation in the school strikes, saying both have the “blood of rebels” (272). In contrast, she reflects on how Munira was simply a bystander during his strike.
As they discuss Abdulla and what he revealed, Karega asks Wanja if Kimeria was the man who impregnated her. She admits he was but is offended by the fact that it is always “held against her” (273). Shocked and adamant that this is not what he meant, Karega thinks about how he, too, was a victim and would not judge another victim. Overcome by his desire for her, Karega begins to remove her clothes. She briefly protests, but they end up making love in the grass.
Upon waking at home, Wanja feels peace and lightness after sex with Karega that she never felt before in her other experiences. She drifts into sleep and dreams of her father. She is teaching him to read, then shifts to wearing a uniform after returning from fighting as a soldier for “the king.” He is upset and says fighting is a “terrible waste of life,” as he learned to build everything in the war but that “human lives they cannot create” (276). She then sees her mother and father arguing; her mother begs him to move to Ilmorog, but he claims that resisting the Europeans is futile as they are too powerful. Staying where they are and making money is the best way to control their lives. They argue over religion, each claiming the other betrays God—Wanja’s mother by visiting her sister, who aids the Mau Mau, and Wanja’s father by worshipping money. He beats her, and Wanja yells “fire” to interrupt their fight, calling to Karega for help. Upon waking, Wanja asks Nyakinyua for the truth about what happened to her father and grandfather.
At the same time, Karega dreams of his mother, Munira’s father’s farm, and women coming to their home to discuss the rebellion. At one point, he dreams of being on an island with Mukami, who turns into Wanja and then Nyakinyua. Ultimately, she transforms into his students. He tries to explain how white men controlled Africa with religion and education, but his class floats away on a raft as he transforms into different revolutionary leaders. Finally, he sees his brother adrift on a raft, who informs him that he knows of his struggle and “the journey of search and exploration undertaken by all [his] brothers and sisters” (282). He scolds Karega for letting his students go, insisting that the struggle begins with them.
Upon waking, Munira informs him that he was saying both Mukami’s and Wanja’s names in his sleep. He refers to Wanja as a “prostitute,” telling Karega that they should no longer work together because of his role in Mukami’s suicide. At first enraged, Karega calms himself, not only because Munira took him in and gave him a job but because he feels guilty over Mukami’s death and believes what Munira has said. Karega reiterates the idea that all men in Ilmorog struggle, so one victim should not insult another. The chapter ends as Karega says he will not quit the school.
In the new year, the people of Ilmorog celebrate the rain, the harvest, and the delegation that went to the city, in particular Munira, Karea, Wanja, Abdulla—and even his donkey—whose “unselfishness” saved them all. Meanwhile, changes such as visiting police officers and a new church (which no one enters) mark the start of the village’s transformation.
The narrative returns to the present day as Munira sits writing his account in prison. He recollects that this period was “completely dominated by the involvement of Wanja and Karega” (289). Their love begins to grow as Munira watches on, but what bothers him the most is that he could have “saved” Karega from Wanja if he tried. Instead, he feels his own attraction and even obsession with Wanja grow as he spies on them.
Munira decides to return once again to Limuru and recruits three more teachers, bringing them back to Ilmorog and taking them to Abdulla’s place to discuss the idea of teaching. There is a conflict between Munira’s desire to avoid anything political and passing his opinions to his students and Karega’s belief that it is their responsibility as educators to inform the students about African oppression so they can form their own identities and create their own liberation. After this, Karega is dismissed from his job.
When Munira has been in Ilmorog for five years, the industrial changes still have not come; the churchmen and policemen come infrequently, but Mzigo visits occasionally and improves the school, even sending another teacher. When he informs Nyakinyua of the new teacher sent and paid for by the government, she remarks on how they give with one hand and take with the other, which confuses Munira.
Wanja comes to visit Munira and finally confesses that she slept with him during the new moon in an attempt to become pregnant. She reveals this to try to show that things are different with Karega, the first man with whom she has no ulterior motive. She wants Munira to give Karega his job back, and Munira considers it but also realizes that it is too late for anything to be done now.
Abdulla offers Karega a share of his shop’s ownership, which helps restore Karega’s faith in the goodness of people. He asks Abdulla why he came to Ilmorog, and he explains that upon leaving the camps, he first went to seek a loan for land and then went back to his old factory for a job. He was turned away from both and told that nothing is free. He began to see the corruption even if New Kenya and the revolution’s ideals were already being lost.
Shortly thereafter, a plane that is surveying the land for the new road crashes in Ilmorog, killing Abdulla’s donkey. However, he and Wanja decide to sell Theng’eta to tourists coming to see the wrecked plane, gaining attention from the press.
At the end of the chapter, Karega leaves Ilmorog.
Throughout Part 3, Munira continues to struggle with his attraction to Wanja and grows embittered by her relationship with Karega. He dreams of her after consuming Theng’eta and admits to spying on both her and Karega as their relationship grows. Ultimately, this conflict bubbles over and he confronts Wanja, then has Karega fired from the school. Despite his journey throughout the text, he still feels like an outsider in Ilmorog and that he must “do something to give [himself] a sense of belonging. [He] was tired of being a spectator, an outsider” (270). These thoughts foreshadow his ultimate decision to burn down Wanja’s brothel as an act of revenge against her and Karega.
At the circumcision ceremony and the Theng’eta circle with the main characters and the elders, the idea of oral versus written history is once again explored. Much like on the journey to the city, Nyakinyua’s songs of their history and her story of her husband crossing a strange animal during the war make Karega consider written history, oral history, and his place in both. As she finishes her songs, he considers how “it was like beholding a relic of beauty that had suddenly surfaced, or like listening to a solitary beautiful tune straying, for a time, from a dying world” (250). Once again, the songs she sings and the stories she tells are recorded nowhere in history books and live only through her oral tellings. As he previously discovered through the lawyer, history, political science books, and even literature, all lack a true history and understanding of the African people. Coupled with Abdulla’s story of the Mau Mau Rebellion, these experiences teach Karega that history is a collection of stories—much like his personal history—and should not just be the story told by those with the power and education to write them.
Additionally, a direct contrast between Munira and Karega is shown in this section, establishing them as foils. After hearing the story of his brother, Wanja approaches Karega and comments on how he “must have the blood of rebels in [his] family” (272). However, Karega counters that Munira, too, was involved in the strikes at the school, an idea that Wanja strikes down, stating that he “was only a spectator, a bystander” (272). Throughout the text, Munira wants to do something about his people’s mistreatment but never has the courage—or the knowledge—to do what needs to be done. In both his self-conception and Wanja’s view of him, he instead stands as a witness to what happens. Karega, on the other hand, always contemplates what is happening around him, his place in it, and what he can do to make a difference. At the same time, he thinks of his words and actions as “trivial and irrelevant [they are when] placed against the larger theatre of events that had created the true undying spirit of Kenya” (272), which are revealed to him through Abdulla and Nyakinyua’s stories. This contrast between his ambition to make a difference and Munira’s selfishness and inward turn toward school and religion emphasizes the different cultural ideals in postcolonial Nigeria. Ngũgĩ hints through Wanja where his allegiance lies, as she finds mutual affection with Karega, leaving Munira unfulfilled and yearning.
The theme of Education as a Tool of Both Oppression and Liberation is further explored in this section. When Munira informs Nyakinyua that he has received a teacher from Mzigo to help at the school, she asks who pays their salaries, to which he replies “Serikali”—which translates to “government.” To this, Nyakinyua replies that “they given us with the right hand only to take away with the left? Is that fair for the children?” (296). From her perspective, although they are receiving help in the form of a new teacher, it is also problematic that the funding comes from the government. In this postcolonial society, education is used as a tool to continue to control Africans, teaching them European ways and reinforcing their oppression. As such, the government has an interest in hiring only teachers who can maintain this system of control; it chooses who to send and what they will teach.
Through Wanja’s dream, patriarchal and religious hypocrisy are represented by her father. He argues with his wife about her “idolizing” her sister and other members of the Mau Mau Rebellion, but she points out his hypocrisy in idolizing money and killing in the name of European conquest. Although her father may have felt like he had no choice but to kill, his continued preaching of Christianity and good works reveals his hypocrisy, especially when he strikes his wife. This dream reinforces Chui’s earlier misuse of a Bible quote to refuse to help the delegation, contorting scripture to justify an unchristian act. While religion is used as a tool to Europeanize the Africans, it is also used to defend atrocities committed by them, even if these atrocities go directly against the teachings of Christianity.
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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