EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
Decoloniser of the mind
Jenny Farrell pays tribute to the work of the great African writer NGUGI WA THIONG’O and his incisive Marxist analysis of the continent, past and present
Ngugi wa Thiong'o
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
KENYAN-BORN writer Ngugi wa Thiong’o, who turned 80 this year, is nothing if not prolific. His first major novel Weep Not Child (1964) was followed by The River Between with its background of the Mau Mau war of independence, which he had witnessed, and A Grain of Wheat (1967).
He has gone on to write many plays, fiction, essays and memoirs, with his 1986 book Decolonising the Mind about the constructive role of language in Africa's national cultures, history and identity arguably his most significant.
For 10 years from 1977, Ngugi was a lecturer in the English literature department at the University of Nairobi where, to reflect a change of focus from English to world literature, he campaigned for the change of its name to simply the literature department.
Similar stories
Internationalism is deeply embedded in socialist theory and practice. Examination illuminates its complexity asserts the Marx Memorial Library and Workers’ School
JOHN CALLOW introduces the work of Geoffrey Trease, who placed ordinary people at the centre of his historical fiction for children, creating adventurous stories to inspire the possibilities of social change
DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
1943-2025: How one man’s unfinished work reveals the lethal lie of ‘colour-blind’ medicine