Fanonism and Constructive Violence in 'Petals of Blood'

 Hello!

This blog is a direct response to an assignment given by Dr. Dilip Barad, Where I have written an assignment of my selected topic.

Name: Dangar Rinkal Nathabhai 

Batch: M.A (Fourth semester) 2022-24

Roll No.: 18

Enrollment number :4069206420220007

Paper Name: The African Literature

Assignment Topic: Fanonism and Constructive Violence in 'Petals of Blood'

Paper Number : 206

Paper code : 22413

Introduction:

Frantz Fanon (1925-1961) was a Martinican psychiatrist, philosopher, and revolutionary thinker known for his influential works "Black Skin, White Masks" and "The Wretched of the Earth." Born in a French colony, Fanon explored the psychological impacts of colonialism, highlighting the internalized racism and identity struggles faced by the colonized. He advocated for revolutionary violence as a means to achieve liberation from colonial oppression. Fanon's work continues to inspire scholars, activists, and artists worldwide, shaping discourse on race, colonialism, and liberation.

Ngugi wa Thiong'o, like Fanon, sees violence as a tool for social change but makes a clear distinction: violence aimed at dismantling unjust social orders is justifiable, while violence used to maintain oppression is criminal. In his review of Majdalany's "State of Emergency" in 1963, Ngugi emphasizes the transformative potential of violence when employed in the service of liberation. He also asserts the resilience of African cultures against imperialism, stating that the fighting culture of African peasantry and working class cannot be destroyed. This perspective resonates with Fanon's recognition of the revolutionary potential in oppressed peoples' resistance against colonialism. Together, their perspectives challenge us to confront systemic violence and support struggles for genuine liberation.

What is Fanonism?

In Wretched of the Earth, Fanon presents the vision of violence as a constructive force. He says, “National liberation, national renaissance, the restoration of nationhood to the people, commonwealth: whatever may be the headings used or the new formulas introduced, decolonization is always a violent phenomenon” and “e naked truth of decolonization evokes for us the searing bullets and blood stained knives which emanate from it”. (Fanon, 1985, p. 27- 28). “The development of violence among the colonized people will be proportionate to the violence exercised by the threatened colonial regime” (p. 69) but the native's violence unifies the people. It frees the natives from inferiority complex from his despair and inaction. It works like a “cleansing force” for an individual.

The Defeat of the Mau Mau

The British troops sent to Kenya had little experience of forest fighting, and after a short period of ineffectual engagement they were replaced with units from the Kenyan Army, whilst the British forces instead patrolled the periphery of the forests. British Army planes were also used to drop bombs on Mau Mau camps and strafe the forest with machine guns. Given the thick cover provided by the foliage, this had only a limited military impact, but the lengthy bombing campaign did serve to demoralize the Mau Mau fighters. A series of large scale engagements between the two sides occurred during 1953, with the underequipped Mau Mau forces suffering heavy losses. By the end of the year, over 3,000 Mau Mau had been confirmed as killed and 1,000 captured (including Itote), and almost 100,000 alleged Mau Mau supporters had been arrested.[xvi] Despite this, the Mau Mau continued to pose an effective resistance to the colonial regime, persisting with the campaign of attacks on settlers and collaborators, particularly in Nairobi where the Mau Mau had a large, if largely clandestine support base. The British decided to undertake an operation to permanently crush the rebel presence in the city, and so in 1954 the aptly-named Operation Anvil began. Police moved through Nairobi in a brutal sweep, detaining anyone they considered suspicious. Tens of thousands of male Kikuyu were arrested and taken to concentration camps without explaining to them why they had been arrested or what crime they were accused of committing.[xvii] The government also began a policy of ‘villagisation’ – forcing rural Kikuyu to relocate from their traditional scattered homes to newly built villages under the control of the British.

Ngugi and Constructive Violence

In a 1963 review of Majdalany's "State of Emergency," Ngugi wa Thiong'o shares his perspective on violence, drawing parallels to Fanon's views. He distinguishes between violence aimed at changing unjust social orders, which he sees as purifying and justifiable, and violence used to uphold oppression, which he deems criminal and degrading. Ngugi also expresses confidence in the resilience of African cultures against imperialism, believing that the struggles of the African peasantry and working class reflect a fighting culture that cannot be extinguished by imperialism's neo-colonial tactics.

Kenya's history has seen a lot of violence. Many different groups came to Kenya's coast over hundreds of years, like the Indonesians, Arabs, Portuguese, and Omani Arabs. They came to trade, but sometimes there were conflicts with the local people. Europeans started coming to East Africa in the 1500s. By the late 1800s, they were moving further inland and taking land from the native Bantu peoples, like the Kikuyu.

This led to a struggle for land, and during the colonial years, British settlers and administrators used violence and oppression to control the land. The fight for freedom began in the late 1800s with leaders like Waiyaki Wa Hiinga. In the 1950s, the fight for independence grew stronger with leaders like Dedan, Kmathi, and others starting the Mau Mau movement. This was an armed struggle by the Kikuyu people against the British colonial forces. Ngugi wa Thiong'o was influenced by the Mau Mau movement.

The Mau Mau war was significant and changed Kenya's fate and that of other countries under British rule. It was the first time that ordinary people were fighting against a powerful country with a long military history. Finally, in 1963, Kenya became independent.

Constructive Violence in Petals of Blood

In Ngugi's 1977 novel, "Petals of Blood," he explores the quest for a political strategy to challenge and ultimately end global monopoly capitalism, of which Africa is a significant part. Ngugi portrays Kenya as a nation marked by the heroic struggles of its working class against centuries of domination by both natural forces and human oppressors.

The novel's setting, Ilmorog, symbolizes the face of Kenya as envisioned by Ngugi—a place where the working class of all backgrounds unite in a heroic struggle against exploitation and abandonment. Ngugi deliberately chooses a barren, drought-stricken region to illustrate how neo-colonialism prioritizes the interests of foreigners over the needs of the local people, who have endured immense suffering and sacrifice for their land.

In this narrative, capitalism threatens to erase the identity of Ilmorog, replacing it with a new version that serves the interests of external powers. Faced with this existential threat, the people of Ilmorog reach a point of no return and rally behind the novel's protagonists to resist their own destruction. Through "Petals of Blood," Ngugi sheds light on the resilience and determination of ordinary Kenyans in the face of systemic oppression and exploitation.

Wanja, a remarkable woman whose struggles mirror those of Kenya itself. Constantly battling for survival against a backdrop of societal humiliation and hostility, Wanja's character embodies the harsh realities of neo-colonialism.

In a world where one must either dominate or be dominated, Wanja finds herself compelled to adopt a cruel mindset, mirroring the brutality of her environment. She succinctly articulates the harsh truth of her situation: "You eat somebody or you are eaten. You sit on somebody or somebody sits on you." Wanja questions why she alone suffers for her actions when others, like Kimeria, are seemingly spared.

In a poignant scene, Wanja's act of striking Kimeria with a panga before setting fire to their surroundings symbolizes a form of individual freedom, according to Fanon, that serves to both soothe and purify her tormented soul. Through Wanja's experiences, "Petals of Blood" offers a stark examination of the complexities of personal agency and liberation within the context of systemic oppression.

Abdullah, the reserved Mau Mau fighter, was deeply let down by the very country he fought to liberate. Despite sacrificing his family and land for Kenya's independence, the new nation failed to provide him with the support he needed. Feeling betrayed, Abdullah took matters into his own hands by seeking vengeance against Kimeria, who had profited from betraying their Mau Mau comrades. In doing so, Abdullah reclaimed his dignity through an act of violence aimed at avenging his friend's death and protecting Wanja from harm.

Karega, a wandering soul, dedicated himself to uniting workers and advancing the cause of the trade union. Unlike Wanja, he rejected violence as a solution and remained steadfast in his search for lost innocence, hope, and faith. He believed that true change could not be achieved through violence and sought alternative paths to creating a better world.

Munira, known as the 'man of God,' struggled with a sense of detachment from life and yearned for a deeper connection to the world around him. Even his decision to dismiss Karega stemmed from a desire to assert his own agency and purpose. Inspired by a divine calling, Munira ultimately sought to cleanse the community of sin and corruption by burning down the 'Sunshine Lodge,' a symbol of exploitation and colonial influence. In this act, he sought redemption and the establishment of a more just and equitable society.

Conclusion

In "Petals of Blood," Ngugi wa Thiong'o presents a glimmer of optimism through the concept of constructive violence. Each protagonist, whether actively participating or silently supporting, becomes involved in acts of purification. Following the arson incident, Wanja's pregnancy, Joseph's rebellious actions at school, and Karega's role in renewed strikes and protests in Ilmorog, the next generation emerges imbued with the spirit of purification and courage inherited from their freedom-fighting parents.

The symbolism of constructive violence, exemplified by the arson, signifies a necessary destruction of the corrupted and rotten societal structures. From the ashes of this cleansing fire, there emerges a hopeful promise for the rebirth of a new Kenya—one characterized by justice, equity, and serenity. Through the transformative power of violence aimed at liberation and renewal, Ngugi hints at the potential for a brighter future where the sins of the past are purged and replaced by a society founded on principles of fairness and integrity.

References

Fanon, Frantz. (1985) The Wretched of the Earth. Penguin Books: London. pp. 27-75

Wa-Githumo, Mwangi. (1991). ‘The Truth about the Mau Mau Movement: The Most Popular Uprising in Kenya’ Transafrican Journal of History 20, p.9