In 1977, Kenyan writer Ngũgĩ wa Thiong'o embarked on a bold new approach to African theater, staging
a play about village life that allowed for improvisation and audience participation. His goal was to
demystify the artistic process and create a fluid work that broke down barriers between performer and
onlooker—an approach both experimental but also embracing the communal creativity of traditional
African culture. The play, entitled Ngaahika Ndeenda, made its debut on October 2, 1977 in the
author's home town Kamirithu at an open-air theater constructed by the performers themselves. From
the start, it enjoyed a great success. Even people from distant villages flocked to the theater, hiring
buses and other vehicles when necessary. Lines from the play entered the common parlance.
The success was short-lived. The Kenyan government shut down
Ngaahika Ndeenda on November 16, less than two months after
its premiere. Six weeks later, on the last day of 2017, a caravan
of police cars and Land Rovers pulled into the author’s yard in
the middle of the night. A cadre of armed men brandishing rifles,
pistols and machine guns stormed Ngũgĩ’s home, searching his
library for subversive literature, and taking him off to jail—only for
questioning, he was told. He wasn’t under official arrest.
In fact, Ngũgĩ was never formally arrested. He wasn’t tried or
convicted, and no formal charges were ever filed against him. But
he was imprisoned for more than a year—a "preventative detention"
in response to his growing reputation as a critic of the Kenyan
government. This neo-colonial kleptocracy, he claimed, adopted a
pose of liberators while perpetuating a system of oppression and
disenfranchisement of the populace.
While in prison, Ngũgĩ started keeping a diary composed on toilet paper—the only writing material
available to him—and also completed his political novel Devil on the Cross. Although he had
started his career writing in English under the name James Ngugi, he now composed his works in his
native Gikuyu tongue, spoken by around seven million Kenyans, and under a traditional name in that
language (which means Ngũgĩ son of Thiong'o).
Amnesty International publicized the illegal detainment of Ngũgĩ, and played a key role in securing his
release. He left Kenya and remade his life as an exile in the United States. But in a way, he turned into
an even more loyal advocate of his native land in his new setting. He continued writing in Gikuyu, and if
that had been problematic in Kenya, as an American author it seemed guaranteed to assure
marginalization and obscurity for his work. He wrote about African politics and culture, and spent two
decades on his most ambitious work of fiction, a 800-page novel entitled Wizard of the Crow, finally
published in 2006 when Ngũgĩ was 68-years-old. Although he wrote the book in Gikuyu, he also
translated it into English.
The novel is set in the Free Republic of Aburĩria, a thinly-disguised version of Kenya during the period of
his imprisonment. In the opening pages, an amazing government project is announced on the occasion
of the Ruler’s birthday. Aburĩria is launching the Heavenscrape program, or Marching to Heaven as it is
informally called—a construction project based on the Biblical Tower of Babel. The resulting edifice
aims to reach to the heavens, and allow the Ruler to converse directly with God.
What remarkable benefits for Aburĩria! The country can only prosper when the Ruler has the ear of God
at his disposal on a daily basis. Alas, technology causes as many problems as it solves. How will the
Ruler ascend to the top of such a larger tower? Walking up stairs will exhaust him, and even an elevator
will take far too much time to travel such a great height. Fortunately a sycophantic minister has a
solution: Aburĩria will build a personal space ship that the Ruler can pilot to reach the heavenly heights!
As such details indicate, we have quickly entered into the realm of the absurd in this political novel. But
such absurdity requires no fanciful plans of towers and spaceships to make itself manifest.
Dictatorships always embrace absurdity at every opportunity, even in something as simple as the
everyday use of language. The Free Republic of Aburĩria is neither free nor a republic, and its very
name is an assertion of a myth. Later in the book the Ruler announces a new kind of democracy in
which he is the head of every party. By the same token, crooks are appointed as upholders of the law,
and their very criminality praised as a virtue. And at another juncture in the novel, enemies of the state
who are already declared dead are put on trial and executed a second time in absentia. I suspect that
Ngũgĩ’s experience with a detainment that wasn't an official arrest has made him more sensitive than
most to such linguistic paradoxes in the life of authoritarian regimes.
Perhaps this is why magical realism is such an effective platform for political discourse. It reaches into
the essence of abusive governments, which are based in every case on an imposed fantasy, on a
subjugation of the real in favor of the ruler’s imagination. In the world of Wizard of the Crow, there really
isn’t much difference between the lies published everyday in the newspapers and the attempt to build a
Tower of Babel. In fact, what could serve as a better symbol of the distortions of politicians’
doublespeak than the Biblical story of an overreaching so great that God acts to “confound their
language, that they may not understand one another's speech” (Genesis 11:7).
In the midst of this turmoil, a mysterious figure arises, a sorcerer known as the Wizard of the Crow. He
originally takes on this identity as a subterfuge to avoid arrest under his real name Kamiti wa Karimiri.
He previously struggled as an unsuccessful job seeker reduced to beggary, but in his new guise
gradually gains acclaim as one of the most powerful and respected people in the country. But it isn’t all
a fraud. The Wizard of the Crow discovers, even to his own surprise, that he has genuine shamanistic
powers. He can cure ailments, predict the future, and even transfer his spirit to the body of bird.
He sets up a shrine where he is assisted by Nyawira, a leader of an underground movement seeking
reforms and stirring up political unrest. They are an odd couple: Kamiti believes in individual
transformation through spirituality while Nyawira aims for widespread social change through group
action. But this is perhaps precisely the kind of marriage required to transform Aburĩria. Over the course
of the novel, the two rebels move closer together, both ideologically and emotionally, and manage to
shake the foundations of the regime.
Much of the novel is given over to political intrigue, and Ngũgĩ shows endless enthusiasm in charting the
rise and fall of various ministers and hangers-on. I suspect that a reader with more granular knowledge
of Kenyan political history would get greater satisfaction out of these subplots. This is the one area of
the novel that could have been trimmed down to good effect, in my opinion. But the deeper message is
clear: In a regime built on backstabbing and abuse of power, those who rise to the top turn into targets
for others even more ruthless. It’s survival of the fittest, but in a kind of reverse evolution where the worst
traits and actions prevail.
Yet there is poetic justice here. Almost every minister and sycophant gets arrested and brutalized or
denounced at some point in this book. Many simply suffer the fate of SID—a newspaper acronym for
“Self Imposed Disappearance,” an increasingly useful euphemism used to describe vanishing office
holders. Those passages must have been very satisfying for Ngũgĩ to write. He gets to put the
oppressor in a prison cell or interrogation chair, where they find out firsthand what “preventative
detention” is all about.
It’s interesting how many of the great magical realism novels are about national rebirth. That’s certainly
the case with the three defining works of the genre: Salman Rushdie’s Midnight’s Children, Günter
Grass’s The Tin Drum, and Gabriel García Márquez’s One Hundred Years of Solitude. Ngũgĩ wa
Thiong'o achieves something similar in these pages, paradoxically proving that the more outlandish he
makes his story, the more deeply it deconstructs the homegrown absurdities of Kenyan politics.
As such Wizard of the Crow reminds us that fantasy is not just a storytelling device but a tool of
oppression—indeed, what are works such as Mein Kampf or the Little Red Book if not projects of
anti-realism?—while writing that exposes the fantasy is a powerful first step toward constraining its
abuses. That’s the kind of book he delivers in Wizard of the Crow, a book of magic that undermines the
fantasy. That too may be a paradox, but finally one that sets matters aright.
Ted Gioia writes on music, literature and popular culture. He is the author of ten
books. His most recent book is How to Listen to Jazz (Basic Books).
Publication date: October 8, 2017
Wizard of the Crow
by Ngũgĩ wa Thiong'o
|
Essay by Ted Gioia
Ted Gioia is publishing essays on his
50 favorite works of non-realist fiction
released since 2000. Featured books
will include works of magical realism,
alternative history, sci-fi, horror, and
fantasy, as well as mainstream literary
fiction that pushes boundaries and
challenges conventional notions of
verisimilitude.
Click here for the other titles


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Conceptual Fiction:
A Reading List
(with links to essays on each work)
Home Page
Abbott, Edwin A.
Flatland
Adams, Douglas
The Hitchhiker's Guide to the Galaxy
Aldiss, Brian
Barefoot in the Head
Aldiss, Brian
Hothouse
Aldiss, Brian
Report on Probability A
Allende, Isabel
The House of the Spirits
Amado, Jorge
Dona Flor and Her Two Husbands
Amis, Martin
Time's Arrow
Apuleius
The Golden Ass
Asimov, Isaac
The Foundation Trilogy
Asimov, Isaac
I, Robot
Atwood, Margaret
The Blind Assassin
Atwood, Margaret
The Handmaid's Tale
Bacigalupi, Paolo
The Windup Girl
Banks, Iain M.
The State of the Art
Ballard, J.G.
The Atrocity Exhibition
Ballard, J.G.
Crash
Ballard, J.G.
The Crystal World
Ballard, J.G.
The Drowned World
Barker, Clive
Books of Blood, Vols. 1-3
Barth, John
Giles Goat-Boy
Bester, Alfred
The Demolished Man
Bierce, Ambrose
The Complete Short Stories
Blackwood, Algernon
The Complete John Silence Stories
Blish, James
A Case of Conscience
Borges, Jorge Luis
Ficciones
Bradbury, Ray
Dandelion Wine
Bradbury, Ray
Fahrenheit 451
Bradbury, Ray
The Illustrated Man
Bradbury, Ray
The Martian Chronicles
Bradbury, Ray
Something Wicked This Way Comes
Brockmeier, Kevin
The View from the Seventh Layer
Brooks, Max
World War Z
Bulgakov, Mikhail
The Master and Margarita
Bunch, David R.
Moderan
Burgess, Anthony
A Clockwork Orange
Butler, Octavia E.
Fledgling
Campbell, Ramsey
Demons by Daylight
Campbell, Ramsey
The Nameless
Card, Orson Scott
Ender's Game
Carpentier, Alejo
The Kingdom of This World
Carroll, Lewis
Alice's Adventures in Wonderland
Chabon, Michael
The Yiddish Policemen's Union
Chambers, Robert W.
The King in Yellow
Chiang, Ted
Stories of Your Life and Others
Clarke, Arthur C.
Childhood's End
Clarke, Arthur C.
A Fall of Moondust
Clarke, Arthur C.
2001: A Space Odyssey
Clarke, Susanna
Jonathan Strange & Mr Norrell
Cline, Ernest
Ready Player One
Crichton, Michael
Jurassic Park
Crowley, John
Little, Big
Danielewski, Mark Z.
The Fifty Year Sword
Danielewski, Mark Z.
House of Leaves
Davies, Robertson
Fifth Business
Delany, Samuel R.
Babel-17
Delany, Samuel R.
Dhalgren
Delany, Samuel R.
The Einstein Intersection
Delany, Samuel R.
Nova
Dick, Philip K.
Do Androids Dream of Electric Sheep?
Dick, Philip K.
Flow My Tears, the Policeman Said
Dick, Philip K.
The Man in the High Castle
Dick, Philip K.
Ubik
Dick, Philip K.
VALIS
Dickens, Charles
A Christmas Carol
Disch, Thomas M.
Camp Concentration
Disch, Thomas M.
The Genocides
Doctorow, Cory
Down and Out in the Magic Kingdom
Donoso, José
The Obscene Bird of Night
Egan, Jennifer
A Visit from the Goon Squad
Ellison, Harlan (editor)
Dangerous Visions
Ellison, Harlan
I Have No Mouth & I Must Scream
Esquivel, Laura
Like Water for Chocolate
Farmer, Philip José
To Your Scattered Bodies Go
Fowles, John
A Maggot
Fuentes, Carlos
Aura
Gaiman, Neil
American Gods
Gaiman, Neil
Neverwhere
Gardner, John
Grendel
Gibson, William
Burning Chrome
Gibson, William
Neuromancer
Grass, Günter
The Tin Drum
Greene, Graham
The End of the Affair
Grossman, Lev
The Magicians
Haldeman, Joe
The Forever War
Hall, Steven
The Raw Shark Texts
Harrison, M. John
The Centauri Device
Harrison, M. John
Light
Heinlein, Robert
The Moon is a Harsh Mistress
Heinlein, Robert:
Stranger in a Strange Land
Heinlein, Robert
Time Enough for Love
Helprin, Mark
Winter's Tale
Hendrix, Grady
Horrorstör
Herbert, Frank
Dune
Joe Hill
Heart-Shaped Box
Hill, Susan
The Woman in Black
Hoffman, Alice
Practical Magic
Houellebecq, Michel
Submission
Huxley, Aldous
Brave New World
Ishiguro, Kazuo
Never Let Me Go
Jackson, Shirley
The Haunting of Hill House
James, Henry
The Turn of the Screw
James, M.R.
Ghost Stories of an Antiquary
Keret, Etgar
Suddenly, A Knock at the Door
Ketchum, Jack
Off Season
Keyes, Daniel
Flowers for Algernon
King, Stephen
Carrie
King, Stephen
Pet Sematary
Koja, Kathe
The Cipher
Krilanovich, Grace
The Orange Eats Creeps
Kundera, Milan
The Book of Laughter and Forgetting
Kunzru, Hari
Gods Without Men
Lafferty, R.A.
Nine Hundred Grandmothers
Le Guin, Ursula K.
The Dispossessed
Le Guin, Ursula K.
The Lathe of Heaven
Le Guin, Ursula K.
The Left Hand of Darkness
Leiber, Fritz
The Big Time
Leiber, Fritz
Conjure Wife
Leiber, Fritz
Our Lady of Darkness
Leiber, Fritz
Swords & Deviltry
Leiber, Fritz
The Wanderer
Lem, Stanislaw
His Master's Voice
Lem, Stanislaw
Solaris
Lethem, Jonathan
The Fortress of Solitude
Levin, Ira
Rosemary's Baby
Lewis, C. S.
The Chronicles of Narnia
Lindqvist, John Ajvide
Let the Right One In
Link, Kelly
Magic for Beginners
Lovecraft, H.P.
Tales
Machen, Arthur
The Great God Pan
Malzberg, Barry N.
Herovit's World
Mandel, Emily St. John
Station Eleven
Mann, Thomas
Doctor Faustus
Márquez, Gabriel García
100 Years of Solitude
Markson, David
Wittgenstein's Mistress
Matheson, Richard
Hell House
Matheson, Richard
I Am Legend
Matheson, Richard
What Dreams May Come
McCarthy, Cormac
The Road
Miéville, China
Perdido Street Station
Miller, Jr., Walter M.
A Canticle for Leibowitz
Millhauser, Steven
Dangerous Laughter
Mitchell, David
Cloud Atlas
Moorcock, Michael
Behold the Man
Moorcock, Michael
The Final Programme
Morrison, Toni
Beloved
Murakami, Haruki
1Q84
Murakami, Haruki
Hard-Boiled Wonderland and the
End of the World
Nabokov, Vladimir
Ada, or Ardor
Ngũgĩ wa Thiong'o
Wizard of the Crow
Niffenegger, Audrey
The Time Traveler's Wife
Niven, Larry
Ringworld
Noon, Jeff
Vurt
Obreht, Téa
The Tiger's Wife
O'Brien, Flann
At Swim-Two-Birds
Okri, Ben
The Famished Road
Oyeyemi, Helen
White is for Witching
Percy, Walker
Love in the Ruins
Poe, Edgar Allan
Tales of Mystery & Imagination
Pohl, Frederik
Gateway
Pratchett, Terry
The Color of Magic
Pynchon, Thomas
Gravity's Rainbow
Rabelais, François
Gargantua and Pantagruel
Rice, Anne
Interview with the Vampire
Robinson, Kim Stanley
Red Mars
Roth, Philip
The Plot Against America
Rowling, J.K.
Harry Potter & the Sorcerer's Stone
Rushdie, Salman
Midnight's Children
Russ, Joanna
The Female Man
Saramago, José
Blindness
Sheckley, Robert
Dimension of Miracles
Sheckley, Robert
Mindswap
Sheckley, Robert
Store of the Worlds
Shelley, Mary
Frankenstein
Silverberg, Robert
Dying Inside
Silverberg, Robert
Nightwings
Silverberg, Robert
The World Inside
Simak, Clifford
City
Simak, Clifford
The Trouble with Tycho
Smith, Clark Ashton
The Dark Eidolon
Smith, Cordwainer
Norstrilia
Smith, Cordwainer
The Rediscovery of Man
Stephenson, Neal
Snow Crash
Straub, Peter
Ghost Story
Spinrad, Norman
Bug Jack Barron
Stevenson, Robert Louis
Strange Case of Dr Jekyll & Mr Hyde
Stoker, Bram
Dracula
Stross, Charles
Glasshouse
Sturgeon, Theodore
More Than Human
Sturgeon, Theodore
Some of Your Blood
Swift, Jonathan
Gulliver's Travels
Thomas, D.M.
The White Hotel
Tiptree, Jr., James
Warm Worlds and Otherwise
Tolkien, J.R.R.
The Hobbit
Tryon, Thomas
The Other
Updike, John
The Witches of Eastwick
Van Vogt, A.E.
The Mixed Men
Van Vogt, A.E.
Slan
Van Vogt, A.E.
The Voyage of the Space Beagle
Van Vogt, A.E.
The World of Null A
Vance, Jack
The Dragon Masters
Vance, Jack
Emphyrio
Vance, Jack
The Languages of Pao
Verne, Jules
Around the Moon
Verne, Jules
From the Earth to the Moon
Verne, Jules:
Journey to the Center of the Earth
Vollmann, William T
Last Stories and Other Stories
Vonnegut, Kurt
Cat's Cradle
Vonnegut, Kurt
The Sirens of Titan
Vonnegut, Kurt
Slaughterhouse-Five
Wallace, David Foster
Infinite Jest
Wallace, Edgar
King Kong
Walpole, Horace
The Castle of Otranto
Walpole, Horace
Hieroglyphic Tales
Wells, H.G.
The First Men in the Moon
Wells, H.G.
The Island of Dr. Moreau
Wells, H.G.
The Time Machine
Wilson, Robert Anton & Robert Shea
The Illuminatus! Trilogy
Winton, Tim
Cloudstreet
Wong, David
John Dies at the End
Woolf, Virginia
Orlando
Yamada, Taichi
Strangers
Zabor, Rafi
The Bear Comes Home
Zelazny, Roger
Lord of Light
Zelazny, Roger
This Immortal
Special Features
Notes on Conceptual Fiction
My Year of Horrible Reading
When Science Fiction Grew Up
Ray Bradbury: A Tribute
The Year of Magical Reading
Remembering Fritz Leiber
A Tribute to Richard Matheson
Samuel Delany's 70th birthday
The Sci-Fi of Kurt Vonnegut
The Most Secretive Sci-Fi Author
Curse You, Neil Armstrong!
Robert Heinlein at 100
A.E, van Vogt Tribute
The Puzzling Case of Robert Sheckley
The Avant-Garde Sci-Fi of Brian Aldiss
Science Fiction 1958-1975: A Reading List
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