Ngugi's Postcolonial Aesthetic Experiments: A Grain of Wheat and Petals of Blood
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Ngugi’s first two novels, Weep Not, Child and The River Between, were written largely in the standard narrative model of the western canon. A Grain of Wheat and Petals of Blood, in contrast, offers a far more africanized writing style. Ngugi’s experimental vision is, therefore, totally unrelated to avant-garde experimentation for experimentation's sake. Rather, his interest in experimentation arises out of his particularized interrogation of coloniality, neo-coloniality and postcoloniality through an africanized style. Thus, in A Grain of Wheat and Petals of Blood, Ngugi develops a model of an africanized writing practice through aesthetic experiment. This practice might be termed self-couscious writing based on self-reflexive language. Ngugi interrogates the paradoxical status of post-independent Africa through his self-conscious examination of poliphony, language games, tension between politics and aesthetics, metahistorical interpretation on history, travel narrative, the body-politic, stereotypes and so on. The important point is that Ngugi’s self-conscious writing is an indirect reflection of his concern for postcolonial decolonization.
Abstract
Ngugi’s first two novels, Weep Not, Child and The River Between, were written largely in the standard narrative model of the western canon. A Grain of Wheat and Petals of Blood, in contrast, offers a far more africanized writing style. Ngugi’s experimental vision is, therefore, totally unrelated to avant-garde experimentation for experimentation's sake. Rather, his interest in experimentation arises out of his particularized interrogation of coloniality, neo-coloniality and postcoloniality through an africanized style. Thus, in A Grain of Wheat and Petals of Blood, Ngugi develops a model of an africanized writing practice through aesthetic experiment. This practice might be termed self-couscious writing based on self-reflexive language. Ngugi interrogates the paradoxical status of post-independent Africa through his self-conscious examination of poliphony, language games, tension between politics and aesthetics, metahistorical interpretation on history, travel narrative, the body-politic, stereotypes and so on. The important point is that Ngugi’s self-conscious writing is an indirect reflection of his concern for postcolonial decolonization.
참고문헌 (18)
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