According to the author 'the biggest weapon wielded and actually daily unleashed by imperialism against that collective defiance is the cultural bomb. The effect of a cultural bomb is to annihilate a people's belief in their names, in their languages, in their environment, in their heritage of struggle, in their unity, in their capacities and ultimately in themselves (p. 3). Ngugi remembers the time when speaking his native tongue Gikuyu in school led to punishment (p. 11). Writing about his younger days he also narrates how a button was used as a tool to punish those students who spoke their native tongue (p. 11).
The author writes that Swahili in East and Central Africa is used as a means of communication across many nationalities, but it is not a carrier of culture and history of many of those nationalities whereas in parts of Kenya and Tanzania, particularly in Zanzibar, Swahili is inseparably both a means of communication and a carrier of the culture of those people to whom it is a mother-tongue (p. 13). Ngugi writes that 'rival imperialisms and the colonial practice of divide and rule introduced contradictory representations of the sound systems of the same language, let alone of similar African languages within the same colonial boundary. For instance the Gikuyu language had two rival orthographies developed by protestant and catholic missionaries (p. 67).
Ngugi was put in prison, banned from teaching at the University of Nairobi and the exiled (p. 62). He was at his home on 31 December 1977. Ngugi wrote on toilet paper when he did not have paper in jail (p. 74). There was so much repression from 1952 to 1962 during the Mau Mau struggle that more than five people were deemed to constitute a public gathering and needed a license (p. 37).
The author stresses that African literature can only be written in Africa languages, that is, the languages of African peasantry and working class, the major alliance of classes in each our nationalities and the agency for the coming inevitable revolutionary break with neo-colonialism (p. 27). Ngugi stresses on the oral literature (orature). According to him orature ha sits roots in the lives of the peasantry. It is primarily their compositions, their songs, their art, which forms the basis of the national and resistance culture during the colonial and neo-colonial times (p. 95).
The land question is basic to an understanding of Kenya's history and contemporary politics, as indeed it is of twentieth century history wherever people have had their land taken away by conquest, unequal treaties or by the genocide of prat of the population (p. 44). The colonizers also introduced categorization. The good African was the one who cooperated with the European colonizer whereas the bad African character was the on who offered resistance to the foreign conquest and occupation of his country. The bad character was portrayed as being ugly, weak, cowardly and scheming (p. 92).
Because of its intermediate economic position between the many contending classes, the petty- bourgeoisie develops a vacillating psychological make-up. Like a chameleon it takes on the color of the main class with which it is in the closest touch and sympathy (p. 22). The author states that under the colonial system, through the racist ideologies the private appropriation of wealth was ensured in a few hands- mostly white (p. 66).
On page 53, Ngugi shares a play in which one of the character named Wangeci says:
"Think about today and tomorrow.
Think about our home.
Poverty has no permanent roots!
Poverty is a sword for sharpening the digging sticks..."
Ngugi says that 'when that day comes, when the African writer will naturally turn to African languages for his creative imagination, the African novel will truly come into its own, incorporating into itself all the features developed in the different parts of Africa from the different cultures of African peoples as well as the best progressive features of the novel or fiction developed in Asia, Latin America, Europe, America, the World (p. 85). Ngugi also writes that 'drama is closer to the dialectics of life than poetry and the fiction' (p. 54).
While writing about the main aim of the book the author states that 'in this book I have pointed out that how we view ourselves, our environment even, is very much dependent on where we stand in relationship to imperialism in its colonial and neo-colonial stages; that if we are to do anything about our individual and collective being today, then we have to coldly and consciously look at what imperialism has been doing to us and to our view of ourselves in the universe' (p. 88). Ngugi says that 'economic and political control of a people can never be complete without cultural control' (p. 93).
On page 105 Ngugi quotes Brecht who says in a poem:
"Your science will be valueless, you'll find
And learning will be sterile, if inviting
Unless you pledge your intellect to fighting
Against all enemies of Mankind."
Further in the book Ngugi also writes about colonialism in education, Kamiriithu Community Centre, racism of Hume, Thomas Jefferson and Hegel, class origin of discoveries, his view about the appropriation of the novel, his learnings from different writers, African children and colonial schools. Ngugi has very clearly addressed the main issues on the language question in literature. This book is the author's farewell to English as a vehicle for any of his writings.
In the concluding chapter Ngugi writes that the aim of this book has been about 'national, democratic and human liberation' (p. 108). I want to paraphrase but I think it would be injustice to the powerful words of the author. Ngugi says that 'the call for the rediscovery and the resumption of our language is a call for a regenerative reconnection with the millions of revolutionary tongues in Africa and the world over demanding liberation. It is a call for the rediscovery of the real language of humankind: the language of struggle. It is the universal language underlying all speech and words of our history. Struggle. Struggle makes history. Struggle makes us. In struggle is our history, our language and our being. That struggle begins wherever we are; in whatever we do; then we become part of those millions whom Martin Carter once saw sleeping not to dream but dreaming to change the world' (p. 108).
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