DEVIL ON THE CROSS: NGUGIS MARXIST INVITATION

African writers have an enduring propensity for social and political commitment. Their texts are chained to
the experiences of the peoples of the continent for anti-colonial struggle. Presently, it is being employed as
a veritable weapon for depicting literature was a tool for celebrating the heroic grandeur of the African
past; later it was used mostly reflect and refract the socio-political events in their societies. Initially, African
the postcolonial disillusionment in African nations. Therefore, African literature is always chained to the
experiences of the peoples of the continent.
Africa remains comparatively the least developed of all continents in terms of the production and
sustenance of critically significant social goods such as physical infrastructure, telecommunication
facilities,food supply, electricity, medical and health services, education, shelter, employment and other
vital materials for human personal and social being

The above quote captures in clear terms the pitiable and dismal condition of Africa. Africa has been
subjected to various forms of naked slavery, exploitation, colonization and neo-colonization in the last four
hundred years or so. The integration of the economies of Africa into the international capitalist orbit which
began between 1450-1500 with its consequences has created problems of development and survival for
the peoples of Africa. To sustain and promote their interests to the disadvantage of Africa, the
international hegemonic have ensured that their agents remain in power to do their biddings. These agents
consider and pursue policies that satisfy their interests and those of their imperialist masters even at the
brink of economic collapse occasioned by fictitious debts ostensibly owed to the International Monetary
Fund (IMF), the World Bank (WB) and other Western banks and financial institutions, like the London and
Paris Clubs. Day in and day out, the African continent is racked by afflictions, disasters, macro-economic
crisis and dysfunctions, debt over-hang, corruption, high level illiteracy, squalor, disease, hunger and other
negative and destabilizing conditions thrown up by imperialism in cahoots with a greedy and unpatriotic
ruling class. And the continent appears to be in limbo and suspended animation as the received
development paradigm from the West has failed abysmally in addressing the ravaging socio-political and
economic problems that have engulfed it. As articulated by Kofi Anyidoho in an article:
Africa is a homeland that history has often denied and contemporary reality is constantly transforming
into a quicksand; a land reputed to be among the best endowed in both human and material resources and
yet much better known worldwide for its proverbial conditions of poverty, Africa the birth place of
humanity and of human civilization now strangely transformed into expanding graveyards and battlefields
for the enactment of some of the contemporary worlds worst human tragedies
It is against the background of the foregoing that Ngugi wa Thiongos novel, Devil on the Cross become
very important in understanding the sorry pass to which Africa has come and the need to mobilize patriotic
and concerned people for a collective battle against the forces that have hijacked Africas development.
This paper attempts to investigate Ngugis concern about and perspectives on Africas march towards
selfhood and independence. The focus on Ngugi and particularly the Devil On The Cross becomes
increasingly important given the rampaging influence of imperialism on African soil, and the need for
political struggle and consequent liberation of the people.
Devil on the Cross tells the tragic story of Wariinga, a young woman whose parents are arrested and
detained while she is still two. Then, she is taken by her aunt as caregiver, but the latters husband,
because of capitalism, becomes Wariingas executioner and defiler together with the Old Rich man from
Ngorika. This old man makes her pregnant and consequently she drops out school and gets deprived from
the chance to study, her only key to repay the corrupt society. Wariinga starts pondering over her
misfortune very early and the scary possibility of the end of her studies looms large in her mind to the

extent she becomes traumatized. Trauma pushes her to think suicide would be a solution to her plight as
she notices that her dearest ideal is trampled upon. But in order to earn her living, Wariinga accepts to
pursue her studies and learns typewriting and shorthand. She then emigrates from her small rural town to
the city of Nairobi but there also only to be requested sexual offer by her boss Kihara so as to safeguard
her job. As she refuses to offer sex, she is dismissed on Friday morning and her lover John Kimwana,
instead of comforting her, rather abandons her the same day, Friday in the evening, as she can no longer
earn anything. The next day, Saturday, her landlord fires her out after having increased the rent. The
heroine is therefore overwhelmed by series of ordeals and, and attempts to commit suicide for the second
time. Fortunately, she is saved by a fantastic character, as this quoteshows:
A city bus came speeding towards her. Wariinga shut her eyes. Her bodyshuddered. She swallowed a lump,
and her heart began to beat as if to therhythm of a prayer: in times of troubles, do not O Father, look the
other way.Do not hide your face from at this time of tearsNowreceive me Suddenly Wariinga heard
avoice within her: why are you trying to kill yourselfagain? Who instructed you that your work on earth is
finished? Who has told youthat your time is up? (Devil on the Cross page 12)
Wariinga then decides to journey back home, but not knowing what to do and from where to
start.Fortunately, on her way home she meets with helpers such as Wangarii who confronts with the
black short man and his white boss for raising their awareness about neo-colonialism, capitalism and their
practices as the scourge of all the fellowmen and women. Thanks to this awareness raising, the helpers
come to understand the cause to fight for is common, noble and worthwhile to engage in. They therefore
gather masses of peasants, workers and students. But Wariinga somehow passively watches their process
towards the cave to fight against the devil and his followers for she does not find it worth to take active
part in the struggle while she has not mastered all the lessons on self-reliance, constancy to purpose,
sacrifice, courage and endurance. As the masses struggle only succeeded in scattering the private
businessmen and resulted in killings of the marching people, the arrest of Wangarii and Muturis
clandestine life, the victory is seen as partial. Yet it constitutes a shed of light on Wariingas way to the
total victory of the devil for thanks to this partial failure, she happened to think more on how to dismantle
the devil. Galvanized by lessons learnt from the past and present experience, the different trials
encountered by Wangarii, Muturi, Mwireri and all her other duplications, Wariinga takes the responsibility
as community spokeswoman and therefore sharpens her forces against forces of evil, gathers means and
skills, shows her concern for masses of workers, peasants and students welfare above her personal
pleasure and satisfaction. She bravely decides to put an end to her betrothal and love with Gatuira (the old
Rich mans son) and chooses a place among the peasants, workers, students and all those who pay by their
brain, sweat and body serve the kind of the Old Rich man from Ngorika. She chooses her target and sets up
time to shoot at the Old Rich man from Ngorika, mister Gitahi and some of his guests of honour.
THE PROBLEM
The problem this assignment tries to solve rises from the title of the novel throughout its whole text. In his
dissertationThe Metaphor of Devil and Cross in Ngugi-Wa-Thiongos Devil on the Cross under the
researchers supervision, Nvunabandi Byamana (2010) tried to show that more than what everybody
would be led to put at first sight of this title, that Devil and Cross are mere symbols, they can be
constructed into metaphors after a careful reading of the novel. The findings show that the following
metaphors would be correct if based on the novels analysis:

Colonialism was a devil.

But the title of Ngugis novel Devil on the Cross draws attention to itself and raises some queries
whether the devil he is talking about :

is on the cross;
was on the cross;
has been put on the cross; or
should be put on the cross.

The opening of the book, however, unfolds this initial ambiguity by specifying that the devil should be put
on the cross by the oppressed class: thus my interest in the topic because the title appears as an invitation
to crucify the devil and this justifies the title of the paper, Devil on the Cross: Ngugis Marxist Invitation.
Still, after agreeing that the title is an invitation, there is need to know who is/are invited to crucify the
devil and how they should proceed to crucify him. In my own opinion it is the proletariat are being invited
to crucify the capitalists so as to implement socialism. Its ironic that the devil is the one on the cross as
Jesus is supposed to be the one on the cross. The whole book is concerned on the ironies in post
independent Kenya under the leadership of Africans. The Marxist theory uses traditional techniques of
literary analysis, but subordinates aesthetic concerns to the final social and political meanings of literature.
It champions authors sympathetic to the working classes and depicts economic inequalities found in
capitalist societies. The Marxist view of literary texts focuses on their social significance. At this point
Ngugi-Wa-Thiongos Devil on the Cross is a great novel of social relevance: its contribution to social
change and the improvement of the working class living conditions. In fact, a writer is a product of society
towards which he has responsibility. This responsibility is for him to speak out, through his art, about the
evils that prevail in his society, or say to commit his art to the cause of the proletariat.(Eagleton 1976:2) .
The same writer stresses the same point when he says:
Literature results from conscious acts of men in society. At the level of the individual artist, the very act of
writing implies a social relationship: one is writing about somebody for somebody. At the collective level,
literature, as aproduct of mens intellectual and imaginative activity embodies, in words and image,
tensions, conflicts, contradictions at the heart of a communitys being and process of becoming. (Ngugi
quoted in Writers in Politics (1981, 5),
It is Ngugis conviction that writers should address themselves to the crisis or conflict between the
emergent African bourgeoisie and the African masses. Ngugi felt that the need to invite the proletariat to
gather for crucifying the devil as the beginning of the novel reads:
The Devil who would lead us into the blindness of the heart and into the deafness of the mind should be
crucified, and care should be taken that his acolytes do not lift him down from the to pursue the task of
building Hell of the people on Earth. (Devil on the Cross, page:1)
Ngugi, as a prophet of justice, embodied in the narrator, felt it his burden to tell out the social evils
prevailing in his society and in this way, he overcomes the fear of his antelope which hates more the one
who shouts to alert others to its presence than the one who sees it. This describes the way Ngugi takes
courage to denounce the presence of the devil and invites the proletariat, including the exploited
oppresses people and masses of peasants for freeing themselves from imperialism and neo-colonialism.
II. NGUGI AND HIS COMMITMENT
Ngugi clearly appears as a Marxist novelist and a committed writer. Marxist Criticism calls on the writer to
commit his art to the cause of the proletariat. The laymans image of Marxist critics, in other words, is
almost entirely \shaped by the literary events of the epoch we know as Stalinism, which is a movement
supporting that the communist party should be the only party and that the central government should
control the whole political and economic system (Oxford Advanced Learners Dictionary 2007). The

communism believes in an economic system in which the state controls the means of producing everything
for the people to create a society in which everyone is treated equally. Once these prerogatives are not
met, there is need to raise the proletariats awareness to claim for a fairer situation. This is according to
the Marxist theory, one of the writers duties. Similarly in Writers in Politics
Ngugi (1981: .79-80), writes:
What the African writer is called upon to do is not easy: it demands him that he recognise the global
character of imperialism and the global character or dimension of the forces struggling against it to build a
new world. He must reject, repudiate, and negate his roots in the native bourgeoisie, and its spokesmen,
and find his creative links with the pan-African masses in alliance with all the socialistic forces of the
worldHe must write with the vibrations and tremors of the struggles of all the working people in Africa,
America, Asia, and Europe behind him. Yes must actively support and in his writing. Reflect the struggle of
the African working class and its peasant classallies for the total liberation of labour power. Yes, his work
must show commitment, not to abstract notions of justice and peace, but the actual struggles of the
African peoples to seize power and hence to be in apposition to control all the forces of production and
hence lay the only correct basis for peace and justice.
Such is Ngugis visions and he finds that it his duty to denounce the prevailing evils that ruins Africans and
Kenyans in particular He says that the Devil has not been crucified yet by the independence, as people
might think, for his acolytes lifted him down, as this passage reads:
\
And there and then the people crucified the Devil on the Cross, and they went away singing songs of
victory. After three days, there came others dressed in suits and ties, who, keeping close to the wall of
darkness, lifted the Devil down from the cross. And they knelt before him, and they prayed to him in loud
voices, beseeching him to give them a portion of his robes of cunning. (Devil on the Cross, page: 1)
Ngugi shows that the independence for which Africans in general and Kenyans in particular fought and got,
and which aimed at crucifying the devil, that is uprooting colonialism, imperialism and capitalism has not
been efficient, so far as the Devil has been resuscitated after three day through neo-colonialism which the
new African political leaders have adopted. In spite of the narratives being disgraceful, shameful, shedding
and bringing about tears, Ngugi decides not to hide, as he says, not to cover up pits in the courtyard with
leaves or grass, saying that because the eyes cannot see the holes, the children can prance about the yard
as they like. Ngugi justifies this position on page 15 of his this novel by mentioning that a man who is able
to discern the pitfalls in his path is happy for he can avoid them, and so is a traveller who is able to see the
stumps in his way for he can pull them up or walk around them so that they do not make him stumble. This
is the determination that Ngugi decidedly takes in his writing. In Writers in Politics
(1981:81), he shows the danger of avoiding the vision he takes:
Unless we as African writers embrace such a vision-a vision anchoredin the struggles of the people-we
shall succumb to self-despair, cynicismand individualism, or else we become mesmerized superficial
bourgeoisiewhich in words of Karl Marx has never been possible without individualsand peoples through
blood and dirt, through misery and degradation.
It comes out that in the first, short but decisive chapter of Devil on the Cross, and in Writers in Politics,
Ngugi explains his commitment as a prophet of justice to write for the society and therefore invites all
African, through Kenyans, to free themselves from the claws of vultures in order to get a real
independence for the welfare of citizens. This gives the importance of the novel the way Chijoke (2006:12)
puts, in understanding the sorry pass to which Africa has come and the need to mobilize patriotic and
concerned people for a collective battle against the forces that have hijacked Africas development. This
mobilization is sought since free integrate self-development has never been reached and is still far from to
materialize. When speaking about this condition in Africa, Chijoke
(2006:2) quotes Ngugi as follows:

 First it has been the external factor of foreign invasion, occupation,and cultural control, and second, the
internal factor of collaborationwith the external threat. Whether under Western slavery and the slave
trade, under colonialism and today under neocolonialism the two factors have interacted to the detriment
of our being. The greedy chief and other elements bred by the new colonial overlords, collaborated with the
main eternal imperialist factor. The storm repeats itself, in a more painful way under neocolonialism.
III. SOCIALIST REALISM IN DEVIL ON THE CROSS
Ngugi uses socialist realism to picture the evils of the Devil and convince the proletariat to gather for
crucifying him and making sure his acolytes do not lift him down. Socialist realism, according to Eagleton
(1971: 47) implies besides truth details, the truthful reproduction of typical characters under typical
circumstances.To begin with, Ngugi creates characters, first according to classes they belong to-Muturi,
Wariinga, Wangari and Gatuira represent the peasants and workers; Gitutu-Wa-Gataaguru, Kihaahu and
Mwireri represent the bourgeoisie-and typical to circumstances they act in. The circumstance like the one
in which the talk among Wangari, Muturi, Gatuira and Wariinga is typical to people of the underprivileged
class as they have no freedom of speech. The Matatu proves to be the place appropriate to talk for people
whose freedom is not guaranteed. Likewise, the case is a typical place for people of profit and leisure
(Chijoke, 2006:8) by so doing Ngugi translates the language of literature into that of sociology and finds the
social equivalent of literary facts. He translates social facts into literary ones. Besides, he presents a socially
reflective text, which is not less than an element of socialist realism. Throughout the narrative, Ngugi, in
Devil on the Cross speaks out about capitalism as a negative acquisition. Worse of it, according to Ngugi,
the situation is not lived only in Kenya, as this passage on page 56 reads:
But it is not Nairobi alone that is afflicted in this way. The same istrue of all other cities in every country
that has recently slipped the nose of colonialism. These countries are finding it difficult to stave off poverty
for the simple reason that they have taken it upon themselvesto run their own economies from American
experts. So they have been taught the principle and system of self-interest and have been told to forget the
ancient songs that glorify the notion of collective good.
By depicting such a reality about Kenyans, the writer makes it understandable why capitalism has gnawed
Kenya and the whole African continent, to the extent that citizens become money worshipers, like the
character Mwaura says, Business is my temple and money is my GodShow me where money is and Ill
take you there. (Devil on the Cross, page: 19) It is also for moneys and after all capitalisms sake that the
Devil Feast is organized, wherein thieves have to prove their expertise in theft and robbery, sponsored by
Satan King of the Hell. In addition to capitalism, corruption also gnaws Africa, worse of it, immoral
corruption. As Ngugi depicts it, people are not hired in regards of their qualification or merits, but rather
thanks to what they offer. The situation is worse when it comes to ladies search for jobs. The latter have
to offer nothing but their sex, if not forgetting the job they are seeking, then for preserving the one they
have got. Such is the situation the character Karendi undergoes after having completed her studies in spite
of the unfortunate birth she has given to a fatherless child. The narrative stress that the Modern Bar and
Lodging has become the main employment bureau for girls, and womens thighs are the tables on which
contracts are signed. On page 52 of the novel, the writer regrets that instead of forbidding and
condemning such a behaviour, Kenyans sing this song:
Sister Karendi, the case of a fool takes a long time to settle. Sister Karendi every court session opens with
feasting. Sister Karendi, no man licks an empty hand. Take of me and I will take care of you. Modern
problems are solved withthe aid of thigh
This extract shows how African hearts have got rotten because of search for interests, dishonest and
immoral ones. It also shows ho w people are taught to sell everything, their bodies included, in search for
money. After picturing all these evils and others, Ngugi calls the oppressed people to fight against new

capitalism preached by the heirs of colonialists. He invites people, the exploited to unite for efficient
productiveness in order to modify nature and make things meet their needs, like their shelter to keep out
rain, clothes to keep out of cold and sun, food to make the body grow, and many other needs. It is from
unity, the writer thinks, that humanity is born as this passage reads:
That humanity is in turn born from of many hands working together, for asGikuyu once said, a single finger
cannot kill a louse; a single log cannot make a fire last through the night; a single man, however strong
cannot build a bridgeacross a river; and many hands can lift a weight, however heavy. (Devil on the Cross,
page 56)
The strength of unity the passage preaches is also stressed when the writer speaks about the miserable
outcome of capitalism
bourgeoisie and peasant life.
Famine has increased in our land,
But it has been given other names,
So that the people should not discover
Where all the food has been hidden.
Two bourgeoisie women
Ate the flesh of the children of the poor.
They could not see the humanity of the children
Because their hearts were empty.
Many houses, and acres of land,
And wounds of stolen money.
These cannot bring peace to a person,
Because they have been taken from the poor.
Now look away from the rich,
At the poor, and at the children
They are all stagger-a-staggering on the highway
Because their hearts are empty. (Devil on the Cross, page 57)
All in all, Ngugi finds a justification for inviting the proletariat to crucify the Devil as expressed in
Wangariis song on pages 74, 75 and 93.
Come one and all,
And behold the wonderful sight
Of us chasing away the Devil
And his disciples!
Come one and all!
However, in addition to this and more importantly, Ngugi invites the proletariat to pay attention after the
crucifying of the Devil, for fear that his disciples can lift him down and therefore allow him to continue
building the Hell the humans. This is but a warning against the revival of imperialism, and capitalism
through neocolonialism by post-independence leaders. Justification for this call is found in Ngugis Writers
in Politics (page 81) when the writer quotes Karl Marx to support his vision:
Bourgeoisie progress resembles that hideous pagan idol who would not drink nectar but from the skulls of
the slain. The reign of the idol in Africa is doomed. African writers must be with the people in burying the
imperialist idol and his band of white and black angels, forever.
All these appeals to the conscience of Kenyans succeed to raise the awareness of Kenyans about the
common enemy, the devil, and Wariinga gains the consent of her citizens such as Wangarii, Muturi, and

Mwireri. These are pioneers who have understood that they have to unit and unit the proletariat for the
common cause, to crucify the devil. Even though they end by being arrested, Wariinga has succeeded in
uniting the exploited to revolt against the devil and crucify him. As the story ends, Wariinga teaches
Kenyans that common interest is beyond individual interest for she chooses to shoot dead the Old Rich
man from Ngorika, Gitahi, and his honourable guests rather than enjoying love, first with the Old Man from
Ngorika, as the latter proposes her, and secondly with Gatuiira, the Old Mans son and Wariingas
new beloved. The passage where Wariinga rejects the Old Man from Ngorikas love offer and decides to
killn Gitahi so as to save many lives reads:
You snatcher of other peoples lives! Do you remember the game you and I used to play, the game of the
hunter and the hunted? Did you imagine that a day might come when the hunted would become the
hunter? Whats done cannot be undone, Im not going to save you. But I shall save many other people,
whose lives will not be ruined by words of honey and perfumeHe went on, carried away by his words. He
did not see Wariinga open her handbag. He did not see Wariinga take out the pistol. Look at me!,
Wariinga commanded, with the voice of a judge. When Gatuiras father saw the gun, his words suddenly
ceased.
Wariinga seems to have succeeded at the end of this novel so far as she crucifies her main antagonist,
Gitahi. This success conveys a message to all Kenyans, seen as microcosm of Africans, that capitalism, neocolonialism, and imperialism should be fought by unity, and communism. In this way the protagonist of
Devil on the Cross becomes a heroine whose lifeline has been paved with trials, rescued from without until
she has restored the harmony she lost in her early age with sexual abuse by Gitahi.