Ngũgĩ wa Thiong’o, the Kenyan literary icon whose pen carved pathways through colonial legacies and linguistic imperialism, died on 28 May 2025, at the age of 87. His death in Atlanta in the US marks the end of a prolific life that redefined African literature and championed the power of indigenous languages.
Born James Ngugi in 1938 in Limuru, Kenya, Ngũgĩ’s early life was steeped in the complexities of colonial rule. His experiences during the Mau Mau uprising and the broader anti-colonial struggle deeply influenced his worldview. He began his literary journey with works like Weep Not, Child (1964) and A Grain of Wheat (1967), which explored the tensions of a nation on the brink of independence.
However, it was his decision in the late Seventies to abandon English in favour of his native Gikuyu language that marked a radical turn in his career. This linguistic shift was both a personal and political act, challenging the dominance of colonial languages in African literature. His seminal essay collection Decolonising the Mind (1986) articulated this stance, arguing that language is a carrier of culture and that reclaiming indigenous languages is essential for true decolonisation.
Ngũgĩ’s commitment to cultural reclamation extended beyond the written word. In 1976, he co-founded the Kamiriithu Community Education and Cultural Centre, a grassroots initiative that used theatre as a tool for social change. Their production of Ngaahika Ndeenda (I Will Marry When I Want), co-written with Ngugi wa Mirii, was performed in Gikuyu and involved local community members. The play’s critical portrayal of post-independence Kenya’s socio-economic inequalities led to Ngũgĩ’s arrest and imprisonment in 1977.
While incarcerated, he penned Devil on the Cross on prison-issued toilet paper, a testament to his unwavering dedication to storytelling as resistance. This novel, like much of his later work, was written in Gikuyu, reinforcing his belief in the power of indigenous languages to convey authentic African experiences.
After his release, Ngũgĩ faced continued political persecution, prompting him to leave the country in 1982. He spent the majority of his exile in the US, where he held academic positions at institutions such as Yale University, New York University and the University of California, Irvine. Despite the distance from his homeland, he remained a vocal critic of authoritarianism and a champion of African languages and cultures.
Ngũgĩ was a prolific writer, producing novels, essays, plays and memoirs. His notable works include Matigari (1986), Wizard of the Crow (2006) and The Perfect Nine (2020), the latter a mythic epic written in Gikuyu and later translated into English by Ngũgĩ himself. His critical essays have been influential in discussions on language, literature and postcolonial identity.
Ngũgĩ’s death has elicited tributes from around the globe. His daughter Wanjiku wa Ngũgĩ said on Facebook: “It is with a heavy heart that we announce the passing of our dad, Ngũgĩ wa Thiong’o this Wednesday morning, 28th May 2025. He lived a full life, fought a good fight. As was his last wish, let’s celebrate his life and his work.”
His son Mũkoma wa Ngũgĩ also paid tribute: “It tears my heart to say that my father, Ngũgĩ wa Thiong’o passed away earlier today. I am me because of him in so many ways, as his child, scholar and writer. I love him — I am not sure what tomorrow will bring without him here.”
Ngũgĩ wa Thiong’o’s legacy is vast and multifaceted. He was a pioneer in advocating for the use of indigenous African languages in literature, challenging the dominance of colonial languages and asserting the importance of cultural authenticity. His works have been translated into numerous languages and his essays continue to influence scholars and writers globally.
Beyond his literary contributions, Ngũgĩ was a symbol of resistance against oppression and a proponent of cultural pride. His life and work have inspired generations of writers, activists and thinkers to embrace their heritage and speak truth to power.
As the world mourns his death, Ngũgĩ wa Thiong’o’s words and ideas will continue to resonate, reminding us of the enduring power of language and storytelling in the quest for justice and identity.