This document provides context about Ngugi wa Thiong'o's novel The Wizard of the Crow. It discusses how the novel uses national allegory to explore post-colonial Kenya's struggle to develop its own cultural identity independent from its former British colonial rulers. The supernatural Wizard represents the re-emergence of traditional African culture and beliefs, which are suppressed by the lingering influence of Christianity and the social hierarchy left behind by colonial administrators. Through the allegory of the Wizard's powers and their effects on various characters, the novel depicts Kenya's journey in overcoming the psychological effects of colonialism and asserting its own autonomous identity in a global context.

1. Brittney Cannon
The National Power of the Wizard
“When thou cam'st first/thou strok'st me and made much of me; wouldst
give me/water with berries in't; and teach me how/to name the bigger
light, and how the less,/that burn by day and night. And then I loved
thee/and showed thee all the qualities o' th' isle,/the freshest springs, brine-
pits, barren place and fertile./Curséd be I that did so!” (Shakespeare
1.2.332-339)
This regret-filled lamentation is drawn from Shakespeare's The Tempest; however
it's content gives words to the the universal pains of betrayal felt by colonized people. It
brings to light the conception of the sovereign people as superior and enlightening to the
natives of that land that have their homes infiltrated by foreign control. The colonists
taking advantage of the native's knowledge and seize their resources before ultimately
imposing their self-proclaimed superior culture upon the indigenous population. In his
novel, The Wizard of the Crow, Kenyan author Ngugi wa Thiong'o employs national
allegory in order to expose the extreme identity crisis experienced by a culture emerging
from a subordinate position post-colonialism. Through the supernatural power of the
Wizard of the Crow, which is derived from introspection and self-analysis and is often
remedied by nature and the earth, a nationalistic identity is seen to be struggling to
emerge, thrive, and cure the ailments of the country. The efforts of the Wizard's power is
hindered by Christianity and “conventional” doubts stemming from the ideals and
cultural remnants of the former sovereign European nation. Through this religious
allegory, a political and cultural reality is exposed, allowing for the voice of the

2. marginalized natives to be recognized and understood by the imperial superpowers
impeding the emergence of an African presence in global politics.
National allegory is characteristic of third-world literature, which tends to
embody the tone and unilateral experiences of the nation as a whole while simultaneously
acknowledging the individual perceptions and daily realities. The third-world in how it is
used in this frame of reference uses Fredric Jameson's definition of being countries that
“have suffered the experience of colonialism and imperialism” (Jameson 67). In The
Wizard of the Crow, the third-world subject is the fictional country of Aburiria that lends
its symbolic applications to various countries in Africa, drawing upon history and
political leaders of Africa's reality in its characterization. In exploring national allegories,
the concept of allegory must be first understood as a literary device. Its roots are Greek,
deriving from allegoria, which translates to “speaking otherwise,” and “is a story in verse
or prose with a double meaning: a primary or surface meaning; and a secondary or under-
the-surface meaning. It is a story, therefore, that can be read, understood and interpreted
at two levels (and in some cases at three or four levels)” (Cuddon 20). Beyond simply
having multiple interpretations, an allegory must not sacrifice its narrative consistency
despite its multiple layers. They are “consistent and coherent at all levels” (Macey 9).
National allegories embody these principles in their representations of national attitudes
and obstacles through narratives that allow for a broad field of interpretations,
representing in one piece individual, cultural, political, and religious truths and ideals,
relevant to a native audience as well as a foreign reader or listener. Jameson in his essay
Third-World Literature in the Era of Multinational Capitalism claims that this third-
world rhetorical device, “the story of the private individual destiny, is always an allegory

3. of the embattled situation of the public third-world culture and society” (Jameson 69).
Through the exposure of the individual lives of the subject, national truths are revealed
and explored. Because of their historical nature and the cultural facts that are present,
national allegories necessitate knowledge in these areas. Reading Texts, a theory text
specializing in approaching texts, explains that “writing and reading always take place
within cultural contexts: they are produced by the ideology of the societies in which they
occur” (McCormick 84). This often causes conflict between Western readers and third-
world texts, as Western literature is characteristically focused upon the individual. Thus,
Western readers often struggle to fully accept and understand the national implications of
such allegories. After all, the reader's repertoire is as much produced by their society as
the writer's. Through an understanding of the broad references of national allegories and
the conditions of post-colonial cultures it is possible to recognize the allegory of the
Wizard of the Crow. Jameson identifies Africa as the pinnacle of this post-colonial
synthesis of capitalism and tribalism.
Thiong'o's text is an example of that of the symbiosis of capitalism and tribalism,
as his allegory highlights the challenge faced in post-colonial Africa to forge its own
identity, accepting the effects of Imperialism as an inevitable truth while striving to create
a presence of their historical African culture in the independent and developing society
emerging in their new environment. Post-colonialism is a widely contested term as some
take it to suggest that colonialism no longer exists, while others deem it to be too all-
encompassing. In Contemporary Postcolonial Theory, Padmini Mongia identifies the
term on two levels:
It is a historical marker referring to the period after official decolonization

4. as well as a term signifying changes in intellectual approaches,
particularly those which have been influenced by post-structuralism and
deconstruction. Secondly, in the last ten years, the term has been deployed
to replace what earlier went under the names of 'Third World' or
'Commonwealth' literature, to describe colonial discourse analysis, to
detail the situations of migrant groups within First World states, and to
specify oppositional reading practices. (Mongia 2)
Post-colonialism is a versatile term that is applicable to both the texts written by the
sovereign nation and the subordinate following the act of colonization, as well as those
written by those that remain following the removal of the imperial nation. It
encompasses “all the cultures affected by the imperial process from the moment of
colonization to the present day” (Macey 304). It is often difficult to understand why the
culture of the sovereign nation is so impossible to eradicate from the emergent nation
once imperialism has been removed, because the view of imperialism is often forceful
and tyrannical, which is applicable in certain aspects. However, it is often the case that
the “colonial administrators recognized that the most effective means of quashing
rebellion against foreign rule was to assimilate young minds into the prevailing order, to
confer upon them the urgent necessity of identifying with British social and cultural
authority” (Nealon 158). Illustrating this point, an officer of the Bombay administration
explained that “the natives must either be kept down by a sense of our power, or they
must willingly submit from a conviction that we are more wise, more just, more humane,
and more anxious to improve their condition than any other rulers they could possibly
have” (Viswanathan 86). Through psychological manipulation and an inundation of the

5. image of natives as being savages and barbaric, imposing dominion becomes a more
potent action and removing those beliefs from the minds of the masses is a nearly
impossible undertaking. Thus, the articulation of an independent identity from the
previous rulers becomes a gradual and strenuous process, as the breaks from such
assimilations never without contentions. Thiong'o articulates the psychological effects as
“[planting] serious doubts about the moral rightness of struggle,” underscoring the
challenge of decolonization by claiming that “possibilities of triumph or victory are seen
as remote, ridiculous dreams” (Thiong'o, Decolonising the Mind 3). It is this internal
conflict that The Wizard of the Crow explores, promoting an effort to overcome these
obstacles in order to establish an independent and autonomous identity for Africa in
global perceptions as well as simply breaking the restrictions imposed by imperialism in
the first place and allowing for a reawakening of Africa's culture.
The supernaturalism of the Wizard's power is in direct conflict with the initial
disbelieving conventions of postcolonial Aburiria as well as the contemporary Christian
presence, representing the former culture's journey throughout the postcolonial process.
To begin with, the Wizard first makes an appearance as an escape tactic of the homeless
Kamiti, and the idea of such powers is terrifying to his pursuer, who “let out an anguished
cry: Oh, the Wizard of the Crow!” (Thiong'o, The Wizard of the Crow 77). The pursuer
was an officer of the Ruler, taking on the role of the conventional politics remaining in
place following colonialism, terrified by the Wizard, the previous culture of the people of
Aburiria. Returning to their roots following the infiltration of the idea of the imperial
culture being superior is a frightening thought, threatening to those who's power was
granted by the former sovereign. The shrine of the Wizard of the Crow lies in a

6. “slumyard,” furthering the analogy of the historical African culture as being worthless
and lesser than the society established by the colonists. In fact, when Kamiti takes on the
role of the Wizard of the Crow, he begins with wearing traditional costumes, perceived as
barbaric and outlandish, in order to ensure the credibility of his ruse. Macey elaborates
on what makes this effective, as he explains, “Colonial conquests resulted in an attempt
to know and administer colonial subjects which inagurated an othering generating the
pervasive images of effeminate Indians, savage Africans and the inscrutably sinister
Orientals that are so common in the literature of Empire” (Macey 305). The imperialists
project an image of precolonial Africans as being savage and in need of refinement.
Moreover, the only method used by the Wizard is the looking into a mirror, at the true
desires and insecurities of his patients. This is a direct commentary that the cure of the
people lies within themselves. Through introspection, they are able to cleanse themselves
of the contamination of the sovereign culture. The allegory reveals that Africa can find
its relief and its true needs within itself, falling back on their true culture. This point is
further insinuated by the fact that the Wizard finds refuge in nature and draws his
remedies from the ground, even burying poisoned money into the land. It is clear that the
lingering effects can be contained and eradicated by African nationalism and a renewed
faith in their dignity of culture. The allegory is able to challenge another aspect of the
prevailing Western culture, as the character of Vinjinia takes on the role of the
epitomized adapted native who has completely accepted the imposed culture, as she is a
wealthy woman and devout Christian: “She was a member of All Saints Cathedral, and
on Sundays she would mingle with other parishioners—not to catch up with the latest
news in the political and business worlds but to ascertain the latest state of her fellow

7. churchgoers' souls” (Thiong'o 140). However, when her husband falls ill, out of
desperation she seeks aid from the Wizard's powers, placing her faith in the cures of her
native culture and abandoning Christian aversion to such magic, as it is the only means
able to cure the evils of the postcolonial society caused by imperialism. Similarly devout
Christians Maritha and Mariko struggle with the sin of lust and coveting, believing that
they are plagued by a devil. Kamiti, the future Wizard of the Crow, is initally mistaken
for this devil. Later in the narrative, the pair visits the Wizard, disclaiming, “We want
you to know that we do not believe in magic and divination” (277) Contrary to this
statement, they confess their grievances to the Wizard and ultimately are cured by his
advice, and ultimately proclaim, “Yes, he spoke the truth” (280). This anecdotal detail of
the story takes a broad role in the allegory, as citizens who are loyal subjects to
postcolonial power structure place their faith in the culture of their ancestors, at first
believed to be the antithesis to social and cultural progress, and rule it to be truth and
place their faith in its abilities. This social structure begins to experience strife, and the
ministers seek out a solution to the dissent of the people against the society, they seek out
the aid of the Wizard of the Crow. Even Kaniuru, a school teacher who disdains any
opposition to the current political system and seeks only to become a part of the hierarchy
of power in place, visits the Wizard and begs, “Please help me... Whatever you want for
your services I will pay” (357). Despite advocating the totality of the ruler, the faith of
the people lies in their past culture. This detail goes to assert that while the colonized
people have been trained to perceive the culture of the sovereign nation as superior and
remain loyal to it, preserving its presence long after the imperialism is no longer in place,
their faith lies in the culture and beliefs of their predecessors, the culture that is rightfully

8. theirs. A return to African culture presents a threat to the individuals who rose to power
due to the imposed postcolonial social structure, represented in the greater national
allegory of the novel by the Ruler's desperate fear and abhorrence of the Wizard. The
mere mention of the Wizard prompts the Ruler into a rage, flinging curses at Machokali:
“You smelly cunt of a man. You piece of dirt. A poor excuse for manhood. Away from
my sight” (515). Faith in African history and beliefs threatens the political infrastructure
of the postcolonial culture, as it challenges the truths of subordination coerced into the
minds of the people. Through the allegory of the Wizard of the Crow and the
implications that his influence makes, Thiong'o is able to portray the course of African
culture in its postcolonial society.
Post-colonialism causes the identity issues to arise within the recently
independent people. These conflicts often become contentious and divide countries down
ideological lines and cause war and strife. Imperialists are able to impose their
perceptions upon the people, leaving their attitudes permanently altered. Once the
sovereign nation is removed from the situation, the remaining people are presented with
the choice of returning to their previous form of government and culture or continuing the
social structure put into place by the colonists. This often results in a disjointed and
inconsistent combination of the two, causing aggressive discourse amongst the people.
Through a national allegory, characteristic of third-world literature, The Wizard of the
Crow depicts the struggle to produce an identity. The novel advocates for a respect for
and revisiting of classical African culture and a rejection of the self-deprecating and
demeaning undertones of the imposed Western culture.
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