In the midst of ongoing trade negotiations with the US, a discussion on the enduring legacy of the late Kenyan author Ngũgĩ wa Thiong’o took place at ULAB. This session marked the conclusion of a conference titled “La luta literaria continua” (“The literary struggle continues”), focusing on Ngũgĩ’s work from a Global South perspective.
The potential impact of sustained high tariff rates on Bangladesh’s RMG sector was deliberated upon, highlighting concerns about competitiveness. Fortunately, by the following day, a positive development emerged as the tariff rates were settled at 20 percent. The announcement from the White House acknowledged Bangladesh among the “trading partners [who] have agreed to, or are on the verge of agreeing to, meaningful trade and security commitments… to align with the United States on economic and national security matters.”
While relief was palpable, there was a call to delve deeper. Drawing parallels from Ngũgĩ’s play, I Will Marry When I Want (1977), a narrative unfolds showcasing a peasant couple’s pursuit of social mobility through a misguided alliance with the affluent elite. This allegory resonates beyond Kenya, reflecting the post-colonial struggles faced daily.
Efforts to support the RMG industry include reports of the national carrier’s plan to purchase 25 Boeing aircraft worth Tk 50,000 crore, alongside additional procurement of essential commodities for trade equilibrium. As aspirations to elevate Bangladesh to an upper-middle-income status intensify, challenges persist. This ongoing narrative mirrors the complexities depicted in literature, where autonomy is often compromised.
Education’s traditional role as a pathway to transformation is reevaluated, echoing Ngũgĩ’s critique of colonial imprints on mental landscapes. The subtle influence of external forces on local education systems is reminiscent of Ngũgĩ’s earlier work, The River Between (1965), depicting the clash of indigenous traditions and colonial influences. The quest for educational equality underscores the need to address systemic biases from the foundational levels.
Ngũgĩ’s literary repertoire, including Petals of Blood (1977) and Devil on the Cross (1980), vividly portrays themes of post-independence disillusionment and greed, shedding light on contemporary dilemmas. His call to redefine cultural centers, as articulated in Moving the Centre (1993), emphasizes the need to reclaim narratives and knowledge systems from dominant paradigms.
Championing a narrative of self-reliance, Ngũgĩ’s legacy inspires a reevaluation of economic and cultural sovereignty. The imperative to prioritize local narratives, foster South-South collaborations, and redefine cultural canons is underscored as a means to counter external influences and shape national identities authentically.
The ongoing literary struggle echoes Ngũgĩ’s call for decolonization of the mind, urging a shift towards self-determination and creative autonomy. Embracing our stories, nurturing a collective voice, and reshaping historical narratives embody the essence of the ongoing battle for cultural emancipation.
Dr. Shamsad Mortuza, a distinguished English professor at Dhaka University, offers these insights, emphasizing the importance of reclaiming narrative agency and embracing a transformative literary journey.