56 pages • 1 hour read
Ngũgĩ wa Thiong'oA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of sexual harassment, sexual exploitation, enslavement, depression, and suicide.
One of the most consistent aspects of Devil on the Cross is its exploration of colonialism and oppression, as well as its clear-eyed understanding of the motivations behind that exploitation. The most prominent representation of this theme is the Devil’s Feast, advertised as a gathering of thieves and robbers who compete to demonstrate their proficiency in exploitation. This event serves as a metaphor for capitalist practices, with the participants openly discussing their methods of accumulating wealth at the expense of others. The very nature of the competition, where success is measured by the amount stolen and the creativity of planning future robberies, illustrates how the novel portrays capitalism as a system that rewards theft and exploitation.
The character of Mwĩreri wa Mũkiraaĩ further expands on this theme. As an economist, he presents a theoretical justification for exploitation, arguing that modern thieves and robbers are the same people who determine wealth and investment, and who have historically contributed to the development of modern civilization. This perspective aligns capitalist success with theft, suggesting that the two are inseparable in the current economic system. The theme extends beyond mere economic exploitation to include cultural and social dimensions. The novel portrays how capitalist systems encourage the adoption of foreign values and the rejection of traditional culture, exemplified in some characters’ preferences for foreign partners or lifestyles.
The novel also examines how capitalism intersects with gender-based exploitation. Warĩĩnga’s experiences with sexual harassment and manipulation by her employer demonstrate how economic power can be used to facilitate sexual exploitation. Her rejection of her boss’s advances leads directly to her losing her job, illustrating how capitalism can reinforce and exacerbate existing social inequalities. The theme of exploitation under capitalism is further reinforced through the novel’s structure. The framing device of The Gĩcaandĩ Player as narrator presents the story as a form of social critique, with the exploitation and theft described in the novel serving as examples of societal ills to be exposed and condemned.
Throughout Devil on the Cross, the theme of Exploitation and Theft Under Capitalism is presented as a pervasive force shaping Kenyan society. From the overt discussions at the Devil’s Feast to the personal experiences of characters like Warĩĩnga, the novel consistently portrays capitalism as a system that not only allows but actively rewards exploitative practices. This theme serves as a foundation for the novel’s broader critique of post-colonial Kenyan society and its economic structures.
The theme of The Treatment of Women in the Workforce is prominently featured in Devil on the Cross, primarily through the experiences of the protagonist, Jacinta Warĩĩnga. Her experiences as a secretary at the Champion Construction Company in Nairobi depict a work environment where sexual harassment is prevalent and often goes unchallenged. Warĩĩnga’s rejection of her employer’s sexual advances leads directly to her dismissal, highlighting the power imbalance between male employers and female employees.
This incident not only illustrates the sexual exploitation women face but also demonstrates how women’s employment security is often tied to their willingness to comply with sexual demands. The novel shows how this creates a double bind for women: They must either endure sexual harassment or risk losing their livelihoods. This aspect of The Treatment of Women in the Workforce is represented by her boyfriend, John Kimwana, who accuses her of being the boss’s mistress. This shows how women in the workforce are often subject to suspicion and moral judgment, regardless of their actual behavior, highlighting the social pressures and stigma women face when navigating professional environments.
Furthermore, women’s treatment in the workforce is often tied to broader societal attitudes toward women. Warĩĩnga’s initial belief that her dark complexion and physical appearance are the root of her problems reflects internalized societal beauty standards that affect women’s self-perception and, by extension, their professional confidence. The story she tells of Kareendi, which is implied to be Warĩĩnga’s own story, further elaborates on the challenges women face in the workforce. It describes a woman who becomes pregnant, gives the baby to her family to raise, and pursues education at a secretarial school. Despite facing constant sexual harassment, she finds a job, only to be fired after rejecting and fighting off her boss’s attempted rape. This narrative encapsulates the multiple layers of difficulty women face: balancing family responsibilities, pursuing education, dealing with workplace harassment, and the potential for violent retaliation when they resist exploitation.
A contrast to the earlier depictions of gender-based exploitation is presented in Warĩĩnga’s later career as a mechanical engineer. The text describes how she had to deal with mockery from men before they began to respect her abilities, illustrating the additional challenges women face when entering non-traditional professions. This shift in her professional life demonstrates her resilience and determination to succeed in a male-dominated field; additionally, it shows how Warĩĩnga has changed once the systems that created her earlier despair were made explicit by the Devil’s Feast.
The broader context of post-colonial Kenya provides another layer to this theme. The novel suggests that women’s treatment in the workforce is not solely a matter of individual behavior but is tied to larger systemic issues. Capitalism, as portrayed in the novel, is shown to exacerbate gender-based exploitation, with economic power often being used as a tool for sexual coercion. Devil on the Cross portrays a workforce environment that is often hostile to women, requiring them to navigate multiple layers of discrimination and harassment. At the same time, it presents examples of resilience and resistance, suggesting the potential for change even in challenging circumstances.
The Legacy of Colonialism is of central concern to Devil on the Cross. The novel suggests the structures, mentalities, and inequalities established during colonial rule continue to shape Kenyan society even after independence. The economic structures depicted in the story, particularly the relationship between foreign investors and local elites, mirror colonial-era dynamics. This is most vividly illustrated through the Devil’s Feast, a gathering where local and international thieves and robbers compete to demonstrate their proficiency in exploitation. This event serves as a metaphor for how colonial economic relationships have transformed but not fundamentally changed in the post-colonial era. The relationship between local elites and foreign investors, as depicted in the Devil’s Feast shows how colonial economic patterns have evolved into a system of neocolonialism. The novel suggests that political independence has not led to economic sovereignty, with foreign capital still wielding significant influence over Kenya’s development.
The character of Mwĩreri wa Mũkiraaĩ embodies the complex legacy of colonialism. His impressive academic credentials, including degrees from local universities and Harvard, represent the Kenyan post-colonial emphasis on Western education as a path to success. However, his experiences of discrimination in foreign-owned firms highlight the persistent racial hierarchies in the global economic system. Language and cultural imperialism, key aspects of colonial rule, are shown to persist in the novel’s post-colonial setting. Gatuĩria, for instance, grapples with the dominance of Western cultural forms and the challenge of reclaiming and revaluing Indigenous cultural expressions in his years-long quest to create a musical composition that truly represents the Kenyan people.
Wangarĩ’s arrest for vagrancy echoes colonial-era policies designed to control the movement and labor of Indigenous populations. Her comparison of this experience to “the days of the Emergency, when our European tormentors used to make us carry pass books” directly links contemporary oppression to colonial practices (44). The novel also addresses the psychological legacy of colonialism. Warĩĩnga’s initial self-hatred, particularly her use of skin-lightening creams, reflects internalized colonial beauty standards and the persistent valorization of Western appearance.
Throughout Devil on the Cross, the legacy of colonialism is portrayed as pervasive. The novel presents this legacy not as a historical artifact but as an active force shaping contemporary Kenyan society. By interweaving colonial legacies with current issues of exploitation and resistance, the novel suggests that fully addressing present-day challenges requires grappling with the enduring impacts of colonial rule.
By Ngũgĩ wa Thiong'o
African American Literature
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African Literature
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Allegories of Modern Life
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Books on Justice & Injustice
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Challenging Authority
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Class
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Class
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Colonialism & Postcolonialism
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Colonialism Unit
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Community
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Politics & Government
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Power
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