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  <titleInfo>
    <title>Decolonising the mind</title>
    <subTitle>the politics of language in African literature</subTitle>
  </titleInfo>
  <name type="personal">
    <namePart>Thiong&amp;#702;o, Ngugi wa</namePart>
    <namePart type="date">1938-</namePart>
    <role>
      <roleTerm authority="marcrelator" type="text">creator</roleTerm>
    </role>
  </name>
  <typeOfResource>text</typeOfResource>
  <originInfo>
    <place>
      <placeTerm type="text">London</placeTerm>
    </place>
    <place>
      <placeTerm type="text">Portsmouth, N.H</placeTerm>
    </place>
    <publisher>J. Currey</publisher>
    <publisher>Heinemann</publisher>
    <dateIssued>1986</dateIssued>
    <issuance>monographic</issuance>
  </originInfo>
  <physicalDescription>
    <extent>xiv, 114 p. ; 22 cm.</extent>
  </physicalDescription>
  <abstract>Ngugi wa Thiong'o famously began his writing career  writing in English (publishing under the name "James  Ngugi"). He had considerable success, but eventually  turned to writing in his mother tongue, Gikuyu (though he  did translate and publish these later works in English  too). Ngugi is among a handful of authors who have  written successfully in more than one language -- Samuel  Beckett and Vladimir Nabokov are among the few others --  but his reasons for doing so differ somewhat from those  of other bilingual authors. Decolonising the Mind is both  an explanation of how he came to write in Gikuyu, as well  as an exhortation for African writers to embrace their  native tongues in their art. The foreign languages most  African authors write in are the languages of the  imperialists -- English, French, and Portuguese -- that  were relatively recently imposed on them. (Ngugi doesn't  consider Arabic in the same light, nor Swahili.) Ngugi  makes a good case for the obvious point: that the  relation of Africans to those imposed languages is a very  different one from that which the same Africans have to  the native languages they speak at home. Speaking and  writing in the language of the colonisers will naturally  be different than in the language one speaks while at  play or with one's family. In addition, the language of  the coloniser is often a truly foreign one: segments of  society understand it badly, if at all, and so certain  audiences can not be reached by works in these imposed  languages. (The validity of some of these points has,  however, diminished over the past decades, as literacy  has spread and French, Portuguese, and especially English  have established themselves as linguae francae across  much of the continent.)</abstract>
  <tableOfContents>Contents: Towards the universal language of struggle -- The  language of African literature -- The language of African  theatre -- The language of African fiction -- The quest for relevance -- Index.   </tableOfContents>
  <note type="statement of responsibility">Ngugi wa Thiong&amp;#x02be;o.</note>
  <note>Includes bibliographies and index.</note>
  <subject authority="lcsh">
    <topic>African literature</topic>
    <topic>History and criticism</topic>
  </subject>
  <subject authority="lcsh">
    <geographic>Africa</geographic>
    <topic>Languages</topic>
    <topic>Political aspects</topic>
  </subject>
  <classification authority="ddc" edition="19">809/.889/6</classification>
  <identifier type="isbn">0435080164 (pbk.) :</identifier>
  <identifier type="lccn">86004683</identifier>
  <recordInfo>
    <recordChangeDate encoding="iso8601">20181127184410.0</recordChangeDate>
    <recordIdentifier>7800</recordIdentifier>
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