A part of Eastern Africa, the territory of what is known as Kenya has seen human habitation since the beginning of the Lower Paleolithic. The Bantu expansion from a West African centre of dispersal reached the area by the 1st millennium AD. With the borders of the modern state at the crossroads of the Bantu, Nilo-Saharan and Afro-Asiatic ethno-linguistic areas of Africa, Kenya is a multi-ethnic state. The Wanga Kingdom was formally established in the late 17th century. The Kingdom covered from the Jinja in Uganda to Naivasha in the East of Kenya. This is the first time the Wanga people and Luhya tribe were united and led by a centralized leader, a king, known as the Nabongo.
The Mau Mau rebellion (1952–1960), also known as the Mau Mau uprising, Mau Mau revolt, or Kenya Emergency, was a war in the British Kenya Colony (1920–1963) between the Kenya Land and Freedom Army (KLFA), also known as the Mau Mau, and the British authorities. Dominated by Kikuyu, Meru and Embu fighters, the KLFA also comprised units of Kamba and Maasai who fought against the European colonists in Kenya, the British Army, and the local Kenya Regiment.
The Kikuyu are a Bantu ethnic group native to East Africa Central Kenya. At a population of 8,148,668 as of 2019, they account for 17.13% of the total population of Kenya, making them Kenya's largest ethnic group.
Moyez G. Vassanji is a Canadian novelist and editor, who writes under the name M. G. Vassanji. Vassanji's work has been translated into several languages. As of 2020, he has published nine novels, as well as two short-fiction collections and two nonfiction books. Vassanji's writings, which have received considerable critical acclaim, often focus on issues of colonial history, migration, diaspora, citizenship, gender and ethnicity.
Meja Mwangi is a Kenyan writer. He has worked in the film industry, including in screenwriting, assistant directing, and casting.
A Grain of Wheat is a historical novel written by Kenyan novelist Ngũgĩ wa Thiong'o, first published as part of the influential Heinemann African Writers Series. It was written while he was studying at Leeds University and first published in 1967 by Heinemann. The title is taken from the Gospel According to St. John, 12:24.
Mũkoma wa Ngũgĩ is a Kenyan American poet, author, and academic. He is associate professor of literatures in English at Cornell University and co-founder of the Safal-Cornell Kiswahili Prize for African Writing. His father is the author Ngũgĩ wa Thiong'o. His family was deeply impacted by the bloody British suppression of the Mau Mau revolution.
The In-Between World of Vikram Lall is a novel by M. G. Vassanji, published in 2003 by Doubleday Canada. The novel won the Scotiabank Giller Prize that year and narrates a story of Vikram Lall in the colonial and post-colonial Kenya. The title for the novel also inspired the title for Elizabeth Nunez's novel Anna In-Between, published in 2009.
Beverley Naidoo is a South African author of children's books who lives in the UK. Her first three novels featured life in South Africa where she lived until her twenties. She has also written a biography of the trade unionist Neil Aggett.
Weep Not, Child is a 1964 novel by Kenyan author Ngũgĩ wa Thiong'o. It was his first novel, published in 1964 under the name James Ngugi. It was among the African Writers Series. It was the first English novel to be published by an East African. Thiong'o's works deal with the relationship between Africans and white settlers in colonial Kenya, and are heavily critical of colonial rule. Specifically, Weep Not, Child deals with the Mau Mau Uprising, and "the bewildering dispossession of an entire people from their ancestral land." Ngũgĩ wrote the novel while he was a student at Makerere University.
Petals of Blood is a novel written by Ngũgĩ wa Thiong'o and first published in 1977. Set in Kenya just after independence, the story follows four characters – Munira, Abdulla, Wanja, and Karega – whose lives are intertwined due to the Mau Mau rebellion. In order to escape city life, each retreats to the small, pastoral village of Ilmorog. As the novel progresses, the characters deal with the repercussions of the Mau Mau rebellion as well as with a new, rapidly westernizing Kenya.
East Africa Command was a Command of the British Army. Until 1947 it was under the direct control of the Army Council and thereafter it became the responsibility of Middle East Command. It was disbanded on 11 December 1963, the day before Kenya became independent, and replaced by British Land Forces Kenya, tasked with withdrawing all remaining British troops. All remaining troops left by December 1964 and British Land Forces Kenya was disestablished.
Simba is a 1955 British war drama film directed by Brian Desmond Hurst, and starring Dirk Bogarde, Donald Sinden, Virginia McKenna, and Basil Sydney. The screenplay concerns a British family living in East Africa, who become embroiled in the Mau Mau Uprising.
Operation Anvil was a British military operation during the Mau Mau Uprising where British troops attempted to remove suspected Mau Mau from Nairobi and place them in Langata Camp or reserves. The operation began on 24 April 1954 and took two weeks, at the end of which 20,000 Mau Mau suspects had been taken to Langata, and 30,000 more had been deported to the reserves.
Kenyan crime fiction is a genre of crime fiction that is set in the country of Kenya, and usually written by Kenyan authors. According to G.J. Demko of Dartmouth College, "The fundamental premise of all [crime fiction] is a society that is ordered and real but becomes disordered as a result of a crime imposed on that society. In the normal case, a hero arrives - an officer of the law, a private detective or an amateur sleuth - and via logical deduction, hard work or luck, solves the crime, identifies the perpetrator, and order is restored." However, Kenyan crime fiction differs slightly from Demko's definition because of the following reasons: crime is often so pervasive in societies portrayed in Kenyan crime novels that it becomes almost a part of the order, and many times crimes are not conclusively solved by the end of the stories, mimicking the real-life cyclical nature of crime.
Rebeka Njau was Kenya's first female playwright and a pioneer in the representation of African women in literature. Her writing has addressed topics such as female genital mutilation and homosexuality. Her first novel, Ripples in the Pool (1975), appeared as number 203 in the Heinemann African Writers Series.
The Kenya Land and Freedom Army (KLFA), also known as the Mau Mau, was a Kenyan insurgent group which fought against British colonial rule in Kenya during the Mau Mau rebellion from 1952 to 1960. Its membership consisted largely of the Kikuyu people. The KFLA was led by Dedan Kimathi for most of its existence. After four years, British forces managed to destroy the KFLA militarily, and Kimathi was captured and executed in 1957. Though the Mau Mau rebellion was ultimately suppressed, it played a major role in achieving Kenyan independence, which occurred in 1963.
The Mzungu Boy is a novel by Meja Mwangi. It is set in Kenya during the 1950s; during that time, the country was under British rule. The British colony is facing a Kenyan uprising known as the Mau Mau Rebellion. The majority of the fertile farmland is under British control, and the best the Kenyans can hope for is to work the land as tenant farmers, giving the majority of their yield to the British. While the Kenyans work the land, they live under oppressive conditions and under constant threat of violence. The Mau Mau rebellion seeks to rid the land of the British colonizers and give the country back to Kenyans.
The Emergence of African Fiction is a 1972 academic monograph by American scholar Charles R. Larson. It was published initially by Indiana University Press, and again, in a slightly revised edition, in 1978 by Macmillan. Larson's study has elicited very different responses: it was praised as an early and important book in the study and appreciation of African literature in the West, but for others it remained stuck in a Eurocentric, even colonizing mode in which Western aesthetics were still the unspoken standard for artistic assessment.
