Ngũgĩ wa Thiong’o, the revered Kenyan novelist, playwright, essayist, and staunch advocate for indigenous languages and African cultural sovereignty, has passed away at the age of 87. He died on May 28, 2025, in Buford, Georgia, United States, leaving behind a profound literary and political legacy that spans continents and generations.

Born James Ngugi on January 5, 1938, in Limuru, Kenya, Ngũgĩ rose to international prominence as a pioneer of postcolonial African literature. With an oeuvre that courageously challenged colonialism, neocolonialism, and linguistic imperialism, he became not only a literary giant but also a cultural philosopher whose ideas reverberated far beyond the printed page.

A Literary Career Rooted in Resistance

Ngũgĩ’s literary journey began during the tumultuous era of Kenya’s struggle for independence from British colonial rule. His debut novel, Weep Not, Child (1964), was the first major novel in English by an East African author and offered a poignant portrayal of the Mau Mau Uprising through the eyes of a young boy. This was followed by The River Between (1965) and A Grain of Wheat (1967), both of which solidified his reputation as a powerful storyteller deeply concerned with history, identity, and justice.

While his early works were written in English, they laid the foundation for his eventual radical break from colonial language frameworks. His 1977 co-authored play, Ngaahika Ndeenda (I Will Marry When I Want), performed in his native Gikuyu language, openly critiqued post-independence exploitation and political corruption. The play’s unflinching critique led to Ngũgĩ’s arrest and imprisonment by the Kenyan government—an experience that dramatically reshaped his life and writing philosophy.

A Turn Toward Indigenous Language and Decolonisation

During his year-long detention without trial in a maximum-security prison, Ngũgĩ made a transformative decision: he abandoned English as his literary language and began writing in Gikuyu. It was within those prison walls that he penned Caitaani Mutharaba-Ini (Devil on the Cross) on toilet paper—the first modern novel written in Gikuyu.

This shift from English to Gikuyu became a defining act of intellectual defiance. Ngũgĩ argued that language is not merely a tool of communication but a carrier of culture, memory, and identity. His landmark 1986 collection of essays, Decolonising the Mind, passionately outlined the role of language in the psychological and cultural subjugation of colonised peoples and issued a call to African writers to embrace their mother tongues.

Ngũgĩ’s advocacy for linguistic decolonisation inspired scholars, writers, and activists worldwide. Though he continued to translate his works into English for broader readership, his first commitment always remained to Gikuyu and to the principle that African stories should be told in African languages.

Exile, Global Recognition, and Unwavering Voice

Following his release from prison, Ngũgĩ faced increasing repression and threats in Kenya, ultimately leading to decades of self-imposed exile in the United Kingdom and later the United States. Despite the distance, he remained deeply connected to the struggles of ordinary Africans and used his global platform to critique tyranny, economic exploitation, and the legacies of colonial domination.

His magnum opus, Wizard of the Crow (2006), written in Gikuyu and later translated into English, is a satirical epic that blends magical realism with biting political critique. It cemented Ngũgĩ’s reputation as not only a literary master but also a fearless moral voice speaking against authoritarianism across Africa.

Throughout his life, Ngũgĩ received numerous awards and honorary degrees and was frequently mentioned as a top contender for the Nobel Prize in Literature—an accolade many believed he deserved for his decades-long dedication to truth, justice, and African self-expression.

A Legacy Carried Forward

Ngũgĩ wa Thiong’o is survived by his wife, Njeeri, and their children, several of whom have carried forward his legacy in literature and academia. His passing marks the end of a remarkable chapter in African literary history, but his influence continues to inspire writers, students, and cultural activists around the world.

To generations of Africans, Ngũgĩ was more than a writer—he was a cultural revolutionary who challenged them to reclaim their narratives, their languages, and their dignity.

In a world grappling with postcolonial challenges, Ngũgĩ’s life and work stand as enduring reminders of the power of language and literature to liberate, resist, and transform.

“To decolonise the mind is the first step toward liberating the continent,” Ngũgĩ once wrote. In his death, that message resounds louder than ever.