The Language of African Literature in English PDF

International Journal of Research in Arts and Social Sciences

Vol 3

2011 Page 90

The Language Of African Literature In English

Julia Udofia

Literature and language have always had a tempestuous relationship with regard to the

African continent. It has been argued whether it is proper for African writers to use English

as the medium of expression in their literary writings. Also doubted is whether the African

can ever learn English well enough to be able to use it effectively in creative writings. This

paper highlights the major issues involved and the various positions taken by individual

writers and critics on the question of the proper language for African written literature. It also

attempts a possible way forward.

Language is a means of communication. But it is also a vehicle of culture, a

signifier of tribal or national identity and pride. Chinua Achebe (1975,54) puts it succinctly

when he observes that language is a philosophy, history and ideology. John Reed and Clive

Wake (1972) also note that it is difficult to use a language without using some of the literary

traditions that have grown up with that language; a remark which perhaps, informed Adrian

Roescoe’s (1971,x) assertion that if an African writes in English, his work must be

considered as belonging to English letters as a whole and can be scrutinized accordingly.

Implicit in this statement is the argument that whatever is not written in an African language

is not African literature and whatever is written in a European language is an appendage to

European literature.

On the whole, the views of scholars on the question of the medium of

communication in literary creations by African writers can be grouped into two: “the radical /

revolutionary” view and the “liberal” view. The “radical / revolutionary” view argues against

the continued use of foreign languages by African writers in their literary creations. They

notice the linguistic and political problems inherent in this situation and call for African

literatures to be written in African languages. In fact, as early as 1963 when only a few

works of art were written by Africans, Obi Wali had argued that African literatures must be

written in African languages or lose their artistic validity and autonomy. According to Wali:

The whole uncritical acceptance of English and French

International Journal of Research in Arts and Social Sciences

Vol 3

2011 Page 91

as the inevitable medium of educated African writing is

misdirected and has no chance of advancing African

literature and culture. In other words, until these writers

and their Western midwives accept the fact that any true

African literature must be written in African languages,

they would be merely pursuing a dead end which can

only lead to sterility uncreativity and frustration (1963,

20).

Lewis Nkosi (1981) also sees hopelessness in African writers expressing themselves in

English. In Nkosi’s view, given the complexity of his linguistic situation, “this kind of

African writer has insurmountable obstacles placed in the way toward full expression and

thought, and so could only falsify the African experience, or at best create something that

falls short of his true ideal: his struggle with his materials, the attempt to wrestle from

language the true meaning of the world he seeks to depict is always endless and incomplete”

(19).

Other writers who also see something wrong with expressing African literature in

foreign languages and clamour for indigenous languages to be given pre-eminence above

colonial languages are Ngugi wa Thiong’o and Chinweizu et al. This group argues that

writing African literatures in African languages would serve as a means of curtailing neo-

colonialism and ensuring that Africa assert itself in a globalized world. To them, abandoning

the English language is a process of decolonizing the mind as whoever controls one’s mind

controls the person’s existence. Ngugi, in particular argues that as long as Africans continue

to use English, colonization is still at work. Ngugi wonders how one could think in his

mother tongue and render it in a foreign language, as literature is an expression of the will of

a people. He admonishes that all African writers who feel committed must be so from the

point- of- view of language: communicate in the language of the masses. Megan Behrent

(2008) encapsulates Ngugi’s position thus:

The Kenyan writer, Ngugi wa Thiong’o argues that to rid African

literature of the legacy of colonialism, African writers must begin

writing in their native languages and that literature written by

International Journal of Research in Arts and Social Sciences

Vol 3

2011 Page 92

Africans in a colonial language is not African literature, but “Afro-

European literature”. He argues that using European languages

inherently makes African literature, the literature of an elite class of

Africans (“Right from its conception it was a literature of the petty-

bourgeoisie born of the colonial schools and universities. It could

not be otherwise, given the linguistic medium of its message”)

which cannot relate to the majority of African peoples who do not

necessarily speak or read European languages, but rather speak a

variety of indigenous African languages.

However, although Ngugi’s pro- African language stance is highly admirable, the

suggestion seems impracticable, first, because, his Devil on the Cross (1980), I Will Marry

When I Want (1982), and, The Trial of Dedan Kimathi (1976) which were originally written

in Gikuyi before being translated into English took a very long time before being so realized.

Second, the issue of how many of our kinsmen can actually be communicated with through

such writings still remains an open question. As Ogunlesi (2008,101) observes, there is no

point writing great novels in indigenous languages if the majority of the audience cannot read

at all, or if the written form is an embarrassingly “artificial” or “mish-mash” of the original

language.

Wole Soyinka (1975), on the other hand, argues for a continental language; a pan-

African language, chosen from one of the indigenous African languages to be taught and

spoken across the continent of Africa. Again, Soyinka’s pro- Africanism is commendable but

unfeasible because the English language as a means of communication in some parts of

Africa was learnt by force. But now, we have independent African states. So, it becomes a

daunting task how to evolve a common language that everybody from the Arab world to the

Zulu can identify with. In Nigeria, for instance, there have been attempts to create an

indigenous national language (“Wazobia”) to be spoken across the length and breath of

Nigeria, but this has not yielded any positive results. This is in addition to the fact that

Soyinka’s suggestion, if implemented, will hinder the growth of individual community

literatures.

Also worthy of note is the issue of the relationship between technology,

globalization and industrialization and the state of indigenous African languages. Something

that betrays our indigenous languages is the fact that we are primarily consumers of

technology and not producers. As Ogunlesi further notes:

Overview

The Language of African Literature in English

The Language of African Literature in English explores the complex relationship between African writers and the English language. It discusses the debates surrounding the use of English as a medium for expressing African culture and identity. Key figures such as Chinua Achebe and Ngugi wa Thiong'o present contrasting views on whether African literature should be written in indigenous languages or English. This analysis is essential for scholars and students interested in African literature, post-colonial studies, and linguistic identity. The document provides insights into the impact of language on cultural expression and the ongoing struggle for authenticity in African literary voices. Key Points Examines the debate on using English in African literature Highlights perspectives from…

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FAQs

what is the language of african literature in english

The Language of African Literature in English explores the complex relationship between language and identity in African literary works.

This paper discusses the ongoing debate regarding whether African writers should use English as their medium of expression. It highlights the arguments from both sides, including the radical view that advocates for the use of indigenous languages to preserve cultural identity and the liberal view that accepts English as a necessary tool for communication and expression. Key points include:

The significance of language as a vehicle for culture and identity.
Arguments from notable writers like Chinua Achebe and Ngugi wa Thiong'o.
The implications of using colonial languages on the authenticity of African literature.

what are the main arguments in the language of african literature in english

The Language of African Literature in English presents two primary arguments regarding the use of English by African writers.

The first is the radical view, which posits that writing in English undermines African literature's authenticity and calls for a return to indigenous languages. Proponents argue that this is essential for cultural preservation and to combat neo-colonialism. The second is the liberal view, which acknowledges the entrenched presence of English and suggests that it can be adapted to reflect African culture. Key arguments include:

Language as a means of expressing cultural identity.
The debate over the legitimacy of English as a medium for African literature.
Concerns about accessibility and audience engagement with indigenous languages.

who are the key figures in the language of african literature in english

The Language of African Literature in English references several key figures who have significantly contributed to the discourse on language and literature in Africa.

Notable authors include:

Chinua Achebe - Advocates for taming English to reflect African culture.
Ngugi wa Thiong'o - Argues for writing in indigenous languages to combat colonial legacies.
Wole Soyinka - Proposes a pan-African language to unify diverse linguistic groups.
Obi Wali - Emphasizes the importance of African languages for artistic validity.

These figures represent a spectrum of views on how language shapes African literature and identity.

what does ngugi wa thiong'o say about african literature in english

Ngugi wa Thiong'o argues that African literature written in English is fundamentally flawed due to its colonial roots.

He believes that using English perpetuates colonialism and alienates the majority of Africans who do not speak European languages. Ngugi asserts that true African literature must be written in indigenous languages to authentically express the African experience. His key points include:

The need for decolonization of the mind through language.
The argument that literature in colonial languages serves an elite class.
The call for African writers to communicate in the languages of the masses.

how does chinua achebe view the use of english in african literature

Chinua Achebe views the use of English in African literature as a necessary adaptation rather than a rejection of African identity.

He argues that since English has become entrenched in African societies, it should be 'tamed' to reflect African cultures and experiences. Achebe believes that African writers can create a unique form of English that conveys their heritage while still being intelligible internationally. His main points include: