Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 790
Violence and Cruelty
The wind ''ruffling the tawny pelt of Africa'' refers to the Mau Mau Uprising that occurred in what is now independent Kenya, roughly from October 20, 1952, to January of 1960. During this span, the white government called an emergency meeting against a secret Kikuyu society that came to be known as Mau Mau and was dedicated to overthrowing the white regime. Against the backdrop of a cruel, long-lasting British colonialism erupted the more short-term cruelty of Mau Mau insurrection. While some versions have it that Mau Mau was put down by 1953 and others by 1956, the government kept the state of emergency in place until the beginning of 1960. It is the violence of Mau Mau that most disturbs Walcott, apparently because it makes Africans look even worse than their British oppressors. There were many stories of Mau Mau violence directed at whites, the animals owned by whites, and at other Kikuyus who refused to join Mau Mau. The violence was especially grisly since many of the Kikuyus used a machete-like agricultural implement, the panga, to kill or mutilate victims after killing them. One such murder—one that Walcott could be describing in ‘‘A Far Cry from Africa’’—was reported of a four-and-a-half-year-old white child. And on March 26, 1953, in the Lari Massacre, Mau Maus killed ninety-seven Kikuyu men, women, and children, apparently for collaborating with the British. But it was not only the violence of insurrection that terrorized animals, whites, and Kikuyus, but also the reportedly gruesome Mau Mau oathing ceremonies in which initiates pledged allegiance to the Mau Mau cause. A Kikuyu schoolmaster gave this account of a ceremony initiating seven members: ‘‘We were . . . bound together by goats' small intestines on our shoulders and feet. . . Then Githinji pricked our right hand middle finger with a needle until it bled. He then brought the chest of a billy goat and its heart still attached to the lungs and smeared them with our blood. He then took a Kikuyu gourd containing blood and with it made a cross on our foreheads and on all important joints saying, 'May this blood mark the faithful and brave members of the Gikuyu and Mumbi [analogues of Adam and Eve] Unity; may this same blood warn you that if you betray secrets or violate the oath, our members will come and cut you into pieces at the j oints marked by this blood.''' Before Mau Mau, one gets the impression that Walcott was not so torn between Africa and Britain; he may have viewed British colonialism as arrogant, ignorant, and cruel, and Africa as victimized. But then, when Africans themselves turned violent, Walcott was torn and could not so easily side with Africans against the British.
There are many clashes in this poem. The first image signalling conflict is the hint of a storm brewing in the opening lines where Kikuyu flies feed upon the land and maggots upon dead Mau Mau. Here is the first of several culture clashes: pro-Mau Mau pitted against anti-Mau Mau Kikuyu. And within this, a subconflict also exists between those Kikuyu believing that the rights of the individual (‘‘these separate dead’’) do not necessarily violate those of the group and those convinced that individual rights do violate group rights (the Mau Mau philosophy). In lines six through ten, there is also the clash between the culture of those outside the uprising and those killed by it, outsiders (‘‘scholars’’) with the luxury of judging the conflict, and insiders (victims) for whom no explanation is sufficient. There are also the outsiders of stanza three, surmising that the conflict is not worth their compassion or involvement, a position against which victims would vehemently argue.
Within the poet, all of these exterior clashes also rage. Walcott is pro-African and pro-Kikuyu but anti-Mau Mau, is pro-English (as in culture and language) but anti-British (as in colonialism), an outsider to the conflict, but an insider in the sense that within his body exists both English and African blood. These conflicts yield up the main confrontation of the poem, that between Mau Mau and the British, and the conflict within the poet about which side to take. Walcott is, then, completely conflicted: while both an outsider and insider he is ultimately unable to be either. While both British and African, he is unable to sympathize with either. While both pro-revolution and anti-violence, he cannot defend the uprising or completely condemn it. Still, he feels he must face these clashes, rather than wish or rationalize them away. From the cultural clash on the continent of Africa, the poem moves to the battlefield within the poet—a place less violent but more complex, since Walcott is, at the same time, on both sides and neither side.
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