Grace Ogot’s short story "The Green Leaves," included in her 1968 short story collection Land without Thunder, was published by the East African Publishing House in Nairobi, Kenya. Many stories in this collection draw inspiration from tales her grandmother shared with her during her childhood in rural western Kenya. Beyond mere folk tales, Ogot’s stories weave in significant contemporary developments in Kenyan history, particularly its colonial era, the subsequent independence movement, evolving gender roles, and the nation’s economic and urban expansion. These elements highlight Kenya’s transformation from a traditional agrarian society to a modern urban culture. The social upheaval accompanying such rapid changes is vividly portrayed in her narratives.

In the Introduction to their book Challenging Hierarchies: Issues and Themes in Colonial and Postcolonial African Literature, authors Leonard Podis and Yakubu Saaka identify five common features in African literature: the use of proverbs and aphorisms, depiction of social customs, incorporation of myths, connection of politics with social and cultural issues, and concise writing style. These criteria are pertinent when examining Ogot’s work and other literature produced during the African independence struggles against European colonizers. The cultural disruptions caused by British colonialism are a central theme in the works of many postcolonial African authors like Chinua Achebe, Ngugi wa Thiong’o, Tayeb Salih, and Flora Nwapa.

As a writer emerging during Kenya’s independence in 1963, Ogot focused on the conflicts between the Luo people and colonialists as material for her stories. Her early works, such as "The Green Leaves," illustrate the fragile hold that many indigenous Kenyan cultures had on their traditional lifestyles amidst the British colonial takeover of Kenya’s political and economic systems. This tension is depicted in the scene where a conflict arises between the clan leader Olielo and a white policeman over the "proper" way to handle robbery. The clash between the two justice systems, with the traditional method of killing the thief viewed as barbaric and outdated, is a focal point.

Ogot not only critiques the injustices of the colonial system in Kenya but also addresses an aspect often overlooked by many predominantly male African writers of her time: the experiences of black African women. Her stories frequently highlight the limitations imposed on men and the marginalization of women, who are disempowered by patriarchy within both traditional and colonial contexts. Thus, Ogot’s work offers a dual perspective, focusing on issues of gender oppression further complicated by nationality and colonialism.

In the short story "The Green Leaves," the protagonist, Nyagar, awakens to what he initially believes is a dream but soon realizes are actual voices and footsteps approaching. He turns to his wife, but she is not beside him. He throws off his blanket and heads to the door. Finding it unbolted, he wonders where his wife, Nyamundhe, is and feels angered by her negligence. Hearing the voices again, he wraps a sheet around himself, grabs his spear and club, and steps outside. He opens the gate to his yard and hides by the fence as a small group of people followed by a larger group rush past him. One person shouts that the small group has stolen his cattle.

Nyagar joins the larger group of villagers, listening to their conversations as they chase the cattle thieves. The thieves take a wrong turn, missing the bridge that separates the Masala from the Mirogi people. They try to cross the river, but the larger group gains on them and eventually catches up, beating them with their clubs. The thieves cry out in pain, but the villagers do not relent. Amid the chaos, one...

Nyagar returns to his hut. The village is silent, though the women are awake. They will wait until morning to learn what has transpired. Nyagar retrieves a container and scoops some ash from it, placing some in his mouth. He then puts some on his palm and blows it toward the gate. Just as he is about to go to bed, he changes his mind. Quietly, he leaves his hut, closing the door softly behind him. He glances back to ensure the gate is shut.

Nyagar believes the thief lying beneath the green leaves must have money on him, and he is determined to retrieve it. As dawn approaches, he heads toward the location of the thief’s body. Nyagar feels as though someone is following him, but it is only the echo of his own footsteps. As he nears the body, he worries that other thieves might have returned but then dismisses the thought. Finally, he spots the cluster of green leaves and is nearly paralyzed with fear, but he presses on.

Everything appears just as it did a few hours earlier when everyone left. After scanning his surroundings, Nyagar approaches the dead body. His mind is in turmoil over his actions. He does not need the money; he has many wives, children, and cattle. Yet, Nyagar is determined to take the money since he has come this far. He bends over the dead man and begins to remove the leaves. To his surprise, the body is still warm, but this does not deter him. He searches through the pockets but finds nothing, then recalls that cattle traders often carry money around their necks. He discovers a bag around the man’s neck and smiles. As he removes the bag, a blow strikes him directly in the eye. He staggers back and falls to the ground unconscious. The thief, having just awoken from a deep sleep, has now killed Nyagar. He covers Nyagar with the leaves and flees across the bridge.

At dawn the following day, the clan leader Olielo sounds the funeral drum, gathering around one hundred people at the Opok tree to hear his message. Olielo recounts the events of the previous night. Since the deceased was a thief, he argues it isn't truly murder because the killer has eliminated a societal menace. However, given the presence of the white man and his differing laws regarding murder, Olielo insists that a group of men must inform the white man that the thief was killed collectively. This way, no single individual would be blamed for the thief’s death. Everyone agrees, and a group of men sets off to relay the news to the white man.

Meanwhile, others gather at the tree, including Nyagar's wives. While Nyamundhe searches for her husband, her co-wife appears less concerned. The group starts walking towards the river where the thief is buried. As they proceed, Nyamundhe notices the wet grass and remarks to her co-wife about a black cat that had crossed their path earlier. Two trucks arrive, carrying a European policeman, several African policemen, and the men from the village. They drive up to the mound of green leaves.

The white officer asks for the clan elder and demands an explanation about the thief's murder. Olielo explains everything through a translator. A debate ensues between the two leaders about the crime, with the white officer accusing the clansmen of being savages. Olielo maintains that the village collectively killed the thief and insists they should all be arrested. The police officer approaches the mound of leaves, followed closely by the crowd. According to the white man's rules, an autopsy must be conducted to determine the cause of death, prompting the crowd to gather around the mound for a final look before the body is taken away.

The African police officer removes the leaves, and Olielo is stunned to see the body of his cousin, Nyagar, with a stake through his eye. Nyamundhe rushes to her husband's body, weeping over it, and asks the crowd where the thief is. The crowd is shocked by this unexpected turn of events. The women wail, and the men who killed the thief exchange looks of disbelief. Visibly distressed, Olielo addresses the villagers, asserting that despite the evil spirit that has descended on the village, Nyagar’s spirit remains among them.

Nonetheless, Nyamundhe disregards these soothing words and resists the police as they move Nyagar’s body to the back of the truck. An officer attempts to console her, but Nyamundhe responds that it is pointless since her husband is no longer alive. She then removes her top, raises her hands above her head, and begins to weep and chant. The narrative concludes with her singing a traditional mourning song.