By: Muhammad Adnan Gujjar
South Asian literature is a significant part of global literature. English literature, as an institution, is no longer purely English; it has evolved into an amalgamation of various strands, including African, South Asian, Anglophone, and American literature. There are notable similarities between South Asian and African literature, particularly in their exploration of colonialism and post-colonialism. Both literary traditions address the atrocities and cruelties inflicted by colonizers. For example, Ahmed Ali’s Twilight in Delhi highlights the vibrant culture of India. The first part of the novel celebrates the richness of Delhi, glorifying Indian sculpture and art. However, as the novel progresses, it depicts the futility and devastation brought about by the colonizers. The once-beautiful city, once a place of splendor, transforms into one of ugliness and poverty. Delhi, once a thriving metropolis, becomes a shadow of its former self, resembling a hellish landscape for its natives. The decay of Mir Nihal’s family symbolizes the broader decline of Delhi, with the family’s fortunes mirroring the city’s downfall.
Another masterpiece, Raja Rao’s novel Kanthapura, explores the theme of external oppression. Like Ahmed Ali, Rao addresses common South Asian issues such as caste, race, and the struggle against colonial rule. While it challenges certain clichés, its patterns and thematic concerns resonate with those of African and Irish writers who were equally critical of external forces. Similarly, G.V. Desani’s novel All About H. Hatterr is rich with the theme of change. It challenges external forces in an effort to preserve the richness, uniqueness, and purity of Indian culture. The novel is infused with Indian mythology, offering glimpses into India’s deep-rooted history and mystique.
In a similar vein, Chinua Achebe’s Things Fall Apart juxtaposes the richness and darkness of Nigerian culture. Just as Delhi represents Asia in Twilight in Delhi, Umuofia, a village of the Igbo people, represents Nigeria in Things Fall Apart. Ali’s critical and poetic approach captures the essence and beauty of Indian culture in the early part of the novel, while Achebe dramatizes the unique and pure essence of Igbo culture in the village of Umuofia. Both novels end on a tragic note: in Twilight in Delhi, we witness the downfall of Nihal’s family, and in Things Fall Apart, we observe the tragic fate of Okonkwo, the renowned warrior and wrestler who meets his demise in Umuofia. Both authors focus on the commonality of culture and the intrusion of colonizers. In both novels, colonizers, often disguised as missionaries, impose their will and disrupt indigenous cultures. Their motives were frequently concealed as they exploited Asia and Africa, akin to white-collar criminals, suppressing and silencing opposing voices.
Nigeria is central to Africa in Achebe’s work. He initially portrays the richness of African culture through its folklore, dance, traditional ceremonies, and social practices. The town is depicted as a paradise before the arrival of colonizers. Once the colonizers arrive, they change everything except their own physicality and nationality, leaving deep, lasting impacts on the indigenous culture. Achebe’s title reflects this disruption, as the “center” of Igbo society crumbles and fragments. The novel illustrates the loss of cultural roots and the resulting sense of dislocation experienced by the Nigerian people.
Waiyaki, another rebel against the Occident, is the true representation of Kikuyu society and is the central character in Ngũgĩ wa Thiong’o’s The River Between. Set in Kenya, the novel also showcases Ngũgĩ’s struggle and radicalism through Waiyaki. He serves as a mouthpiece for Ngũgĩ’s ideas. Waiyaki stands against the colonizers in Kenya, much like Okonkwo in Things Fall Apart and Mir Nihal in Twilight in Delhi resist colonial forces. Waiyaki deeply values his culture and traditions and is driven by a mission he believes he must accomplish, which aligns with his father’s wishes.This process began with the arrival of colonial powers and was later articulated by scholars like Ngũgĩ wa Thiong’o, who critiqued the impact of English as a colonial language on native literatures.Both South Asian and African cultures, as depicted in these works, undergo transformations into multilingual and multicultural landscapes.
The aftershocks of colonialism are not limited to Africa and Asia. Australia, once perceived as a land of barbarism and savagery, was similarly affected. The British often sent their prisoners to Australia, as exemplified by Abel Magwitch, a character in Charles Dickens’s Great Expectations, who is transported to Australia as part of his punishment.
Ireland also faced similar consequences as a colony of England. Seamus Heaney’s works, such as Casting and Gathering and Toome Road, explore themes of fear, horror, terror, and a sense of loss and identity. These works reflect that the impact of colonialism is not confined to specific regions but is a global phenomenon. It is clear that Irish literature, African literature, and South Asian literature share common themes and concerns, such as race, subjugation, slavery, and authority. Irish playwright Brian Friel, like his counterparts, is critical of the intrusion of non-natives and non-Irish elements into Ireland. His work often castigates the way such intrusions disrupt Irish identity and cultural integrity, as reflected in the transformation of traditional forms.
Brian Friel’s play Translations deals with the complexities and conflicting discourse of colonialism. On one hand, the colonizers are eradicating the Irish Gaelic language, while on the other, they are refining the education system and upgrading Ireland’s infrastructure. The older generation is anxious about these changes, while the younger generation celebrates them. The theme of change is central to this discourse. Most intellectuals are critical of these changes—they do not embrace them willingly but are forced to accept them. The prominent figures of the time are hesitant to welcome these transformations.
Friel’s Translations delve deeper into the puzzling discourse of colonialism. While the intruders uproot the Irish Gaelic language, they also refine the education system and upgrade Ireland’s infrastructure. The older generation worries about these changes, while the younger generation embraces them. The concept of change remains central to this discourse. Most intellectuals are critical of the changes—they do not accept them willingly but are compelled to adapt. The reluctance of prominent figures to embrace these transformations illustrates a broader hesitation toward colonial impositions.
In this context, writers like Ahmed Ali, Chinua Achebe, Ngũgĩ wa Thiong’o, and Brian Friel share common ground as critics of colonialism. This reflects how South Asian, Irish, and African literatures highlight similar challenges and circumstances faced during and after colonial rule. These works collectively demonstrate that South Asian, Irish, and African literatures address the common struggles experienced during the colonial and post-colonial eras.
Writers like Ahmed Ali, Chinua Achebe, Ngũgĩ wa Thiong’o, and Brian Friel share this common ground in their critique of colonialism. This demonstrates that South Asian, Irish, and African literatures emphasize similar experiences and challenges in the face of post-colonialism.
Thus, it is evident that various schools of thought within Anglophone literature are united in their examination of external intrusion. Authors such as Ahmed Ali, Chinua Achebe, Brian Friel, Ngũgĩ wa Thiong’o, and Seamus Heaney address these themes from unique perspectives, highlighting the pervasive and enduring effects of colonialism. Their works underscore the critical issues faced by post-colonial societies and the continued relevance of these themes in contemporary literature.
Muhammad Adnan Gujjar
The writer is a full-time lecturer in the Department of English Language and Literature at the University of Chenab, Gujrat, and is currently working on the third edition of the literary magazine The Wordsmith E-Magazine.
