Phases of Postcolonial Writing
Writing from the Colonizers Point of View
This phase consists of literature written by colonial powers about the lands they colonized.
These works often depict colonized societies as exotic, uncivilized, or inferior, justifying
European dominance. The narratives are Eurocentric, portraying colonizers as heroes bringing
progress, while indigenous cultures are marginalized or distorted.
**Characteristics:**
- Reinforces colonial ideologies and stereotypes
- Emphasizes the civilizing mission of European powers
- Depicts colonized people as the Other, often as savage or passive
- Reflects the perspectives of European settlers, administrators, and explorers
**Example:**
Joseph Conrads *Heart of Darkness* (1899) portrays Africa as a mysterious and primitive land,
reinforcing the idea of European superiority. While the novel critiques imperialism, it still
presents Africans as silent, voiceless figures.
Licensed Writing
Licensed writing refers to a phase where colonized writers, often educated in colonial institutions,
produced literature under the influence or approval of the colonizers. These writers were allowed to
publish their works, but within the limits set by colonial authorities. Their writings often followed
European literary traditions, languages, and themes, sometimes reinforcing colonial perspectives
rather than directly challenging them.
**Characteristics:**
- Written by colonized individuals but shaped by colonial education and approval
- Often follows European literary styles and languages (e.g., English, French)
- May contain subtle critiques of colonialism but generally avoids direct rebellion
- Sometimes portrays colonial rule as beneficial or inevitable
**Example:**
Tayeb Salihs *Season of Migration to the North* (1966) explores the psychological conflict of a
Sudanese man educated in the West, showing the lingering effects of colonial influence on identity.
While it critiques colonialism, it is still written in a Western literary tradition and engages with
European intellectual thought.
Writing Back to the Empire
This phase of postcolonial writing actively resists and challenges colonial narratives by reclaiming
indigenous voices, histories, and identities. Writers in this phase "write back" to the colonial powers
by exposing the oppression and distortions in colonial literature, offering counter-narratives from the
perspective of the colonized.
**Characteristics:**
- Challenges colonial ideologies and Eurocentric histories
- Rewrites colonial texts from a postcolonial perspective
- Emphasizes indigenous traditions, languages, and cultures
- Often critiques the impact of colonialism on identity and society
**Example:**
Jean Rhyss *Wide Sargasso Sea* (1966) rewrites Charlotte Bronts *Jane Eyre* from the
perspective
of Bertha Mason, the Creole woman depicted as a "madwoman" in the attic, giving her a voice and
exposing
colonial prejudices.
Appropriation and Abrogation in Postcolonial Writing
Abrogation
Abrogation refers to the rejection or denial of the colonial languages authority and dominance.
Postcolonial writers often resist the imposed colonial language by refusing to adhere to its strict
grammatical and stylistic norms, instead incorporating indigenous expressions and speech patterns.
**Example:**
Ngg wa Thiongo abandoned writing in English and started using Gikuyu, his native language,
to reject colonial influence. His novel *Devil on the Cross* (1980) was originally written in
Gikuyu to preserve and promote African linguistic identity.
Appropriation
Appropriation is the process of taking the colonial language and reshaping it to express postcolonial
themes, identities, and cultural realities. Writers use the colonial language but modify it by including
indigenous vocabulary, idioms, and structures to assert their own voice.
**Example:**
Chinua Achebes *Things Fall Apart* (1958) is written in English but incorporates Igbo proverbs,
folktales, and linguistic patterns, transforming the colonizers language into a medium for African
storytelling and cultural representation.
