A Far Cry from Africa

A Far Cry from Africa

Far cry from Africa clearly depicts the Mau Mau rebellion as well as the split identity of the poem. Discuss

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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 suffi- cient. 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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