Methods

Use of *flashbacks* to provide interesting back stories to characters and communities

Use of *multiple narrators* which enriches the narrative by allowing the reader to view the same issue
from different perspectives

Use of *historical allusion* to add historicity to an otherwise fictional narrative

Use of biblical references and allusions – sometimes to mock/parody Christian characters

Use of literary allusions and references – to Yeats’ _The Second Coming_, to Shakespeare’s _Romeo and
Juliet_ (what’s in a name), to Walcott, etc

Use of *songs* to develop themes and add cultural flavour to the story

Use of *anecdotes* - short stories within the larger story eg Abdullas Moon and Sun story that brings
out the theme of betrayal

Use of *symbolism* - a good number of the most important concerns are brought out through
symbolism. The characters and settings are themselves symbolic

Use of *telling names* - most of characters names tell the reader something about their personalities

Use of long complex sentences – to reinforce the writer’s view of a post-independence Kenya (and Africa
in general) whose myriad of problems are many and complex.

*Vivid description* - of places in the created world in order to give the reader a sense of place.

Use of *contrast* - btwn the village of ilmorog and the outsiders

Use of *satire* - description of the characters who represent the values Ngugi criticises are satiric – full
of exaggeration and irony for comic effect The titles of the 4 sections into which novel is divided
combine to to form 2 sentences:

1.Walking toward Bethlehem to be born again.

2. Aluta continua (the struggle continues).

Both sentences are an embodiment of the journey motif – that recurrent reference to the (a) physical
movement of characters from one place to another (b) the psychological growth of characters that
results in acquisition of new knowledge and (c) the emotional and spiritual development of characters.

All these suggest “walking” in either literal or metaphorical senses towards different kinds of
Bethlehems for some rebirth, renewal or regeneration.

Ilmorog as both setting and character is presented to us as journeying through history towards a
destination that seems to be ever shifting and receding.

In chapter 3, Munira contemplatively observes how he had witnessed “the growth of Illmorog from its
beginnings in rain and drought to the *present flowering in petals of blood*.

This flower is called the *morog* flower. So the village name Illmorog in Petals of Blood is a conflation
of 2 words - *ill* + *morog*. Literally the name therefore means _sick flower_. The village is sick in
many ways – literally and metaphorically. This morog flower, according to Wikipedia, is very common in
East Africa and is known in Kiswahili as _mfungu_.

Another thing to remember is that the village of Illmorog is a fictional village that does not exist in
Kenya. It can therefore be read as both a *synecdoche* (a part which represents a whole) and a
metaphor of the whole country – Kenya

Indeed flashbacks are one of Ngugi’s key devices in Petals of Blood. The novel begins _in ultimas res_ (at
the very end of the story) then takes us back to what had happened in the past. We can therefore say
the whole novel, from chapter 2, is a flashback seeking to explain the situation in chapter 1. This
structuring of the plot is effective because it raises suspense at the beginning, thus hooking the reader
who wants to know why characters are being rounded up by police, why and how one ended up in
hospital, etc.

Flashbacks are also Ngugi’s way of putting forward his belief that you can’t explain today’s problem
without going back to the past (history). The problems being faced by Africa today, in Ngugi’s view, are
historical and colonial. That’s why he is constantly flashing back such that every significant issue is given
a back story. So flashback is one of Ngugi’s most potent devices in this novel

*NOTES IN PREPARATION FOR CHAPTER 1 OF PETALS OF BLOOD* 🌹🌹🌹🌹🌹

I specifically want you to take note of the ironies (contradictions) Ngugi is inviting us to notice through
his use of two place names - *New* Ilmorog and *New* Jerusalem. New Ilmorog is the *setting* of the
novel in the sections representing the *present* of the novel (Chapter 1 & Chapters 11 – 13). The name
is a parallelism to the biblical _New Jerusalem_, defined in detail below. New Jerusalem in _Petals of
Blood_ is a working class suburb where Abdullah lives.

*What Is the New Jerusalem?*

The New Jerusalem is the fulfillment of all God’s promises and exemplifies His goodness. The Apostle
John gives his final vision in Revelation of the Holy City for all those who believe in Jesus Christ and are
covered by His blood to dwell with Him forever.

*Dave Jenkins*

Starting at Revelation 21:9, the Apostle John gives his final vision in Revelation of the city of God, the
New Jerusalem, where Christians will spend their eternal lives forever before the face of God. The New
Jerusalem is the fulfillment of all God’s promises and exemplifies His goodness. John’s inspired words
describe it as, “ *Like that of a very precious jewel, like as jasper, clear as crystal”* (Revelation 21:11).
Here in Revelation 21, readers are given a brief glimpse into the eternal glories of heaven that await
them when they dwell eternally before the face of God.

*A Glimpse of the New Jerusalem*

In Revelation 21, an angel of God has taken the Apostle John to the top of a great and high mountain
where John looks down upon the New Jerusalem and attempts to describe this great scene. Here he
*describes the city as a massive, crystal-clear diamond full of the glory of God,* *shining from its center
all over the new heavens with eternity bathed in the radiance of its splendor.*

In Revelation 21:12, the Apostle John moves from describing the general appearance to the exterior of
the New Jerusalem, describing first its walls. John gives enough information from his human and finite
perspective to help readers get a picture of what this magnificent city is like within our limited
understanding.

The walls of the New Jerusalem are described as “ _great and high,” which is a symbol of exclusion and
an explanation that only those redeemed by the blood of the Lord Jesus may enter the walls of the New
Jerusalem._ In the wall, there are 12 gates guarded by 12 angels who are inscribed with the 12 names of
the 12 tribes of Israel. The gates are located on four sides, Revelation 21:13 explains. Not only are the 12
apostles represented, but also the 12 tribes of Israel. Such a mention settles the matter whether the Old
Testament saints will be included in heaven. The divine intent is explained in this regard to represent
that the New Jerusalem will have among its citizens not only those saved by Christ but also Israel and
the saints of old.

*Outside the New Jerusalem*

Since we understand how those who will be within the walls of the New Jerusalem, we also need to
recognize *those who will be outside the walls of this great city.* Revelation 21:25-27 provides the
answer to this issue when it says, “On no day will its gates ever be shut, for there will be no night there.
The glory and honor of the nations will be brought into it. *Nothing impure will ever enter it* , nor will
anyone who does what is shameful or deceitful, but only those whose names are written in the Lamb’s
book of life” (Revelation 21:25-27).

We must understand that the city gates of the New Jerusalem will never be shut. The picture John gives
is a city with open gates on *a new earth* where those saved by Christ will dwell throughout eternity.
Since there will be no night in the New Jerusalem, and since all evil has been eradicated, these gates will
stay open 24/7. The book of Revelation pictures a considerable amount of activity coming from the city,
and all who go in and out are saved by the blood of the Lamb. *Those not saved by Christ are a long way
outside the city’s walls, specifically in the “outer darkness” of hell* (Matthew 8:12), *assigned to the
lake of fire* (Revelation 20:14-15), and cannot come near the New Jerusalem.

The Impure spoken of by Jesus and the Apostle John cannot enter the city as Revelation 22:15 says, “
*Outside are the dogs who practice magic arts, the sexually immoral, the murderers, the idolaters, and
everyone who loves and practices falsehood” as well as the “cowardly, the unbelieving, the vile, and all
liars.”*
The New Jerusalem and Salvation

Only those whose names are recorded in the Lamb’s book of life are free to enter the New Jerusalem,
for they possess eternal life and belong to Jesus Christ. Jesus, the Lamb of God, bought them with His
blood (Revelation 5:9) and will never blot their names out of His book (Revelation 3:5). Jesus will grant
the beloved of the Lord the right to the tree of life and entrance and freedom to come and go from the
Holy City (Revelation 22:14).

It’s not possible to have all our answers about the activities of the New Jerusalem answered because
the Bible doesn’t give them. With that said, John’s description in Revelation 21 does provide a picture
for all those who put their faith and trust in Christ alone for salvation.

Additionally, John’s picture reveals when the end finally comes, there will be no second chances to enter
the Holy City for those who have refused to repent and believe in the Lord Jesus Christ. Only in this life,
perhaps even at this moment, can you repent and believe in Jesus Christ and have the promise of
entering through the gates of the Holy City to worship Him face to face.

The Walls of the New Jerusalem

While John doesn’t give every detail, some aspects are more obvious than others. These include the
walls of the city, which will display the majesty of the Lord. Revelation 21:15-21, on these points,
explains the size of the walls as around 1,380 miles long and high, measuring 144 cubits thick. Such a
measurement ends up being about 216 feet or 72 yards thick approximately.

The walls of the New Jerusalem demonstrate the riches of the Lord Jesus. Revelation 21:18-20 describes
these riches, “The wall was built of jasper, while the city was pure gold, like clear glass. The foundations
of the wall of the city were adorned with every kind of jewel. The first was jasper, the second sapphire,
the third agate, the fourth emerald, the fifth onyx, the sixth carnelian, the seventh chrysolite, the eighth
beryl, the ninth topaz, the tenth chrysoprase, the eleventh jacinth, the twelfth amethyst.”

The walls also includeincludee the names of the twelve tribes of Israel and the twelve Apostles of the
Lord Jesus. Such a description represents the New Jerusalem as the home of all who genuinely follow
the Lord Jesus. The 12 tribes of Israel were all descendants of Abraham, Isaac, and Jacob, who lived by
faith alone in the Lord God. The Apostles of Jesus are represented by those who have believed in Him.
*The Splendor of the New Jerusalem*

The walls additionally stand for their beauty. The example John provides is one of the bride coming to
meet the groom for the wedding. The New Jerusalem reveals a city featuring the most beautiful of
materials for those who dwell there to enjoy the most magnificent surroundings. Such is the contrast
between those whose names are not found in the Book of Life and will dwell in darkness forever
(Revelation 20:15).

John does not answer every question that readers may have about the New Jerusalem, and that’s okay.
What John does provide demonstrates a very desirable city to live and dwell in forever with the Lord.
John’s vision isn’t to give an answer to every question, but to give confidence for every reader that if
they believe in the Lord Jesus, they will be there. John’s vision emphasizes the greatness of the New
Jerusalem, where the people of God will dwell with Him forever.

*TASK* - compare this New Jerusalem with the one Ngugi paints in _Petals of Blood_