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Minutes of glory
The short story itself
- GenresShort StoriesFiction
Unknown Binding
First published January 1, 1976
1 person is currently reading
244 people want to read
About the author
Ngũgĩ wa Thiong'o
109 books2,053 followersNgũgĩ wa Thiong'o was a Kenyan author and academic, who was described as East Africa's leading novelist.
He began writing in English before later switching to write primarily in Gikuyu, becoming a strong advocate for literature written in native African languages. His works include the celebrated novel The River Between, plays, short stories, and essays, ranging from literary and social criticism to children's literature. He was the founder and editor of the Gikuyu-language journal Mũtĩiri. His short story The Upright Revolution: Or Why Humans Walk Upright was translated into more than 100 languages.
In 1977, Ngũgĩ embarked upon a novel form of theatre in Kenya that sought to liberate the theatrical process from what he held to be "the general bourgeois education system", by encouraging spontaneity and audience participation in the performances. His project sought to "demystify" the theatrical process, and to avoid the "process of alienation [that] produces a gallery of active stars and an undifferentiated mass of grateful admirers" which, according to Ngũgĩ, encourages passivity in "ordinary people". Although his landmark play Ngaahika Ndeenda, co-written with Ngũgĩ wa Mirii, was a commercial success, it was shut down by the authoritarian Kenyan regime six weeks after its opening.
Ngũgĩ was subsequently imprisoned for more than a year. Adopted as an Amnesty International prisoner of conscience, he was released from prison and fled Kenya. He was appointed Distinguished Professor of Comparative Literature and English at the University of California, Irvine. He previously taught at Northwestern University, Yale University, and New York University. Ngũgĩ was frequently regarded as a likely candidate for the Nobel Prize in Literature. He won the 2001 International Nonino Prize in Italy, and the 2016 Park Kyong-ni Prize. Among his children are authors Mũkoma wa Ngũgĩ and Wanjiku wa Ngũgĩ.
He began writing in English before later switching to write primarily in Gikuyu, becoming a strong advocate for literature written in native African languages. His works include the celebrated novel The River Between, plays, short stories, and essays, ranging from literary and social criticism to children's literature. He was the founder and editor of the Gikuyu-language journal Mũtĩiri. His short story The Upright Revolution: Or Why Humans Walk Upright was translated into more than 100 languages.
In 1977, Ngũgĩ embarked upon a novel form of theatre in Kenya that sought to liberate the theatrical process from what he held to be "the general bourgeois education system", by encouraging spontaneity and audience participation in the performances. His project sought to "demystify" the theatrical process, and to avoid the "process of alienation [that] produces a gallery of active stars and an undifferentiated mass of grateful admirers" which, according to Ngũgĩ, encourages passivity in "ordinary people". Although his landmark play Ngaahika Ndeenda, co-written with Ngũgĩ wa Mirii, was a commercial success, it was shut down by the authoritarian Kenyan regime six weeks after its opening.
Ngũgĩ was subsequently imprisoned for more than a year. Adopted as an Amnesty International prisoner of conscience, he was released from prison and fled Kenya. He was appointed Distinguished Professor of Comparative Literature and English at the University of California, Irvine. He previously taught at Northwestern University, Yale University, and New York University. Ngũgĩ was frequently regarded as a likely candidate for the Nobel Prize in Literature. He won the 2001 International Nonino Prize in Italy, and the 2016 Park Kyong-ni Prize. Among his children are authors Mũkoma wa Ngũgĩ and Wanjiku wa Ngũgĩ.
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Displaying 1 - 13 of 13 reviews
December 31, 2019
Thiong’o is a gifted writer but the first two stories about the tribulations of barren women and abusive husbands did not appeal to me. I plowed on with other stories and they certainly depicted well the impact of colonialization on Kenya, some better than others. The last story “The Ghost of Michael Jackson” was a tongue in cheek story told in a magical surrealist style. These 16 stories are a good way to get an overview of the cultural dichotomies among different strata in Kenyan life.
April 1, 2019
I heard about this reprinting of Minutes of Glory on NPR a couple of weeks ago, and I am so glad I did. When I was in college, I took a course on African literature, and while I never pursued the subject beyond that class, it always stuck with me. So, when I heard about a collection of short stories covering life in Kenya before, during, and after British rule, I was very interested.
The stories in Minutes of Glory cover a wide range of topics, but they share locations and themes. Each story is very well-written, and is written in a style that is unique in a way I can't really put my finger on. Despite that, the characters and locales feature in each story feel so alive and vivid. These fantastic characters make the lessons and themes portrayed in each story hit home all the harder.
The majority of these stories are somber, dealing with themes like loss, racial abuses, and other heavy topics. Thankfully, the last few stories of the book are more light-hearted, but still poignant. Regardless of the subject matter, I think each of the stories in Minutes of Glory has taught me something, about life, religion, African history, or any number of other topics. I think that is the mark of a good book - I can confidently say that it has and will influence how I view the world.
I highly recommend this book to anyone who loves a good story, I do not think you will be disappointed.
The stories in Minutes of Glory cover a wide range of topics, but they share locations and themes. Each story is very well-written, and is written in a style that is unique in a way I can't really put my finger on. Despite that, the characters and locales feature in each story feel so alive and vivid. These fantastic characters make the lessons and themes portrayed in each story hit home all the harder.
The majority of these stories are somber, dealing with themes like loss, racial abuses, and other heavy topics. Thankfully, the last few stories of the book are more light-hearted, but still poignant. Regardless of the subject matter, I think each of the stories in Minutes of Glory has taught me something, about life, religion, African history, or any number of other topics. I think that is the mark of a good book - I can confidently say that it has and will influence how I view the world.
I highly recommend this book to anyone who loves a good story, I do not think you will be disappointed.
August 20, 2019
Minutes of Glory by Ngugi Wa Thiong’o was a collection short stories, spanning many decades until today. While the writing style and storylines varied wildly over time, there were a few things that stayed the same. I loved that he so consistently called out colonialism, and uncritical religious dogma and morality, and capitalism - that all worked for me. I was however, less enamoured of how abruptly every story ended, you’d just be going along with the build up, and bam! end of story. Overall I enjoyed the collection though, and I loved that it was a retrospective of a lifetime of writing. I’m for sure going to pick up one of his novels. Who’s read him? That’s @netgalley for the ARC -!opinions are my own.
February 23, 2026
World Literature
Class activity
Writing style
Postcolonial Standpoint
From a postcolonial point of view, I am comparing 3 writers who all respond to colonial or racial history, but through very different writing styles.
1st, Chinua Achebe, who wrote 'Things Fall Apart' in 1958 during late colonial Nigeria.
2nd, Ngugi wa Thiong’o, who wrote 'Minutes of Glory' in 1975 after Kenya gained independence.
3rd, Maya Angelou, who wrote 'And Still I Rise' in 1978 during the post-Civil Rights period in America. [(Even though Angelou is African-American and is not writing about African independence, I am including her because her poem challenges patriarchy (which is also evident in 'Minutes of Glory').] This helps compare different stylistic forms of resistance.
If we look at Achebe, his writing style is calm and neutral. He writes in English, but he fills it with Igbo proverbs and cultural expressions. Eg: he says, "Proverbs are the palm-oil with which words are eaten." That sentence shows how he reshapes English to carry out African thought. So from a postcolonial perspective, Achebe shows that English can be reshaped from within and used to represent African culture.
Unlike Achebe, Ngugi who initially wrote in English chooses to change to Gikuyu. He argues that language itself is a tool of colonisation. He wrote 'Minutes of Glory' after independence, so his focus is on neo-colonial society. The narration is in third person, and it observes Beatrice from a distance. Eg: when he describes her applying skin-lightening cream, he mentions uneven patches “behind the ears.” This also shows internalised colonial beauty standards.
This is where Maya Angelou becomes important. In ‘And Still I Rise,’ the style is completely different. She is loud and bold. She writes in first person. She repeats “Still I rise.” Her poem moves upward with confidence.
So from a postcolonial perspective,
Achebe reshapes English to restore culture,
Angelou rises through empowering language,
but Ngugi questions whether English itself is still a colonial language.
Colonial Standpoint
From this perspective, the focus is on how English functions as a global literary language. All 3 writers use English during important political moments. Achebe and Angelou show how English can be flexible while Ngugi’s later rejection of English can be seen as limiting global reach and readership.
Achebe’s style in 'Things Fall Apart' shows that English is flexible and can represent African society very well. He includes proverbs and cultural details, but he does not reject English. Instead, he uses it comfortably and confidently. His tone is calm and neutral. This suggests that English can adjust to different cultures and still remain a strong and effective literary language.
Angelou’s 'And Still I Rise' also supports this. Her repetition of “Still I rise” and her simple, direct language make the poem powerful and easy to understand. Since the language is clear and universal, the poem has travelled across the world. So in that sense, the poem proves that English can act as a global language of empowerment.
Ngugi wa Thiong’o, in 'Minutes of Glory,' writes well in English, but his tone is more critical and ironic. The narration is in third person, and it observes Beatrice from a distance. Also, Ngugi’s later decision to stop writing in English and change to Gikuyu can lead to fewer people being able to read it.
So from a colonial standpoint,
Achebe and Angelou use English to reach the world,
while Ngugi’s rejection of it makes his work more regional than universal.
Class activity
Writing style
Postcolonial Standpoint
From a postcolonial point of view, I am comparing 3 writers who all respond to colonial or racial history, but through very different writing styles.
1st, Chinua Achebe, who wrote 'Things Fall Apart' in 1958 during late colonial Nigeria.
2nd, Ngugi wa Thiong’o, who wrote 'Minutes of Glory' in 1975 after Kenya gained independence.
3rd, Maya Angelou, who wrote 'And Still I Rise' in 1978 during the post-Civil Rights period in America. [(Even though Angelou is African-American and is not writing about African independence, I am including her because her poem challenges patriarchy (which is also evident in 'Minutes of Glory').] This helps compare different stylistic forms of resistance.
If we look at Achebe, his writing style is calm and neutral. He writes in English, but he fills it with Igbo proverbs and cultural expressions. Eg: he says, "Proverbs are the palm-oil with which words are eaten." That sentence shows how he reshapes English to carry out African thought. So from a postcolonial perspective, Achebe shows that English can be reshaped from within and used to represent African culture.
Unlike Achebe, Ngugi who initially wrote in English chooses to change to Gikuyu. He argues that language itself is a tool of colonisation. He wrote 'Minutes of Glory' after independence, so his focus is on neo-colonial society. The narration is in third person, and it observes Beatrice from a distance. Eg: when he describes her applying skin-lightening cream, he mentions uneven patches “behind the ears.” This also shows internalised colonial beauty standards.
This is where Maya Angelou becomes important. In ‘And Still I Rise,’ the style is completely different. She is loud and bold. She writes in first person. She repeats “Still I rise.” Her poem moves upward with confidence.
So from a postcolonial perspective,
Achebe reshapes English to restore culture,
Angelou rises through empowering language,
but Ngugi questions whether English itself is still a colonial language.
Colonial Standpoint
From this perspective, the focus is on how English functions as a global literary language. All 3 writers use English during important political moments. Achebe and Angelou show how English can be flexible while Ngugi’s later rejection of English can be seen as limiting global reach and readership.
Achebe’s style in 'Things Fall Apart' shows that English is flexible and can represent African society very well. He includes proverbs and cultural details, but he does not reject English. Instead, he uses it comfortably and confidently. His tone is calm and neutral. This suggests that English can adjust to different cultures and still remain a strong and effective literary language.
Angelou’s 'And Still I Rise' also supports this. Her repetition of “Still I rise” and her simple, direct language make the poem powerful and easy to understand. Since the language is clear and universal, the poem has travelled across the world. So in that sense, the poem proves that English can act as a global language of empowerment.
Ngugi wa Thiong’o, in 'Minutes of Glory,' writes well in English, but his tone is more critical and ironic. The narration is in third person, and it observes Beatrice from a distance. Also, Ngugi’s later decision to stop writing in English and change to Gikuyu can lead to fewer people being able to read it.
So from a colonial standpoint,
Achebe and Angelou use English to reach the world,
while Ngugi’s rejection of it makes his work more regional than universal.
May 15, 2024
Having read Americanah and Thiong’o recently, introductions to contemporary African literature. There is something so melancholic to the days and the passing of time and lack of opportunity; that feels slow to read. It’s a new type of loss that I’ve never read before; its so enjoyable and beautiful. Gender relations also manifest in a concerning and dominating way.
October 11, 2020
Mentioned in
https://www.theguardian.com/books/201...
as one of 50 best ever short stories.
Note to myself: Only read the short story not the book.
https://www.theguardian.com/books/201...
as one of 50 best ever short stories.
Note to myself: Only read the short story not the book.
February 22, 2019
I enjoyed the writing by Ngũgĩ wa Thiong'o, though I found some of them more enjoyable than others. I think that overall, short stories just aren't for me, because by the time I get into them, they're over. I enjoy international reads, and particularly stories from beautiful Kenya. It's so interesting to hear about other types of experiences around the world and I suppose that's the nice thing about these short stories -- so many different experiences communicated. I just found some of the stories a bit slow, and I'm sure that part of that is just a different literary style than I'm used to, along with cultural differences in general. I really enjoyed the title story especially, and wished it was longer. I will certainly check out one of the novels by Ngũgĩ wa Thiong'o'.
I received an advanced release copy of this book from Netgalley -- thank you Netgalley!
I received an advanced release copy of this book from Netgalley -- thank you Netgalley!
January 31, 2019
Minutes of Glory is a collection of short stories by the Award winning author from Kenya, Ngũgĩ wa Thiong’o. I really enjoyed his short vivid stories which all had some moral at heart but are combined with strong characters, interesting settings and surprising plot twists.
If you read a lot like me, you might recognize this annoyance when you read 450 pages into a book to find a plot you already expected at the beginning. Not when you read Minutes of Glory. Maybe it is because of the big gap between my culture with the Kenyans, but I found it hard to predict and suspect what was going to happen. In exchange I got to sit back and watch the stories evolve.
If you read a lot like me, you might recognize this annoyance when you read 450 pages into a book to find a plot you already expected at the beginning. Not when you read Minutes of Glory. Maybe it is because of the big gap between my culture with the Kenyans, but I found it hard to predict and suspect what was going to happen. In exchange I got to sit back and watch the stories evolve.
June 24, 2019
I enjoyed most of these stories and the way each story wove into the next. The impact of colonization and western religion are major themes in this book. I must say that some of these stories and references felt outdated. i.e the trope of the jealous barren woman felt uncomfortably gendered and narrow.
May 18, 2019
Thiong'o is a talented writer and his technical craft shows in this collection. Sentences are beautiful but not distracting and it is a pleasure to read. A lot of the stories feel didactic, especially the shorter early ones. And sometimes the moral of the story is a tad ... retrograde.
November 29, 2017
A short story read for my African Studies class.
June 12, 2019
Lots of good stories, 3.5
February 6, 2023
First taste of kenyan lit
Displaying 1 - 13 of 13 reviews