Ngũgĩ Wa Thiong'o's Weep Not, Child is a beautiful yet dark vision of life in colonized Kenya during the Mau Mau uprising. Ngotho, a farmer who tends a white man's crops, and his family reveal the colonial strategies at work to secure white occupation and ensure the inferiority of colonized Africans, or rather to maintain the false stereotype. Through Ngũgĩ's essay, "Writers in Politics: A Reengagement with Questions of Literature and Society," one can understand Ngũgĩ's own thoughts on colonization, land and spirit, and its effects on the Africa as a whole. Consistent with his own theories on the subjectivity of literature, it is evident that Weep Not, Child is infiltrated by Ngũgĩ's experience and ideas. The author argues that the presence of cultural imperialism is vital and surprisingly real. Ngũgĩ' also initiates a discussion about the deeper effects of racism through her essay, as her novel expresses them with names and faces. His idea of ​​the partisanship of literature is clearly expressed through Weep Not, Child's semi-autobiographical lens. Ngũgĩ's essay serves to express his theories, while his novel brings them to life. One of the main concepts of Ngũgĩ Wa Thiong'o's “Writers in Politics: A Re-engagement with Issues of Literature and Society” is the idea of ​​cultural imperialism. . This strategy of mind control through culture serves to secure economic and political occupation and, particularly in the case of colonial Kenya, to force a people to see the world through Western eyes rather than experiment an original interpretation more focused on its own social problems. terms. Ngũgĩ's theory is clearly implemented by the colonizers in his own novel, Weep Not, Child. Njoroge's schooling makes acquaintance...... middle of paper ......part of the unique style that is the epistolary novel. This aspect of simple storytelling proves that it is possible to write colorfully and expressively without complex language or heavy literary devices. Through informal, everyday storytelling, the reader is able to see not only the simple nuances of a text, but also the subtle lessons of everyday life. The epistolary form can be considered the most personal form of documentation other than the direct thoughts themselves. They are often the raw expression of the writer's relief. They offer little prior context, initiating a quick and dramatic relationship with the reader through feelings and story. This form builds trust and easily connects a reader to a writer's topics. The Long Letter by Mariama Bâ and Zenzele: A Letter for My Daughter by J. Nozipo Maraire are exemplary texts in the epistolary tradition..