Devil on the Cross

Gatuĩria emerges as a complex and evolving character in Devil on the Cross. He can initially be seen as a foil for Warĩĩnga, representing the educated Kenyan youth grappling with their identity in a post-colonial society. Introduced as a passionate student of African culture and music, Gatuĩria’s character arc traces his journey from idealistic observer to a more conflicted, yet still principled individual. Physically, Gatuĩria is not extensively described, with the narrative focusing more on his intellectual and emotional attributes. His speech and thoughts reveal a deep commitment to preserving and celebrating Kenyan culture, particularly through his ambitious musical project that aims to capture the nation’s history and spirit. Gatuĩria’s background as the son of a wealthy businessman adds depth to his character. His rejection of his family’s business in favor of pursuing music illustrates his idealism and desire to forge his own path. This decision is further reinforced by his experiences in America, where witnessing racial inequality strengthens his resolve to use his art for social commentary.

Throughout the novel, Gatuĩria’s actions and reactions reveal a person striving to understand and engage with the complexities of Kenyan society. His attendance at the Devil’s Feast, initially as an observer, shows his curiosity and desire to comprehend the forces shaping his country. His growing relationship with Warĩĩnga further develops his character, revealing his capacity for empathy and love. However, Gatuĩria’s character is not without conflict. His initial reluctance to actively participate in the events unfolding around him, preferring to remain an observer, hints at a certain hesitancy to fully engage with the harsh realities of his society. This is evident in his reaction to the chaos at the Devil’s Feast, where he feels more like a spectator than a participant.

The climax of the novel presents a crucial moment in Gatuĩria’s character development. The revelation that his father is the Rich Old Man who exploited Warĩĩnga forces him to confront the contradictions in his life. His frozen indecision in the final scene, caught between attending to his dying father and following Warĩĩnga, represents the internal conflict between his ideals and his familial ties. Gatuĩria’s character arc, while less dramatic than Warĩĩnga’s, demonstrates a more subtle transformation. From an idealistic artist seeking to celebrate his culture, he evolves into a man forced to confront the harsh realities of his society and his own place within it. The open-ended nature of his final appearance in the novel suggests that, like Warĩĩnga, Gatuĩria’s journey of self-discovery and societal engagement is far from over.

Robin Mwaũra is a major antagonist of Devil on the Cross. As the driver of the matatũ that transports several key characters to Ilmorog, Mwaũra initially appears as a minor figure but gradually reveals deeper layers to his personality and history. Mwaũra is characterized as a cynical and materialistic individual, openly stating that his only goal in life is to make as much money as possible. This mercenary attitude is exemplified by his past actions, including killing a man over a small debt.

Throughout the journey, Mwaũra’s character is further developed through his participation in philosophical discussions with his passengers. He presents himself as a moral relativist, claiming he can adapt to any situation and is equally at home with both God and the Devil. This flexibility in his beliefs foreshadows his later revealed connections to darker elements of society.

As the story progresses, Mwaũra’s character takes on a more sinister dimension. It is revealed that he is a member of the “Devil’s Angels,” a group of criminals involved in intimidation and violence. His past as a contract killer during the war is also revealed, adding another layer of villainy to his character.

Mwaũra’s role in the novel shifts from that of a neutral observer to an active participant in the events at the Devil’s Feast. His survival of the car crash that kills Mwĩreri wa Mũkiraaĩ, and his subsequent testimony against Mũturi and Wangarĩ in court, position him as aligned with the corrupt forces in Kenyan society. Mwaũra serves as a complex character who embodies the moral ambiguity and corruption prevalent in the novel’s portrayal of post-colonial Kenya. His character arc traces a journey from apparent neutrality to revealed complicity in the systems of oppression the novel critiques.