In 2022 race are we capable of a rebirth of political purpose?

President Uhuru Kenyatta, Deputy President William Ruto and former PM Raila Odinga at a past function. [File, Standard]

Herman Melville’s 1851 classic, Moby Dick, was a contribution to the American Literary Renaissance (1830–1865). Like the European Renaissance before it (1300–1600), the American rebirth was a rediscovery of lost values. In this context, emphasis was on literature – and especially on Romanticism. There was, in particular, a search for the place of literature in advancing democracy. Was it possible to use literature to restore lost social and democratic values?

The question remains relevant in all civilisations everywhere, all the time. In our African context, the debate raged in the 1970s about progressive art and art for art’s sake. Should art be celebrated purely for neutral aesthetic appeal, or should there be some useful social function? Applied more broadly, what is the value of beauty? Does being beautiful just end there, or does it seek to realise greater goals? Can beautiful art support a noble value-based social order?

It was in the setting of such debates in the 19th Century that Melville published Moby Dick in 1851. Ironically, Moby Dick was never a literary success in the author’s lifetime. It would only sell 3,200 copies over four decades. Yet, after 1919 – Melville’s centenary – it became a global classic. It has since sold millions of copies with translations in all major world languages.

So what is it about Moby Dick? A world classic that runs into hundreds of pages has many thematic lessons and values. Yet the most fascinating and germane theme is easily the futility of manic obsessions. Is there any value beyond the things we pursue with the zeal of a maniac? When we seek political power, for example, what is the big goal beyond the visible quest, should we secure the power?

More often than not, is it a futile orgasmic quest, whose benefits vaporise without the birth of anything new? What is the value proposition in the aftermath of fulfillment? Moby Dick is the story of hysterical obsession with revenge. Captain Ahab of the ship called the Pequod is obsessed with killing the whale named Moby Dick. In a previous encounter, the colossal fish went away with one of his legs, just below the knee. His determination to kill this beast takes away his humanity and the joy of living. Eventually, it takes away his life itself.

The man thinks about nothing in the world, except killing Moby Dick. At the very start of Melville’s story, Captain Ahab makes one thing very clear. They are on a revenge mission. This is, accordingly, not a regular whaling expedition, although it might look like one. The numerous giant whales they encounter mean nothing to him. Nor do the hundreds of thousands of gallons of whale oil that they draw. Only one thing counts, killing Moby Dick. No lessons are drawn from encounters with other vessels whose captains and other inmates succumbed to the dreaded fish. 

The last we see of the captain of the Pequod is significantly memorable. He is entangled in the giant fishing line of his own harpoon (giant fishing hook) that is already lodged in the giant fish. As the fish violently swims away, having capsized the ship, it effortlessly takes Ahab along. That is the end of Melville’s “grand ungodly, god-like man,” who is also known as “Old Thunder.”

As he hopelessly flaps and flails away, taking in generous spurts of seawater through sundry openings in his body, we cannot help thinking of another Ahab before him. For, we read in the Biblical book of 1 Kings 21 of King Ahab. This one was tragically obsessed with owning his poor neighbour’s vineyard. His wicked wife, Jezebel, eventually killed for him the poor man, named Naboth, and gave him the vineyard. A prophet was sent to the King with the message, “In the same place that the dogs licked Naboth’s blood, they will lick your blood.”

Another Ahab is also worthy of mention – Ahab wa Kioi wa Kanoru in the play I Will Marry When I Want, by Ngugi wa Thiong’o and Ngugi wa Mirii. Somewhere in Central Kenya, Wa Kioi is a wealthy landowner and industrialist. He uses his powerful position to rob his poor neighbours of everything. Once again the focus is on manic obsession. 

The three Ahab characters are possessed of something close to demonic energy of purpose. This energy drives them to forget everything else. They even forget about themselves. There is loss of self-knowledge and loss of purpose in life. According to the storyteller in Moby Dick, “All things that are mighty wear a false brow.” Beyond the masked power lies disaster. 

Accordingly, in the mighty race that Kenya has begun towards the year 2022, is there anything redemptive? Or are we caught up in the trap of Ahab’s maniacal obsession? When Kenyans listen to us, do they hear any messages of hope, or do they behold latter-day self-ignorant “grand ungodly, god-like men”? Do we place any meaningful agenda before Kenyans for them to reflect upon, or are our dreams of power an end in themselves? Are we capable of a renaissance in political purpose, organisation and mobilisation – beyond whimsical individual goals? 

-The writer is a strategic public communications adviser. www.barrackmuluka.co.ke