While he is a regular on the betting list of potential Nobel laureates and the syllabi of classes on postcolonial literature, Ngũgĩ is often overlooked by the West’s leftist literati in their discourse about politics and fiction. Why does the revolutionary cast to his work go unrecognized? Perhaps some people view his novels, written in a “minor” language and steeped in “minority-centered” politics, as literally minor. Others may assume that his “postcolonial” worldview is wrapped in the barbed wire of the past—despite the fact that we continue to live in the postcolony. Or perhaps it’s simpler than that. Again, Ngũgĩ is a Marxist thinker—one born without an armchair. As fashionable as a dash of class analysis in a work of bourgeois autofiction may be, this level of political commitment from novelists simply won’t do. The truth is, Ngũgĩ is revolutionary in the way only a true artist can be—too revolutionary for our time.