Summary
In the mental hospital, Matigari realizes that both force and appeals to reason are necessary in the pursuit of justice. He symbolically tramples his belt of peace and escapes from the mental hospital using a nail file. As later "Voice of Truth" reports explain, Matigari also leads his fellow captives out of the hospital.
The "Voice of Truth" radio program announces that Britain and other European countries sent a loan to Matigari's country for "the development of the administration of instant justice" to purchase British-made handcuffs, weapons, and American military vehicles to be used against the people. The program also advises "all those who are not mad" to maintain a clean-shaven, "presentable" appearance to avoid being mistaken for a fugitive, as the Minister for Truth and Justice authorizes police to "shoot down all madmen" on sight.
The police shoot Ngarũro wa Kĩrĩro, who is then rushed to the hospital. Meanwhile, Matigari, Mũriũki, and Gũthera rest together, suffering in the scorching heat. Matigari suddenly announces that they will go to the house, though Gũthera suggests he abandon his mission to save himself. However, Matigari argues that now, "words of truth and justice, fully backed by armed power, will certainly drive the enemy out," and he will die trying to reclaim his home.
Mũriũki and Gũthera plead to help Matigari attack the house. Matigari vows that John Boy Junior will not sleep another night in his house, and he makes plans to retrieve his weapons from under the fig tree. Then, Gũthera explains her desire to liberate all women from the oppression of men, as she has never been able to make a free choice in her entire life.
Across the plain, a black Mercedes-Benz parks amongst the sheep. Mũriũki, pretending to be a shepherd boy, walks to the car; inside, the Minister for Truth and Justice's wife and her driver have sex. Matigari, Mũriũki, and Gũthera steal the Mercedes-Benz, promising that if the woman and her lover do not reveal who stole their car, her infidelity will remain a secret.
The trio drives the luxury car through the city, marveling at the poverty in the workers' quarter and the excessive wealth in the factory owners' neighborhood; because their vehicle is so expensive, the police allow them to pass. On the radio, they hear that Ngarũro wa Kĩrĩro died in the hospital. Matigari hides the car in a gas station parking lot and meets Mũriũki and Gũthera at the children's village, where the other children guard them while they sleep.
When asked by the children if he is the second coming of Jesus, Matigari explains that he is not a divine creature, but that God is inside of all people, and imperialism tried to kill this divinity. Matigari suggests that Mũriũki and Gũthera join the crowd around Matigari's house before leaving to fetch his weapons. At the gas station, the attendant informs Matigari that the entire city has gathered at John Boy Junior's house to witness Matigari's inevitable arrest. Then, Matigari watches the informer, Gĩcerũ, call the police.
The police begin to chase Matigari, surrounding him and forcing him to drive toward the house without his weapons. However, the Mercedes-Benz and police escort convince the crowd that Matigari is a VIP coming to the event and let him into the estate. However, Matigari drives directly into the house. When Matigari does not reveal himself, the police prepare to shoot. However, Matigari lights John Boy Junior's house on fire. The crowd joins in chanting and begins to set fire to other oppressors' property. His Excellency Ole Excellence orders Matigari to be shot on sight, though Matigari escapes without a trace.
Matigari reunites with Mũriũki and Gũthera under the cover of darkness. They walk to the mũgumo tree to retrieve Matigari's weapons, though the police follow them, mounted on horses and following a pack of dogs as if going on a hunt. A bullet hits Gũthera in the leg, and Matigari carries her, dogs on their heels, until the two fall into the river. Torrential rain suddenly begins to fall, putting out the fires, and Matigari and Gũthera are washed away; their pursuers do not find their bodies. Alone, Mũriũki digs up Matigari's weapons and arms himself as Matigari had done before. A riderless horse passes him, and he hears "the worker's voices, the voices of the peasants" singing a song of victory.
Analysis
Part Three's action is told by quoting "The Voice of Truth" reports. This form creates a fast-paced, chaotic tone, demonstrating how the government uses decisive, absurd measures to combat a quickly growing revolution. By contrasting the news reports with vignettes of Matigari and his followers planning their rebellion, the novel encourages the reader to recognize the extent to which The Minister for Truth and Justice relies on propaganda and misinformation to claim ownership of the narrative and exercise control over the restless population.
The radio programs subtly comment on the theme of neocolonialism by briefly referencing foreign nations' response to Matigari's revolution. For example, European nations give loans to the government to develop "instant justice," requiring all weapons and military vehicles to be manufactured in Britain and America. Thus, foreign governments use force and their economic privilege to support a government that benefits them politically while simultaneously capitalizing on the crisis.
The government also uses myth creation as a tool to demonize Matigari and delegitimize his beliefs. Just as Matigari's followers speculated about Matigari's appearance and the divine source of his powers, The Minister spreads rumors that Matigari is a "madman" and that his beliefs are a product of "delusions" and mental instability. The Minister then extrapolates that all "madmen" are unshaven and have long hair; he requires citizens to be clean-shaven to avoid arrest and encourages the police to apprehend those who appear "mad," excluding white people. This criminalization of specific demographics and preferential treatment of white people touches on broader conversations about racial profiling in criminal justice and law enforcement through the theme of myth creation.
The text uses hyperbole and satire to contrast the elite class's 'struggles' with the workers' oppression. For example, when his house is burned down, John Boy Junior faints, wondering where his wife and children will stay when they return from their summer vacation in the United States. His family's vacation to a Western country demonstrates John Boy Junior's wealth and privilege. When compared to the violent persecution his employees endure daily, John Boy Junior's reaction to his house's destruction is characterized as comical and extreme.
The theme of resistance and rearming culminates in the novel's final scenes. Once Matigari takes decisive, forceful action by trampling his "belt of peace" and destroying John Boy Junior's house, Matigari's followers are empowered to take action into their own hands. Resisting the police and the minister's orders, they destroy the elites' property, singing banned songs of resistance and victory. Matigari attempts to rearm himself by reclaiming his weapons. When he fails, Mũriũki digs up the weapons and arms himself, signifying that the Matigari's revolution can and will continue without Matigari.
Part Three uses parallelism to argue that freedom from oppression is an ongoing, cyclical struggle. Recalling Matigari's original pursuit of John Boy and Settler Williams, Matigari and his companions run through the wilderness to escape John Boy Junior and Robert Williams, who have assumed their fathers' oppressive roles. When Matigari and Gũthera are shot, their blood mingles "in the soil," recalling the mararanja ceremony referenced in the opening chapter. And when Mũriũki unearths Matigari's weapons, a riderless horse trots by, just like in the opening chapter.
The significance of Mũriũki's name is made clear in the final scene using Biblical allusions. According to the translation, Mũriũki means "The Resurrected." In the final chase, Matigari is injured and likely drowns, his death referencing the crucifixion of Jesus in the Christian Bible. In the Christian texts, Jesus returns to life in a new body to demonstrate his victory over his oppressors and expand his mission, inspiring his followers. Though Matigari himself is not brought back from the dead, Mũriũki assumes Matigari's role, wearing his weapons and singing songs of victory. Thus, Matigari, who represents the spirit of revolution and justice, is "resurrected" through Mũriũki's actions and personal commitment to ending injustice.
