In both Ngugi wa Thiong'o's “I Will Marry When I Want: and Isabel Allende's “The House of

Spirits”, the main characters navigate and ultimately overcome significant limitations. These
limitations, which are social, economic, political, and gendered, reflect the authors' critique of
oppressive structures. Through both similarities and differences in content and author choices,
these works illustrate the resilience and resistance of individuals against various forms of
oppression.

Ngugi wa Thiong'o's “I Will Marry When I Want” is set in post-colonial Kenya and focuses on
characters who struggle against economic exploitation and societal expectations. The
protagonists, Kiguunda and Wangeci, face severe financial instability and societal oppression.
They are actively involved in the workers' movement against exploitation, which underscores
their fight for a better social position. Ngugi uses dialogues and monologues to depict their
dissatisfaction and determination to combat economic oppression. Scenes involving land
negotiation and conflict highlight their struggles and resilience. Furthermore, the play addresses
traditional gender roles through the character of Gathoni, who resists an arranged marriage.
Gathoni's defiance of her parents' wishes and her pursuit of personal autonomy symbolize a
break from conventional expectations. Ngugi portrays Gathoni’s resistance as a representation
of broader societal changes, challenging traditional gender norms and advocating for individual
choice and freedom.

Isabel Allende's “The House of Spirits” explores themes of family legacy, political oppression,
and gender limitations within a fictional Latin American country. The novel employs magical
realism, particularly through Clara’s mystical abilities, to address these themes. Clara’s powers
and her conflict with her authoritarian husband, Esteban, symbolize her resistance against
familial and generational constraints. Her defiance is a representation of the struggle against
oppressive family dynamics. Gender limitations are prominently featured, with female characters
such as Blanca challenging patriarchal constraints. Blanca’s love for Pedro Tercero and her
defiance of her father's wishes illustrate her courage to challenge societal norms. Allende
portrays Blanca’s clandestine relationship with Pedro Tercero as an act of rebellion against
restrictive gender roles, emphasizing her strength and autonomy. Political limitations are also a
central theme in "The House of Spirits". Characters actively participate in revolutionary activities
against the dictatorship, symbolizing their resistance to political oppression. Narratives of
political unrest and revolution are woven throughout the novel, showcasing the characters' fight
for justice and freedom.

Both “I Will Marry When I Want” and “The House of Spirits” feature characters who confront and
seek to overcome economic and political oppression. Kiguunda and Wangeci’s financial
struggles and the workers' movement in "I Will Marry When I Want" parallel the revolutionary
activities against the dictatorship in "The House of Spirits". Additionally, both works include
female characters who resist traditional gender roles. Gathoni in "I Will Marry When I Want" and
Blanca in "The House of Spirits" exemplify defiance against societal expectations, reflecting a
broader critique of patriarchal structures.
Ngugi and Allende both use dialogue and monologue to reveal characters' thoughts and
struggles, emphasizing their resistance. The theme of rebellion against oppressive structures is
central in both works, depicted through collective and individual actions. This thematic similarity
underscores the universality of the struggle against oppression, irrespective of cultural or
historical context.

While economic struggle is a central theme in "I Will Marry When I Want", it is more intertwined
with family legacy and political conflict in "The House of Spirits". The emphasis on generational
conflict is more pronounced in "The House of Spirits", with a focus on family expectations and
the burdens they impose, contrasting with the more immediate economic concerns in "I Will
Marry When I Want".

The narrative styles of the two works differ significantly. Allende employs magical realism to
address limitations, using Clara’s mystical abilities to symbolize resistance, whereas Ngugi uses
a realistic portrayal of post-colonial Kenya, focusing on tangible struggles such as land disputes
and economic exploitation. The settings and cultural contexts also differ, with "The House of
Spirits" set in a fictional Latin American country dealing with familial and political turmoil, while "I
Will Marry When I Want" is grounded in the socio-economic realities of post-colonial Kenya.

Both "I Will Marry When I Want" and "The House of Spirits" depict the ways in which characters
overcome various limitations, reflecting the authors' critiques of societal and political oppression.
Through their similarities and differences in content and authorial choices, Ngugi and Allende
provide a nuanced exploration of the human spirit's resilience in the face of adversity. The
characters' journeys in both works serve as powerful narratives of resistance and liberation,
offering profound insights into the struggles against oppression across different cultural and
historical contexts.