Wanja’s character in Petals of Blood is one that subverts a lot of expectations. When the novel opens there’s the impression that Wanja is going to be a “mad woman” figure, as she’s the only one of the main four characters not able to introduce herself. A reader might suspect her guilt as she’s left in the hospital murmuring about a fire. Her narrative continues in this way as the reader sees the abuse Wanja faces as a child, her sexual assault, and overall mistreatment. It’s a story arc many authors have used previously, showing a woman who has been repeatedly wronged in life reach a sort of “breaking point” and do something violent or horrific. Rarely are those womens’ decisions viewed as justified, and oftentimes they link this “madness” or “breaking point” to the woman gaining power, as Wanja does by setting up a brothel and having women working for her. Wanja fits a lot of this stereotypical mold, but Thiong’o subverts this narrative by giving Wanja significantly more depth. Thing’o writes Wanja both from her own perspective as well as the perspective of others as the novel shifts between points of view. She’s seen through the eyes of Munira and Karega, both of whom have romantic feelings for her, adding even another layer to her character. Wanja has a very clear sense of self and what’s right; she’s upset when she discovers Munira is married and ends their relationship.
Thiong’o further subverts the narrative by having Munira set the fire, eliminating whatever assumptions readers might have made at the beginning of the novel. Wanja’s decision to send all of the other women away is another moment that highlights Wanja’s character. Even without knowing Munira’s actions or intentions, it’s safe to assume that Wanja knew on some level that the evening may turn violent or aggressive, and her decision to make sure all of the women working at the brothel were safe shows her kind and considerate nature. Wanja is an example of how all of these horrible things can happen to a person and they can still hold a capacity for kindness and compassion. Compared to where the story begins, which is with Wanja not even being properly introduced as she’s in the hospital from the fire Munira starts, Thiong’o crafts a complicated, intricate character that subverts several expectations for what female characters can look like.