Reading Mohamed´s novels Kiu (`Thirst´; 1972) and Nyota ya Rehema (`The Star ofRehema´or `The Destiny of Rehema´; 1976), one is struck by abundant use of `implication´ technique. Implication is regarded as a feature that is statistically more frequent in poetry than in prose, hence the presence of this technique in abundance in Mohamed´s idiom, renders it a quality of poetic prose. The purpose of this paper is therefore to show how various linguistic features are used as vehicle for the realisation of the implication technique used to create exponents for the semantic structure in his novels. Exponents as literary devices need not be implicit as in Mohamed`s idiom, however if used implicitly, they form an artistically engineered correlation with literary substance of the novel and gives it a certain quality that affects our `attitude´ and `judgement` towards it. Hence in this paper we hold it that the reader`s involvement in the interpretation of the novel eventually entails the decoding of the corpus for the externalisation of the literary substance. A reader who is fully involved in the interpretation and processing of implied meaning(s) in the novel, digs into its semantic structure by condation and deduction and comes out with more lasting impressions than he would if he were to deal with a less subtle or totally explicit idiom that may be regarded as plain and spoon-feeding.

Reading Mohamed´s novels Kiu (`Thirst´; 1972) and Nyota ya Rehema (`The Star ofRehema´or `The Destiny of Rehema´; 1976), one is struck by abundant use of `implication´ technique. Implication is regarded as a feature that is statistically more frequent in poetry than in prose, hence the presence of this technique in abundance in Mohamed´s idiom, renders it a quality of poetic prose. The purpose of this paper is therefore to show how various linguistic features are used as vehicle for the realisation of the implication technique used to create exponents for the semantic structure in his novels. Exponents as literary devices need not be implicit as in Mohamed`s idiom, however if used implicitly, they form an artistically engineered correlation with literary substance of the novel and gives it a certain quality that affects our `attitude´ and `judgement` towards it. Hence in this paper we hold it that the reader`s involvement in the interpretation of the novel eventually entails the decoding of the corpus for the externalisation of the literary substance. A reader who is fully involved in the interpretation and processing of implied meaning(s) in the novel, digs into its semantic structure by condation and deduction and comes out with more lasting impressions than he would if he were to deal with a less subtle or totally explicit idiom that may be regarded as plain and spoon-feeding.