Abstract

Moses Isegawa's Abyssinian Chronicles sets out to rewrite history in that it corrects the distorted colonial vision by creating symbols for a new national identity—dealing with self-consciousness, loss of self-identity, and search for identity in coming to terms with the wreckage of war and independence. In Snakepit, Isegawa returns to his native Uganda haunted by greed and megalomania, a period when Idi Amin's dictatorship turned men in power into agents of deception, extortion, and murder. This article critically analyzes the “postcolonial“ imagery in Snakepit as forms of resistance in the aftermath of colonialism and in the story “The Return of Shadow” in Viviane Sassen's collection of photographs Flamboya, and so challenge the way Western eyes have perceived the African continent. Snakepit and Flamboya thus both function as tools with which Africa's collective identity is redefined, the former coping with Uganda's post-European struggle for independence and fight against African corruption, the latter shedding light on the “darkness” Africa has been associated with by casting a post-European shadow on the image of Africa.