In this thesis, I attempt to explore the development of migrant literature in an era of digitalcommunication. The latest developments in communication technology have certainlydestabilized patterns of content creation and dissemination. While many use it uncritically,mostly as a means of information and keeping in contact, there are new avenues open forthose who wish to engage actively and create a space for new dialogue. And though theseonline platforms have not completely overturned hierarchies between literatures from theWest versus the global South, they have certainly altered both the content and form of workoriginating from African countries. By doing so, digital technology has boosted the creationof an African identity that moves away from victimhood by reimagining ideas of what itmeans to be and write from an African perspective where a multiplicity and hybridity ofvoices exist. I have chosen three “digital migrant novels” (Caren Irr’s term): ChimamandaNgozi Adichihe’s Americanah, NoViolet Bulawayo’s We Need New Names, and Open Cityby Teju Cole. I begin by situating these novels in a technologically sophisticated, mediaoriented space, where the geography of nations is challenged by overlapping spaces of digitalcommunication. My aim is threefold – to identify new patterns in migrant identity and to seehow they are affected by technology use; to see whether these patterns correspond to theemergence of an Afropolitan identity (and to understand what permutations this Afropolitanidentity can take on). And and finally, to analyse how digital media communication shapes amigrant’s relationship to homeland and language.

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This thesis argues that events in the postcolonial novel We Need New Names by NoViolet Bulawayo can be viewed as traumatic based on three different aspects; witnessed trauma, transgenerational trauma and cultural trauma. In addition, the thesis provides pedagogical implications and analysis of the novel’s usefulness in the Swedish EFL classroom. What is argued in this essay is that cultural clashes, mourning of home country and lacking of expressive opportunities affect the protagonist’s identity formation. The protagonist’s experiences from and reflections on her home country versus her new one are the focal point of this essay; to prove that belonging to the diaspora is a traumatic, ongoing, event that affects the individual and collective identity process negatively, depicted in the novel. Lastly, the novel’s potential in the EFL classroom is claimed to contribute with insight, understanding and acceptance towards cultural “others” in the Swedish society.

During my eight years of work in the communication department of an NGO based in Kampala I have undetaken several workshops organized by istitutional donors, such as USAID, on how to write what the aid sector calls stories of change.  Puzzled by the information and skills obtained in such context and the stories I have encounter and wrote during my job from one side, and on the other side acknowledging how novels helped me to navigate my feeling of disorientation while living and experiencing the Ugandan context; I have decided to embark in this research to better understand where the stories produced by INGOs and the contemporary literature differentiate.  This research involves shedding light on the differences, both in narrative construction and their impact on readers, between modern and significant literary works, like novels and stories originating from the aid industry (INGOs). To this end, the investigation embraces three distinct sources: the novels “We Need New Names” and “Americanah,” along with a concise web-based tale released by USAID. The ultimate goal of the research is to explore the power of storytelling in shaping collective imaginaries.  To unravel the interconnection between narrative potency and collective immaginaries, this study centers on the portrayal of Black Women. It draws upon the insights of Postcolonialism and Black Feminism, while exploring pivotal concepts such as Representation, Voice, and Stereotype. The study employs content analysis and reflect on complexity of character depiction. The findings reveal that well-crafted characters in literature can challenge stereotypes associated with African women. Characters like Darling (We Need New Names) and Ifemule (Aamericanah) are portrayed with depth and complexity, offering a comprehensive and multifaceted representation that defies monolithic stereotypes. In contrast, the character Aberu (USAID webstory) lacks such depth, perpetuating limited views of African women.  Furthermore, the research also highlights the potential of round characters to engage readers on multiple levels, prompting changes in perspective. Ultimately, the study concludes that storytelling has immense power to shape perceptions and calls for crafting narratives that promote inclusive and authentic portrayals of African women. The research enabled me to identify the differences between storytelling on Black women of the ‘development industry’ and storytelling on Black women in the literary field, opening a reflection on the importance to engage with narratives and media.  Differences highlighted the need for INGOs to reassess their storytelling methods. Drawing inspiration from contemporary African literature may provide valuable insights and strategies to foster more authentic, complex, and nuanced representations of Black women.