The central question in this paper is the relationship between European modernist traveller's self-fashioning and the representation of Sub-Saharan African cultures, spaces and cross-cultural encounters in the early 20th century. The premise is that the cultural production of identity, including the question of artistic identity and poetics, is most productive where it is most ambivalent and uneasy. High modernist critical narratives pose the question of the phenomenology of travel in terms of textual authority. Authority, in the perception in late colonial European writing, was often simultaneously questioned and affirmed, meaning that Western art, and the modern society, were seen as lacking something significant outside of its margin. At the same time, the idea of the pure exotic emerged as incompatible with modern historical consciousness, and colonial texts anticipate many later theoretical ideas in postcolonial studies. The question is how to portray cross-cultural encounters, and how to fashion the self in the contact zone of travel and sojourn. Modernist travel writing asks what was the writer's self and the recognition of identity and difference in others. The modernist image of Africa carries important implications for the re-evaluation of art and literature and the renewal of artistic or narrative forms.