Ousmane Sembène, a prominent figure in Francophone African literature, stands apart from many of his contemporaries due to his unique social background. Unlike others who were groomed in French-speaking schools for integration into the African-French power hierarchy, Sembène was nurtured within a fisherman's family. His life as a stevedore and service in the French army during World War II further distanced him from traditional power avenues, a detachment that profoundly permeates his work.

In his novel Xala, Sembène channels his frustration into a scathing critique of the "new African"—a class emerging in the post-colonial era, characterized by rampant consumerism and a relentless pursuit of material wealth. This narrative is not merely an exposé of societal transformation but an incisive question posed by Sembène: What is the true essence of freedom if it results in continued oppression, this time at the hands of one's compatriots?

Sembène’s lens is sharply focused on El Hadji, a character emblematic of the moral decay and superficiality that he satirizes. El Hadji is depicted as egocentric and foolish, his business practices steeped in exploitation and deceit. He epitomizes the betrayal of the lower classes, masquerading such actions as astute business acumen. The story ultimately crescendos in a poignant confrontation between the once-dominant El Hadji and a destitute beggar, a victim of his past transgressions. This climactic meeting encapsulates Sembène's profound critique of post-independence African societies, where new elites replicate the injustices of colonial rule, underscoring the irony of a freedom that liberates only to subjugate again.

The conclusion of "Xala" reflects Sembène’s deep-seated pessimism, encapsulating a cycle of humiliation and futility. In a dramatic culmination, El Hadji faces retribution at the hands of the beggar and his cohort. They exact their vengeance by degrading him, leaving him exposed and vulnerable, his body showered with spittle. This act of humiliation is profound, yet to El Hadji, it pales in comparison to the personal torment of the xala, a curse that has stripped him of his masculinity—his last vestige of pride and control.

However, this moment of supposed justice is tinged with irony, as the beggars’ triumph is fleeting. The narrative's grim outlook becomes apparent as it suggests the beggars, despite their temporary victory, face a deadly fate. The book’s closing words ominously hint that, as they exit El Hadji’s house, they will be met with violence. Thus, the cycle of powerlessness and despair persists, leaving both the oppressor and the oppressed ensnared in a web of futility. Sembène’s narrative does not shy away from illustrating a harsh reality where redemption and meaningful change seem perpetually out of reach, casting a shadow over the socio-political landscape it critiques.