formal creative space of the “isolated, intelligent, contemplative observer-self” of the
lyric tradition which ultimately produces a redemptive moment of re-constitution often
articulated through a trope of irony (David Attwell 2005:145).
Subtlety is central to the execution of modernity’s and by implication colonialism’s
project (Satish Aikant 2000: 338). The way it confronts the colonized is so disguised and
flagged as innocuous that it overwhelms him before long. This is the account of the
impact of modernity in every part of the world where its western form has been
propagated. The attraction it has for its beneficiaries and victims alike often stems from
the manner of its presentation. Its grave consequences are however hard to perceive as it
makes pretension to some kind of refinement and urbanity that belie its intent on
dispossession and disorientation. Usually, by making or presenting the epistemic order of
the colonized as its foil, modernity is quick to point to the obvious crudity and non-
sophistication of the colonized. In spatial and infrastructural terms, it for instance points
out the extent of its control over Nature and the refinement and taming it can bring to
bear on her. Where this kind of taming is not possible, the obvious crudity of nature is
presented as overwhelming and indicative of backwardness as in the representation of
Africa. But Mapanje circumscribes such conception which underlies the comprehension
of modernity when he compares in “Travelling in London Tubes”, the clime and the
scenario of dust in Malawi with the impact of dust in “London Tubes” on people and its
implication for their health. Ultimately his verdict finds “dust” at home less dangerous
than “dust”, that is, the pollution in “London tubes”. There may indeed be “something
funny about the dust back home”, yet you can avoid it all so too easily” on those dusty
roads. But in London “even the dust is subtle”; and with “travelling in those lovely
tubes”,
... it is not until the day is out
if you should stand at your window
facing the breeze apparently blowing cool
it is not until your sudden
aitchoo!
that you begin to see how much
charcoal was in your nose
eye
lungs (36)