, an Enlightenment rationale of being able to chart, to categorize, and to know" in the light of Heidegger's theory of

, xx Rosemary Gray claims that in this final line Okri "suggests that the demise of imperialism will be brought about by a coalition of the physical and the metaphysical

, A common literary motif of Yoruba folklore is a person who takes the shape of an animal, or vice-versa. [?] In these narratives there is often a conflict between man and animal, and a serious attempt to reach a better understanding between the world of men and the world of animals, vol.87

, He explains that "unlike Christianity and Islam, for example, which refer to particular religions, animism does not name any specific religion" (267). In commenting on Ato Quayson's analysis of Okri's use of animist thought, he emphasises the literary use that Okri has made of traditional sources (270). Quayson, in his article "Protocols of Representation and the Problems of Constituting an African 'Gnosis': Achebe and Okri," emphasises the necessity of taking into account Okri's literary experimentation in any analysis of what he calls his "animist ebullience" (148). Interestingly, he relates this narrative use of an animist perspective to the notion of "defamiliarisation, xxii Garuba points out that animism is "an umbrella designation for a mode of religious consciousness that is often as elastic as the user is willing to stretch it

, You might think there is a kind of perversity to inspiration. There might be. The subconscious loves mischief; its resident forces are trickster deities, Eshu, or Hermes, and other such figures who love tangents, invisibility, boundaries and enigmas" (WBF 21). In the same essay he says

, Now is a material event. / It is also a spiritual moment. / And the blinding light of the real / Can pierce through and tear asunder / The unreal

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