The delusion of Indar’s epiphany is immediately evident in his experiences after. He is repeatedly type-cast for his race in a theater troupe, and then hired for his background and mixed heritage for the lucrative potential of the African lecture circuit. In both circumstances, his identity is being exploited for his benefit and the benefit of others. Rather than becoming empowered by the modern world’s promise of self-determination, Indar has, in reality, internalized the western world’s prejudice toward his people by believing it was his home and upbringing being somehow “backward” that set him up for failure in the first place. Indar’s image of modernity and self-determination as being past-less, raceless, and placeless is, in essence, just whiteness. He envies the European freedom of movement allowed by generations of cultural, social, and political dominance but cannot actually enjoy those same privileges. This coalesces with his own painful experience of the diaspora and not belonging, and results in him attempting to embrace his placelessness as a means of empowerment. What Indar is too proud to admit is that he cannot ever fully sever himself from his past and his culture, and thus this self-exploitation continues to wound him deeply, evident in his bouts of deep depression.