Sam Selvon's "The Lonely Londoners" (1956), White Sexual Desire and the Calypso Aesthetic

[...]I will use discussions about the Mighty Sparrow's controversial song, "Congo Man" (1965) to highlight a gap in existing debates about the influence of calypso on Selvon's work, making a case that the subversive elements of this musical tradition feed into the author's presentation of specifically white sexual desire. [...]start the circle again" can be read as a satirical commentary on the meagre comforts available to the city's socially and economically disenfranchised inhabitants; Moses' adventures are perhaps more limited by class considerations than first appears. First: Moses was liming near the park an a car pull up that had a fellar and a old-looking woman in it the fellar start to talk friendly and invite Moses home for a cup of coffee and Moses went just to see what would happen and what happen was the fellar play as if he fall asleep and give Moses a free hand because it have fellars who does get big thrills that way. [...]there is the story of a Jamaican who goes home with a white women and "the number . . . only interested in one thing and in the heat of emotion she call the Jamaican a black bastard though she didn't mean it as an insult but as a compliment under the circumstances" (1 09).