I was thinking about intertextuality from the first page, which called Invisible Man to my mind as soon as I read it, even before I went back and saw the dedication. That told me that the author wants the reader to keep an eye on those relationships within the text. As a subset of intertextuality, the references the narrator makes to various books, musicians, and other elements of American culture, particularly in the first chapter, seem to point to a connection between intertextuality and identity. The assumption that people make and that the narrator proves wrong is that the narrator’s ability to talk about the Rolling Stones, a performed type of enjoyment, and his admitted genuine personal enjoyment of The Temptations and other American music, translates to an American-sympathizing outlook. In a sense, the performed enjoyment is something the reader already expects to not mean what it appears, but it is harder for the reader to accept that genuine enjoyment also does not translate to an alliance with the system and country that produced the media. It does, however, “blur… the lines between us and them…” The narrator also begins to speak about performativity of enjoyment (regarding prostitutes) right after he mentions his tendency to sympathize. “Performers perform at least partially to forget their sadness,” he says. Real emotions while playing a role might appear to be an oxymoron but this suggests that there is another blurring between the real and the fake.