Indifferent. The landlady swore she lived Off premises. Nothing remained But self-confession. “Madam,” I warned, 5 “I hate a wasted journey—I am African.” Silence. Silenced transmission of Pressurized good-breeding. Voice, when it came, Lipstick coated, long gold-rolled Cigarette-holder pipped. Caught I was, foully. 10 “HOW DARK?” . . . I had not misheard . . . “ARE YOU LIGHT OR VERY DARK?” Button B. Button A. Stench Of rancid breath of public hide-and-speak. Red booth. Red pillar-box. Red double-tiered Omnibus squelching tar. It was real! Shamed 15 By ill-mannered silence, surrender Pushed dumbfoundment to beg simplification. Considerate she was, varying the emphasis— “ARE YOU DARK? OR VERY LIGHT?” Revelation came. “You mean—like plain or milk chocolate?” 20 Her assent was clinical, crushing in its light Impersonality. Rapidly, wavelength adjusted, I chose. “West African sepia”—and as an afterthought, “Down in my passport.” Silence for spectroscopic Flight of fancy, till truthfulness clanged her accent 25 Hard on the mouthpiece. “WHAT’S THAT?” conceding, “DON’T KNOW WHAT THAT IS.” “Like brunette.” “THAT’S DARK, ISN’T IT?” “Not altogether. Facially, I am brunette, but madam, you should see The rest of me. Palm of my hand, soles of my feet 30 Are a peroxide blonde. Friction, caused— Foolishly, madam—by sitting down, has turned My bottom raven black—One moment madam!”—sensing Her receiver rearing on the thunderclap About my ears—“Madam,” I pleaded, “wouldn’t you rather 35 See for yourself?”
What theme is reinforced by the poem’s irony (among other elements)?