Teju Cole’s Open City is often read as the quintessential Western cosmopolitan novel. But despite the protagonist’s fixation with European aestheticism, the presence of African antecedents looms almost as an unacknowledged shadow in the acclaimed cosmopolitan novel. This article traces how Yorùbá visual registers about perception, subjectivity, and representation provide interpretative cues for understanding the meta-text of Cole’s novel in ways that illuminate the conflicted, contradictory itineraries of the postcolonial African transnational figure. I argue that Yorùbá conceptual registers relating to visuality, especially the concept of Àwòrán and its insistence on intersubjective relations and the visual call of images, highlight a visual hermeneutics that inflect the construction of personhood in Open City. By tracing the centrality of Yorùbá optic codes to Cole’s project, the article concludes that the novel’s philosophically dense conversation with aspects of Yorùbá culture demonstrates how conceptual registers from African cultures might contour Afro-diasporic texts.
