1. Introduction to the Official World
1. Clive Barker, introduction to Neil Gaiman, The Doll’s House (dc Comics, 1990;
reprint, New York: Vertigo, 2010), not paginated. (The Doll’s House is the second
volume of Gaiman’s remarkable serial graphic novel, The Sandman.)
2. Jacob Burkhardt, The Civilization of the Re naissance in Italy (1860; New York:
Dover, 2010), 172–99.
3. On the “Galileic turn”— the opening to the great outside— and its contemporary
foreclosure, see the concluding section of part V.
4. Niklas Luhmann, Theories of Distinction: Redescribing the Descriptions of Mo-
dernity, ed. William Rasch (Stanford, Calif.: Stanford University Press, 2002),
105.
5. G. Spencer Brown, Laws of Form (New York: Julian, 1972), xxiv.
6. Vladimir Nabokov, Speak, Memory (New York: Vintage, 1989), 19.
7. The anthropotechnic turn is the subject, in part, albeit to very different ends,
of my earlier attempts to get at the body- machine complex and its effects, par-
ticularly the books Bodies and Machines (1992, reprint, New York: Routledge,
2015), and Serial Killers: Death and Life in America’s Wound Culture (New York:
Routledge, 1998). My extended use of the term here is inflected by and indebted
to Peter Sloterdijk’s accounts of the techniques of training and self- training
on “the planet of the practicing,” in his In the World Interior of Capital, trans.
Wieland Hoban (Cambridge: Polity, 2013), and, especially, You Must Change
Your Life, trans. Wieland Hoban (Cambridge: Polity, 2013).
8. Cormac McCarthy, The Crossing (New York: Vintage, 1995), 203.
9. I will return to McCarthy’s contractions of history and natural history— and
his restaging of the ways in which the presumption of a world correlated to its
communication and reporting shapes the form and history of the novel.
NOTES
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