{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","uuid":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","normalized_title":"bodiesincodeinterfaceswithdigitalmedia","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","isbns":["0415970164","0415970156","9780415970167","9780415970150"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":348,"navigation_url":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title_url":"https://workshop.closeclaw.top/ai/title/Bodies%20in%20code%20%20interfaces%20with%20digital%20media","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","page_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/search"},"page":{"printed_page":295,"pdf_page":308,"physical_index":308,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"350a88ee236f3b9bb5283c902d75bf3321270c3dcc1782538c4397aef19410e9"},"chapter":"bodies in code","content":"Here, the mediation of the text by its reading—by Johnny Truant's reading and by ours—must be differentiated from other layers of mediation and, as I shall argue, accorded a certain privilege. I would nonetheless wholeheartedly concur with Hayles' conclusion that “House of Leaves recuperates the traditions of the print book—particularly the novel as a literary form\" and that \"the price it pays for this recuperation is a metamorphosis so profound that it becomes a new kind of form and artifact\" (781).\n\nxvi. As I see it (and as my argument in this section will substantiate), Truant holds a privilege within the novel precisely because of his status as the \"first reader\" of Zampanò's narrative. I am therefore in disagreement with Danielewski, who, in a recent interview, claims that “there are many ways to enter House of Leaves\" (“Haunted House,\" 111). Certainly the reader can follow the suggestion of footnote 78 on page 72 and read the letters in Appendix II-E from Johnny's institutionalized mother, Pelafina, before resuming the narrative. Perhaps some readers will make their way to House of Leaves by first reading The Whalestoe Letters (the independently published, enhanced edition of these letters); nevertheless, whatever information these letters furnish about Pelafina serves first and foremost to introduce further information about Johnny: in short, they are subordinate to his function as narrator/first reader. In a sense, this situation is well captured by Larry McCaffery's experience of following the path suggested by footnote 72: MacCaffery's return to the text is affected by his reading of the letters, but without in any way changing his reliance on Johnny as the primary mediator of the story and model of interpretation. McCaffery recounts:\n\nOnce I finished her letters and returned to page 72, several things had occurred. First, it was now clearer to me that the author of this book had a much wider range of styles and voices than I had suspected up to that point. And second, throughout the rest of the novel, I was very aware that I now had a completely different perspective on Johnny Truant than if I had not turned from page 72 to appendix E. (“Haunted House,\" 112)\n\nNOTES\n\n295","previous_page":294,"next_page":296}