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ary critics, and Chapman reads it as in some significant aspects anticipating their
ideas by “sketching out in fictional form a theoryofliterature rooted in cognitive
science,” whose “central premise” is that “cognition is embodied, and therefore so
is reading” (227, 234).47 However, I would argue that the interesting question here
is not how familiar Powers was with cognitive literary theory when he composed
the novel48 but rather his method of turning the findings of cognitive science and
neuroscience into metaphors for literary activity, a method that is