The high-wire's suspended sense of unreal lightness also frames W. Michelle Wang's discussion of Italo Calvino and At Swim-Two-Birds's narrativeweightlessness. Wang guides the reader through O'Brien's flattening of narrative hierarchy via Calvino's call for "weightless gravity" and suggests that "the reader need not be anchored, weighed down or committed to the story of any one character or narrative thread--which, anyhow, all tend toward eventual erasure" (141). Such subversive freedom tests generic boundaries as well, as we see in Val Nolan's discussion of Flann O'Brien's sci-fi affinities in The Dalkey Archive. Nolan provides a kinetic reading of de Selby as "theologist and physicist," or "one who embodies a link between the close reading of religious unreality and the scientific study of how the universe, how reality itself is put together" (182). Nolan's essay is also one of the more historically invested pieces in the collection, as he views the "de Valerian Catholic reality" of mid-century Ireland as "the most developed and consistent manifestation of the fantasy tradition in the country" (181). All of these transnational readings of O'Brien open a door for broader conversations on the outward gaze of Irish literature during its most seemingly insular moment in the middle of the twentieth century.