Of Franco Moretti's masterworks of literary history and theory, why is it the loosely assembled collection of occasional pieces Distant Reading that has captured the literary critical spotlight? Why now, just when enrollments in the humanities are plummeting, new technologies for storing and distributing information are revolutionizing interpersonal communication and scientific methods, and global is well on its way to replacing interdisciplinary as the descriptor favored by university administrators? Moretti is not alone in attempting to reconfigure a discipline that tends to favor the singular text and national literary traditions for a generation of students who apparently could not care less about either. In his effort to adapt literary history and form to the conditions of globalization that make them seem irrelevant, he asks us to abandon our obsessive focus on canonical texts—to start instead considering how certain forms of literature made the quantum leap from nation to world and what formal changes they underwent in doing so. This project he warns, will require us to “unlearn” how to read a literary text and to question the assumption that “world literature” is an object to be known: “We must think of it as a problem that asks for a new critical method” (46). He famously exposes this problem by staging various encounters between literary form and quantitative analysis.