Forms of violence and the literary avenues for expressing them constitute allegorical worlds that place them on the fringes of literature. Such worlds submerged under the normative conception of world assert their existence through violent bonds and alliances. Against the predominantly secular and centrist underpinnings in the world literature debate, the chapter construes worlds through malleable, multiple, and contra-normative temporal coordinates. World-making through violence, as Yasmina Khadra’s The Attack, Kae Bahar’s Letters from a Kurd, and Ahmed Saadawi’s Frankenstein in Baghdad show, unfolds deep within such temporalities where vernacular renditions of divine and organized vengeance have an insurgent mode. Contesting secular notions of the sublime as something to be revealed to the subject at the end of reason, the insurgent sublime manifests as an intrasecular force invoked on a whim at the limit of reason. This intrasecular sublime is salient to Sinan Antoon’s The Corpse Washer and Omar Robert Hamilton’s The City Always Wins, wherein death and dead bodies become breeding sites of violent alliances. Death in the two novels enables a thanatopolitical resistance where acts of naming, washing, resurrecting, and ennobling the dead lend themselves to a critique of necropolitical technologies that manufacture death as though it were a commodity.