The introduction sets down the blueprint and specifies how the argument builds upon existing understandings of the novel. Taking as my starting point the critical reluctance to acknowledge Defoe as the first English novelist, I trace the interdependence of Enlightenment thought, accounting practices, and literary realism in the eighteenth and nineteenth centuries. I also offer an overview of how theories of the novel have depended on the conceptual scaffolding of the antinomy. Long deployed by philosophers to structure unwieldy abstractions, the antinomy functioned also as tool to grasp the most diffuse of literary forms. Hence theorists as various as Erich Auerbach, Georg Lukács, Michael McKeon, and Frederic Jameson all posit that the novel is built in the tense field opened between opposing forces. By contrast, Adorno’s model of the Leibnizian monad asserts that art is always already tainted by the outside world, partly constituted by empirical logic. Over the more popular antinomic construction, I follow Adorno’s conception of art as absorptive monad . I further explain the book’s focus on select Anglophone writers and the three prerequisites for aspiring to speak for the world.

Chapter 7 turns to the first two of the three metaphysical disciplines whose inferences and conclusions Kant discusses in the Transcendental Dialectic, namely, rational psychology and cosmology. We show how the four transcendental paralogisms and the arguments underlying the four antinomies of pure reason can be read as ‘necessary inferences of reason’ and how they result in the corresponding transcendental ideas. The chapter considers the paralogisms and the psychological ideas, discusses the role of transcendental realism in the paralogisms, looks at the derivation of the cosmological ideas and the four antinomies, and reconstructs the role of transcendental realism in the antinomies. In doing so, we concentrate on those aspects that are relevant to understanding how Kant develops his Rational Sources Account in the Transcendental Dialectic.