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The epilogue, “Horizon Lines,” begins by reprising the book’s central arguments and methodological commitments. Specifically, it recounts the (inter)disciplinary approach the book calls extraction history, its essential stakes and outcomes, and the way it shapes each of the book’s main chapters. The epilogue also takes time to recenter the methodological concept of “against” that anchors the book, and that serves as a crucial pivot for readers coming to the book from different positions with relation to the cultural and ideological reproduction of colonial extraction. The second half of the epilogue returns to the work of George Morrison, in particular the way he looked back to wood collage in the latter years of his career. Here, the epilogue considers Morrison’s interest in frottage or rubbing with his enduring investment in the horizon line as a threshold of epistemic and aesthetic generativity.

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