To date, House of Leaves has overwhelmingly been read in light of its mediality, the question of technology, and digital culture at large. Apart from the oft-quoted pioneering articles by Brian W. Chanen, Mark B. N. Hansen, N. Katherine Hayles, and Jessica Pressman (Chanen 2007; Hansen 2004; Hayles 2002a; Pressman 2006), three out of five essays dealing with House of Leaves in the first book project exclusively devoted to the works of Danielewski read the novel through this lens (McCormick 2011; Evans 2011; Thomas 2011). Add to that another two essays from Revolutionary Leaves (Aghoro 2012; Bilsky 2012), the second such project, and the excellent chapter from Alexander Starre's Metamedia (Starre 2015) and it becomes clear that mediality and the digital make up the predominant paradigm in Danielewski scholarship. Another recent foray into this very territory comes from Mark C. Taylor, who gives the topic a theological bent, going so far as to conclude that House of Leaves is the manifestation of ‘the Web’ as ‘the “embodiment” of God today’ (Taylor 2013: 155). While these critics are right in emphasising the novel's engagement with mediality, technology, and digitality, this engagement makes up just one aspect of a much larger metaphysical concern – a concern that registers in Taylor's onto-theological reading – weaving together issues ranging from narrativity to the act of reading, from discussions of representation to more general questions of matter and spirit. In doing so, House of Leaves explicitly and directly – arguably more so than any of the other narratives considered in this book – explores the workings of difference, culminating in nothing less than the projection of a veritable differential cosmology. This cosmology is as much a matter of what is presented as it is one of presentation itself. Both the narrated and the narration suggest an inherently fractured, fractalised, differential world. In other words, difference becomes the guiding principle of both the created world and its creation. Since the means of creation are those of narrative, House of Leaves comes to embody the correlation between a differential cosmology and a differential narratology. The sufficient reason of what could be called House of Leave's narratocosmogony is precisely the abyss of difference, becoming's ‘universal ungrounding’ (DR: 114).