The coda to Transgression & Redemption considers how the knowledges, methods, and values of the book might contribute to further considerations of the American novel, with immediate emphasis on several canonical masterpieces of the 1930s, including William Faulkner’s Absalom, Absalom! (1936), Zora Neale Hurston’s Their Eyes Were Watching God (1937), and Nathanael West’s The Day of the Locust (1939); how, alternatively, the critical repertoire of this book might contribute to Hollywood scholarship beyond poststructuralist feminist critique, with emphasis split between the erotic-spiritual edginess of individual Criterion-canonized masterpieces (the not happily-ever-after: Casablanca, All About Eve, Blue Velvet) and the luminous achievement of “sexually ever after” in serial Hollywood films, featuring Bogey and Bacall, Katherine Hepburn and one of her men, or Myrna Loy and William Powell; and how, finally, the book’s critical reorientation can reveal the mythopoetic force of American popular music, beginning for illustration’s sake with the two greatest vocalists in that history, Billie Holiday and Frank Sinatra, whose vocalized radiance, entailing bent notes and captured lyric, express obsessively the twin dimensions of incarnate passion, sex and sentiment. Or, as the two of them (sort of Catholics, Marian both) liked to put it, body and soul.