What is remarkable about the differences between these two narratives is that the facts of Tom’s embodiment do not hinder but rather aid Stowe’s story. Initially, this seems to fly in the face of everything that we expect from sentimental fiction, since I suggested before that one natural way of reading this fiction is as a transcending of the differential embodiment used by eighteenth-century comic novelists. What Lang suggests is that sentimental fiction has to stage this transcending continually within each narrative, rather than being able to rely on some rhetorical shift that occurs to establish the genre as a whole.