ABSTRACT
The ambition, scope and diversity of Wilson’s work are evident from the preceding chapter, even when the list is incomplete. Can such a heterogeneous range be underpinned by the unifying intellectual construction that is theory? Wilson’s crossovers are an early and still leading example of a practice that has become the norm in the twenty-first century. But are they a consequence of theoretical precepts, or did they emerge from being done without theoretical design?
