This chapter explores why twenty-first century literature is using David Bowie to take the novel apart, and perhaps ultimately create a mourning song for it-one that is dressed not in black, but in glitter. Roberta Smith, in a review of the 2008 exhibition Live Forever: Elizabeth Peyton at the New Museum, argued that Peyton's pictures were "like miniature action paintings". On the surface, so to speak, it's difficult to understand what Smith is talking about. In his 1948 essay "The Crisis of the Easel Picture", art critic Clement Greenberg famously differentiates between the "easel painting" and "all-over" painting. The easel painting, when placed on the wall, created a kind of window onto the world and a reflection of the world, one that "the illusion of a boxlike cavity into the wall behind it". Modern "all-over" painting, on the other hand, calls towards the surface of the painting.