 Grosz does not often provide explicit details about how such a “philosophical pragmatism” might benefit feminism. Indeed, as she says of herself in an interview that composes chapter one of the book, “I feel sure that in order to keep my feminist work alive I have to keep it at bay, at a bit of a distance” (2001, 26). In the context of the entire book, however, one can understand her distanced feminism as another functional “outsider” to both philosophy and architecture that, like all outsides, forces those positioned within the inside to really “think” (2001, 64). In the example of her own work, Grosz claims that she had to move away from her earlier work on the body (Grosz 1994) because she had “worked to death” the topic. Moving to the field of architecture has allowed her to approach the question of materiality in a fresh way (2001, 26). Making that move, Grosz offers feminists an example of how to get some distance from and thus gain a new perspective on familiar feminist concepts so that fresh insight into them is possible. Grosz thus provisionally preserves the distinctions between continental and pragmatist philosophy, architecture, and feminism in order to enable the “infection by one side of the border of the other [and] a becoming otherwise of each of the terms thus bounded” (2001, 65).