 In encountering cases of imaginative resistance such as Giselda, we come to feel that it is not just part of the story that the author wants us to imagine that G is true, but rather that the author actually endorses G (the doubling of the narrator). In this regard, we cannot simply treat the Giselda case like any other typical case of imagining. In the Giselda case, we feel that we are being asked to export G into our world. Gendler thinks that we are unwilling to engage in the imaginative activity because in doing so we might export the morally deviant outlooks to the actual world, something we would naturally want to avoid. She claims that the 