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In J.G. Ballard’s Crash1 the body is manifested in two forms; the warm malleable flesh of the human and the cold, hard metal of the vehicle. Over the course of this staggering novel the two become entwined in a transgressive dance, skidding across the typical boundaries of sexual encounters. We are confronted by the potential for a techno-corporeal world which begs the question; can the body be more than we imagine?