I began this book by citing a number of authors on the nature of the suburban narrative and its ill-defined protagonist, fictional suburbia. Most of the authors I cited argue that both the narrative and its protagonist have two sides. As Clapson put it, the suburban story ‘has tended to view suburbia as either a heaven or a hell, within a fairly limited range of conventions’. Beuka writes that suburbia ‘will call to mind for most Americans […] a set of loaded signifiers that connote both the American Dream […] and that dream's inverse.’ According to these writers, the suburban narrative by definition lacks ‘thickness’, consists, as Calvino once wrote, ‘only of a face and an obverse, like a sheet of paper, with a figure on each side, which can neither be separated nor look at each other’. Other authors have taken issue with this description. Beuka himself, for instance, points out that there are also other kinds of suburban narratives that are more complex. Huston has noted that there are texts that are concerned with other types of suburbs, like post-suburbia, edge cities and exurbs. In similar vein, scholars such as Eric Avila and Wiggins draw attention to mixed, Latin- American and Afro-American suburbs. One should take note, however, that these authors do not in fact contest or problematise the idea of the two-dimensional, dualist suburb. They merely juxtapose it with various other, allegedly more layered or complex representations of suburbia.