In “Graphs, Maps, Trees: Abstract Models for a Literary History,” Moretti delves into how the problem in which we construct the object of literary inquiry, is how we try to understand the field. He explains that instead of putting together “separate bits” of understanding to form an idea about a subject, it needs to be seen as a “collective system” (Moretti 2255). The reason why these small pieces of readings cannot be “sum[med]” up is due to the number of novels there are in the world now (Moretti 2255). There is simply no way to read all of them and grasp a full understanding. In order to better understand how to do this, Moretti mentions the three temporal orders found in social historians’ work: The moment, the cycle and the longue durée. The moment is an “individual event” that is being observed (Moretti 2262). The longue durée is the long period of time that is studied. These are the chunks in history that are analyzed. The most important time frame that Moretti urges others to focus is the cycle, or pattern. This is the “temporary structure within the historical flow” (Moretti 2263). 

These temporary structures refer to the temporary combinations of genres that rise and fall over time. Since they are temporary there is no structure because its popularity fades away to a certain extent (Moretti 2263). The structures mentioned are the “order [and] patterns” that repeat over time, but since it is not permanent, it is unstable (Moretti 2263). Moretti explains how, instead of new genres being released every couple of years, there is only a certain group of genres that have risen and fallen together that “cluster in just thirty years” (Moretti 2268). One might assume that it can be due to new historical events and trauma that have occurred, but that is highly unlikely, because just one event cannot wipe out a group of genres that were once popular. The change that must occur to allow these genres to vanish, must be “common” and “external” (Moretti 2268). In order to understand how the change must be external, Moretti brings up the idea of a “chang[ing] ecosystem” (Moretti 2268). If there is no one alive to read those genres, then those genres will dissipate and not be popular anymore. This change in audience is due to the new generations. Over time there will always be a new wave of generations that have a certain set of genres that they are most interested in. 

These waves of genres, however, are difficult to analyze within quantitative data. Moretti uses the example of “Planet Hollywood,” where American comedies were not very successful in other countries. This lies in the “form” (Moretti 2272). When comedies are translated, it is difficult for jokes to translate because they depend on their original language to make the joke stick. This is the flaw within analyzing the quantitative data on these genres over the years.