As large-scale media visualizations from the Selfiecity database of images shot in five cities on four continents indicate, the selfie has become a truly transnational genre that is as much about placemaking as it is about the narrowcasting of particular faces and bodies. At the same time, the scholarly literature around this specific form of self-representation through closely distant mobile photography has struggled to keep up with theorizing emergent new media practices that utilize lenses, screens, mirrors, and armatures in novel ways and generate compositions with distinctive framing and posing that mark belonging to selfie taxonomies.
Davison later compiled a handful of writings—including letters, an obituary for H. G. Wells , and his reconstruction of Orwell's list —into Lost Orwell: Being a Supplement to The Complete Works of George Orwell , which was published by Timewell Press in 2006, with a paperback published on 25 September 2007. In 2011, Davison's selection of letters and journal entries were published as George Orwell: A Life in Letters and Diaries by Harvill Secker.  A selection by Davison from Orwell's journalism and other writings were published by Harvill Secker in 2014 under the title Seeing Things as They Are .
That immorality is the goal is hinted at in the first stanza, where “Immortality” is the only other occupant of the carriage, yet it is only in the final stanza that we see that the speaker has obtained it. Time suddenly loses its meaning; hundreds of years feel no different than a day. Because time is gone, the speaker can still feel with relish that moment of realization, that death was not just death, but immortality, for she “surmised the Horses’ Heads/Were toward Eternity –.” By ending with “Eternity –,” the poem itself enacts this eternity, trailing out into the infinite.