For our series of harsh book reviews, though in this case a clearly deserving target; from the conclusion:

Whatever its proximate sources, the picture shaping Harman’s thinking only needs to be plainly articulated for its peculiarity to become apparent. His conviction about the inherent inaccessibility of reality seems ultimately to rest on assuming that genuine knowledge of an object would have to take the form of becoming wholly and fully identical with that object: fusing with it, actually realising the theatrical method-acting aspiration that he claims is internal to the experience of metaphor (but also claims is not truly realisable). This is a strangely idealist assumption for a putatively realist ontology, and one which would abolish the independent reality of both subject and object if it were realised. But of course, knowledge cannot rest on any such assumption, because it is a sheer fantasy. It evacuates the idea of knowledge of any content, since neither we nor Harman have any idea what it would mean for a subject to become the object of her knowledge.

(Thanks to David Gordon for the pointer.)