According to R. Walkowitz, an important characteristic of the globally oriented novel is the tendency to make the processes of literary circulation and distribution visible. This medial level involves reflections and stagings within the work that refer to the work’s logic of mediation and licensing. On the one hand, these can be processes that refer to aspects, infrastructures, hubs, or institutions of global circulation; on the other, it is notable that in modern works, licensing plays a role not only in reference to its interlingual practice but also in general as a form of permission. Thus, on the medial level, the conditions of mediation, exploitation, distribution, and criticism of the work are given a poetic language. Sometimes the conditions of exploitation that are either explicitly thematized or else metonymically attested to in the text can be called on for the economy of the work’s plot. Brecht’s Threepenny Novel (1934) takes up the licensing system as the novel translates a variety of licensing processes into action. Anna Seghers’s novel Transit (1944) reflects its own interlingual and international conditions of mediation in that Seghers chooses a protagonist who, without meaning to, steals the identity of an exiled writer who killed himself because of the lack of publication opportunities.