Scheduled maintenance

Site update: Site is getting routinely updated and might be unavailable Monday 22.12.2014 14:00-14:30 UTC.

Patchwork Girl

Tags: 
Description (in English): 

Alternative Title: Patchwork girl, or, A modern monster by Mary/Shelley, & herself: a graveyard, a journal, a quilt, a story & broken accents

Publisher's blurb:

What if Mary Shelley's Frankenstein were true?

What if Mary Shelley herself made the monster -- not the fictional Dr. Frankenstein?

And what if the monster was a woman, and fell in love with Mary Shelley, and travelled to America?

This is their story.

(Source: Eastgate website)

A retelling of the Frankenstein story where a female monster is completed by Mary Shelley herself.

---

Electronic Literature Directory entry:

Alternative Title: Patchwork girl, or, A modern monster by Mary/Shelley, & herself: a graveyard, a journal, a quilt, a story & broken accents

Shelley Jackson’s Patchwork Girl was created in Storyspace, is distributed by Eastgate Systems, Inc., and ranks among the most widely read, discussed, and taught works of early hyperfiction.

Patchwork Girl is rooted in an allusion to Mary Shelley’s Frankenstein, or, The Modern Prometheus—as is echoed in both the title and the author’s own name—and can be read as a feminist response to Shelley’s 1818 gothic masterpiece. Patchwork Girl couples original writing with the aesthetic strategies of metafiction and collage to create a recombinant text borrowing heavily from deconstruction and gender studies. Jackson quotes passages from Frankenstein, Derrida’s Disseminations, Evelyn Shaw’s and Joan Darling’s Female Strategies, Carolyn Walker Bynum’s Fragmentation and Redemption: Essays on Gender and the Human Body in Medieval Religion, Nancy K. Miller’s Poetics of Gender, and Barbara Maria Stafford’s Body Criticism: Imaging the Unseen in Enlightenment Art and Medicine. In the “sources” lexia, the author lists further seminal works of postmodernist and feminist criticism (e.g. Cixous, Deleuze and Guattari, Haraway, Lyotard, Theweleit).

The metaphor of both the monster and the patchwork quilt are made literal through the formal aesthetic strategies of the work, with the corporeality of hypertext taken as a central and self-aware concern. The narrator, Mary Shelley "herself," compares printed books with hypertext in the “this writing” lexia (no doubt one of the most quoted passages from a work of hyperfiction):

    Assembling these patched words in an electronic space, I feel half-blind, as if the entire text is within reach, but because of some myopic condition I am only familiar with in dreams, I can see only that part most immediately before me, and have no sense of how that part relates to all the rest. When I open a book I know where I am, which is restful. My reading is spatial and even volumetric. I tell myself, I am a third of the way down through a rectangular solid, I am a quarter of the way down the page, I am here on the page, here on this line, here, here, here. But where am I now? I am in a here and a present moment that has no history and no expectations for the future.

Where the work starts is left to the reader to decide. Jackson provides five possible starting points—analogous to the five human senses, and adds a “sources” page. “A graveyard” “resurrects” the creature from buried body parts of other people, mostly women. The owners are characterized so as to form a patchwork identity in the female monster originally created, yet “forsaken” by Mary Shelley in the original novel. “A journal” contains fictional diary entries by Mary Shelley, recording her feelings towards the female monster. The shock upon first beholding her own creature is reminiscent of Victor Frankenstein’s in Mary Shelley’s original novel. Unlike Dr. Frankenstein, (the fictionalized) Shelley in Jackson’s hyperfiction manages to overcome her sublime fear, giving way to motherly affection, which, at times is charged with eroticism. "A quilt" contains only two lexias, both displaying the same quote from Frankenstein as Victor embarks on creating a female companion for his monster. By literally "sewing" her own words into the passage, Jackson demonstrates the actual making of a written patchwork quilt. She uses different fonts and formats to underline her intention. "A story" is by far the most exhaustive section of Patchwork Girl. It tells a linear story, the "biography" of the monster, who—following Victor Frankenstein’s order—does in fact leave Europe bound for North America. Like a postmodern frontier woman, she ventures her way through American suburbia and the metropolis, until she finds in Death Valley her ultimate destination. As her physical components gradually disassemble, her legacy is to continue her mother’s, Mary Shelley’s, work. She observes that hyperspace is the ideal environment for écriture féminine or feminine writing, which may be considered one of Jackson’s key messages. As she writes in her essay “Stitch Bitch” (2003), a companion piece of sorts to Patchwork Girl, “Hypertext then, is what literature has edited out: the feminine.” In the section entitled “& broken accents,” the narrator pays tribute to her physical mothers, the women from whom she received her organs resulting in a contemplative interrogation into postmodern identity.

In parts, Patchwork Girlresembles a philosophical treatise, with its many aphorisms, ontological contemplations and meta-poetic, apocalyptic prophecies: “Metaphors will be called home for good. There will be no more likeness, only identity” (from “hidden figure”); “If all things are called back to their authors, that is. Mary, Mary, I know you want me back, but I shall be no more than a heap of letters, sender unknown, when I return” (from “mementos”). Jackson refers to Plato, whose tenets she applies to poststructuralist discourse as she discusses them from the point of view of the monster: “There is thus for Plato no such thing as a written thing […]. – that is, I don’t exist. I am a passel of parts and should be returned to their original owners” (from “interrupting D”). It can also be read as a philosophical examination into media change in both form and literal content. Its black and white interactive illustrations resemble woodblock prints or copper plate engravings, calling to mind outmoded forms of book illustration and production while foreshadowing later electronic literary works that move beyond hypertext into the realm of hypermedia.

Critics have almost unanimously praised Patchwork Girl. Robert Coover has described it as “what is perhaps the true paradigmatic work of the era...elegantly designed, beautifully composed” (1999). George Landow, in Hypertext 3.0: Critical Theory and New Media in an Era of Globalization (1997), devotes a chapter to Jackson’s hypertext, describing it in terms of “Bakhtinian multivocality” and emphasizing the handing over of “Frankensteinian” power to the reader, “stitching together narrative, gender, and identity” (200). Reviews and analyses have appeared in great numbers.

This entry adapted from Dr Astrid Ensslin, Canonizing Hypertext, London: Continuum, 2007 (pp. 78-81).

(Source: Electronic Literature Directory entry by John Vincler, Adapted from Astrid Ensslin's text in February 2010)

See also: 

Critical writing that references this work:

Title Author Year
"I Am a Double Agent": Shelley Jackson's Patchwork Girl and the Persistence of Print in the Age of Hypertext Paul Hackman 2011
"Of Dolls and Monsters": An Interview with Shelley Jackson Rita Raley 2002
A Short History of Electronic Literature and Communities in the Nordic Countries Hans Kristian Rustad 2012
An Emerging Canon? A Preliminary Analysis of All References to Creative Works in Critical Writing Documented in the ELMCIP Electronic Literature Knowledge Base Scott Rettberg 2013
Avatars of Story Marie-Laure Ryan 2006
Body Webs: Re/constructing Boundaries in Shelley Jackson’s Patchwork Girl Alexandra Glavanakova-Yaneva 2003
Canonizing Hypertext: Explorations and Constructions Astrid Ensslin 2007
Ce livre qui n'en est pas un: le texte littéraire électronique Guy Bennett 2010
Command Lines: Aesthetics and Technique in Interactive Fiction and New Media Jeremy Douglass 2007
Conclusion: Whither American Fiction? Jessica Pressman 2012
Creating Screen-Based Multiple State Environments: Investigating Systems of Confutation Donna Leishman 2004
Cyberspace, Cybertexts, Cybermaps Marie-Laure Ryan 2004
Destination Unknown: Experiments in the Network Novel Scott Rettberg 2003
Developing an Identity for the Field of Electronic Literature: Reflections on the Electronic Literature Organization Archives Scott Rettberg 2012
Digital Literature: From Text to Hypertext and Beyond Raine Koskimaa 2000
Digital Literature: Theoretical and Aesthetic Reflections Luciana Gattass 2011
Digital Media Scott Rettberg, Jill Walker Rettberg 2010
E-Borges: Stuart Moulthrop’s Victory Garden Álvaro Seiça 2012
E-literature Joseph Tabbi 2011
Electronic Literature Seen from a Distance: The Beginnings of a Field Jill Walker Rettberg 2012
Ex-foliations: Reading Machines and the Upgrade Path Terry Harpold 2008
Exploiting Hypertext’s Potential for Teaching Gender Studies Maya Zalbidea Paniagua 2012
Exploiting Kairos in Electronic Literature: A Rhetorical Analysis Cheri Crenshaw 2008
False Pretenses, Parasites, and Monsters Tom LeClair 2000
Fiction and Interaction: How Clicking a Mouse Can Make You Part of a Fictional World Jill Walker Rettberg 2003
Flickering Connectivities in Shelley Jackson's Patchwork Girl: The Importance of Media-Specific Analysis N. Katherine Hayles 2000
Forms of Future Michael Joyce 1997
From Revisi(tati)on to Retro-Intentionalization Astrid Ensslin 2010
Gammel vin in nye skinnsekker Scott Rettberg 2010
Growing Intimate With Monsters: Shelley Jackson’s Patchwork Girl and the Gothic Nature of Hypertext Christopher Keep 2006
Hyperfiktion und interaktive Narration Beat Suter 2000
Hypertext and the Female Imaginary Jaishree K. Odin 2010
Hypertext Fiction from 1987-1999 Jill Walker Rettberg 2010
Hypertext Fiction in the Twilight Zone Raine Koskimaa 1998
Hypertext: The Convergence of Contemporary Critical Theory and Technology George P. Landow 1992
Hyperworks: On Digital Literature and Computer Games Anna Gunder 2004
Internet Hyperfiction: Can it ever Become a Widely Popular Artform? Nikolaj Jensen 2001
Machinic minds and posthuman bodies: the complexities of intimacy in three electronic works by Shelley Jackson Arnaud Regnauld 2010
Memory at work in Michael Joyce's afternoon, a story, Shelley Jackson's Patchwork Girl, and Mark Amerika's Grammatron Arnaud Regnauld 2011
Narration, Intrigue, and Reader Positioning in Electronic Narratives Daniel Punday 2012
New narrative pleasures? A cognitive-phenomenological study of the experience of reading digital narrative fictions Anne Mangen 2006
Old Wine in New Bottles Scott Rettberg 2010
Ontological Boundaries and Methodological Leaps: The Importance of Possible Worlds Theory for Hypertext Fiction (and Beyond) Alice Bell 2011
Pour une littérature cyborg : l'hybridation médiatique du texte littéraire Anaïs Guilet 2013
Quantum Feminist Mnemotechnics: The Archival Text, Digital Narrative and The Limits of Memory Carolyn Guertin 2003
Reading and Teaching Gender Issues in Electronic Literature and New Media Art Maya Zalbidea Paniagua 2011
Reading Practices in Electronic Literature: A Dialogic Approach Cheri Crenshaw 2008
Remediating English Pedagogy: Nurturing Immersive, Complex and Creative Literary Experiences for Students in Contemporary Times Angela A. Thomas 2012
Reproductive Technologies, Fetal Icons, and Genetic Freaks: Shelley Jackson’s Patchwork Girl and the Limits and Possibilities of Donna Haraway’s Cyborg Heather Latimer 2011
Reveal Codes: Hypertext and Performance Rita Raley 2001

Research Collection that references this entry:

Screen shots: 
Patchwork Girl images
The permanent URL of this page : 

http://elmcip.net/node/239

Record posted by: 
Jill Walker Rettberg