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1. afternoon, a story

   Afternoon was first shown to the public as a demonstration of the hypertext authoring system Storyspace, announced in 1987 at the first Association for Computing Machinery Hypertext conference in a paper by Michael Joyce and Jay David Bolter.[1] In 1990, it was published on diskette and distributed in the same form by Eastgate Systems.

   The hypertext fiction tells the story of Peter, a recently divorced man who one morning witnessed a deadly car crash where he believes his ex-wife and son were involved. He cannot stop blaming himself as he walked away from the accident without helping the injured people. A recurring sentence throughout the story "I want to say I may have seen my son die this morning" where [I want to say] is one of many lexias built into a loop which causes the reader to revisit the same lexia throughout the story. The hypertext centers around the car accident, but also reveals the multifarious ways of the characters' mutual promiscuity.

   Jill Walker Rettberg - 05.01.2011 - 12:33

2. Victory Garden

   The Gulf War and its media frenzy serves as the backdrop for this Dickensian tale of campus politics, seduction, burglary, dissent, unsafe driving, and war.

   (Source: Victory Garden - Eastgate Systems)

   Victory Garden is a hypertext novel which is set during the Gulf War, in 1991. The story centres on Emily Runbird and the lives and interactions of the people connected with her life. Although Emily is a central figure to the story and networked lives of the characters, there is no one character who could be classed as the protagonist. Each character in Victory Garden lends their own sense of perspective to the story and all characters are linked through a series of bridges and connections.

   Jill Walker Rettberg - 14.01.2011 - 12:15

3. its name was Penelope

   The generative hyperfiction its name was Penelope is a collection of memories in which a woman photographer recollects the details of her life.

   Like a photos in a photo album, each lexia represents a picture from the narrator's memory, so that the work is the equivalent of a pack of small paintings or photographs that the computer continuously shuffles. The reader sees things as she sees them and observes her memories come and go in a natural, yet nonsequential manner that creates a constantly changing order -- like the weaving and reweaving of Penelopeia's web.

   Begun in 1988, the work was exhibited in a computer-mediated artists book version at the Richmond Art Center in Richmond, California in 1989. It has been re-created through the years. Four versions have been identified by Dene Grigar, in Rebooting Electronic Literature: Documenting Pre-Web Born Digital Media: 

   Version 1.0: "The exhibition version." Created in 1989 with Malloy's own generative hypertext authoring system, Narrabase II, in BASIC on a 3.5-inch floppy disk

   Eric Dean Rasmussen - 24.02.2011 - 09:30

4. Marble Springs 1.0

   Marble Springs, a complex and lyrical new work in the tradition of Spoon River Anthology and Winesburg, Ohio, explores the lives of the women who built the American West. Marble Springs invites the reader to explore a collection of poems discovered in the ruins of a church in an abandoned ghost town. The poems, like the lives of so many 19th century women, are anonymous, enticing the reader to discover the identity of the author hidden between the lines. (Source: Marple Springs - Eastgate Systems)

   Meri Alexandra Raita - 20.01.2012 - 11:51

5. Living Will

   To experience “Living Will,” a story-game and interactive fiction, the reader must choose to be one of the heirs of Coltan-magnate E.R. Millhouse, who has made his fortune in the Democratic Republic of Congo. While reading, the heir navigates this unique legal instrument, slowly accruing medical and legal fees, while also grabbing bequests from her fellow heirs. The piece explores the long shadow of colonialism, the conflict minerals buried in our mobile phones, and the heart of darkness of a dying imperialist seeking to extend his control beyond the grave.

   Scott Rettberg - 01.12.2012 - 13:00

6. The Body Politic

   In this multimedia hypertext poem, Ley foregrounds some ways in which the body is constructed and politicized. Using the HTML select tag as a way to structure lines of verse by hiding them under the first line of the stanza, she reinforces the metaphor of surface and depth as text and subtext. The pull-down menu produced by this tag carries a little functional baggage, that one is to choose an item from the list, which becomes something to be acted upon, such as information on a form or a link to another document. In this piece the reader can only select a line, which remains juxtaposed to the title, but nothing else happens. Is Ley highlighting the passivity of simply reading the text about women’s bodies and cruelty to animals in the cosmetics and food industries, if not accompanied by political action? On several pages she provides links to PETA inviting readers to take that extra step and get involved, rather than just enjoy the surface of things.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 22:26