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1. The Strategy of Digital Modernism: Young-Hae Chang Heavy Industries's Dakota

   from Project MUSE: A prominent strategy in some of the most innovative electronic literature online is the appropriation and adaptation of literary modernism, what I call “digital modernism.” This essay introduces digital modernism by examining a work that exemplifies it: Dakota by Young-hae Chang Heavy Industries. I read this Flash-based work in relation to its literary inspiration: the authors claim that Dakota is “based on a close reading of Ezra Pound's Cantos part I and part II.” The authorial framework claims modernism’s cultural capital for electronic literature and encourages close reading of its text, but the work’s formal presentation of speeding, flashing text challenges such efforts. Reading Dakota as it reads Pound’s first two cantos exposes how modernism serves contemporary, digital literature by providing a model of how to “MAKE IT NEW” by renovating a literary past.

   Eric Dean Rasmussen - 14.02.2011 - 10:27

2. Scott Rettberg’s Writerly Text, “The Meddlesome Passenger”: Reading as Writing/Consumption as Production

   A reading of Rettberg's "The Meddlesome Passenger" as a postmodern metafiction, in Roland Barthes' terms of the "writerly" text.

   Scott Rettberg - 25.03.2011 - 10:41

3. Performative Reading: Attending The Last Performance [dot org]

   The Last Performance [dot org] by Judd Morrissey, Mark Jeffrey, the Goat Island Collective, and more than 100 other contributors, is a work of database literature that exists in a number of different manifestations online, in performance, and in museum installations. The work-in-progress was initiated in 2008. It was composed using a constraint-driven collaborative writing process that invites user contributions. In this essay, Scott Rettberg considers the difficulties of attempting a close reading of this type of electronic literature, and suggests some strategies for attentive reading, driven by close reading of fragments of the work and awareness of how the work functions as a computational and narrative system.

   Patricia Tomaszek - 06.05.2011 - 14:01

4. Nonce Upon Some Times: Rereading Hypertext Fiction

   Nonce Upon Some Times: Rereading Hypertext Fiction

   Jill Walker Rettberg - 15.10.2011 - 22:54

5. Close Reading in the Realm of Static and Dynamic Texts

   Review and discussion of Reading Digital Literature at Brown University, organized by Roberto Simanowski (Brown University and Dichtung Digital) October 4-7, 2007.

   Patricia Tomaszek - 11.11.2011 - 15:28

6. Wreader's Digest - How To Appreciate Hyperfiction

   Compared to its age - or youth - hyperfiction is a rather well-theorized genre. Hyperfiction-criticism either praises its subject as evolved print-text and better realization of contemporary literary theory - or deplore its - allegedly - low literary quality. What is missing, however, are in-depth readings of digital fiction that deemphasize theory and try to appreciate this new genre for what it has to offer.

   In this "paper", I will read two hyperfictions that are not among the two or three canonized texts that are relatively well-known and often-quoted. Both John McDaid's Uncle Buddy's Phantom Funhouse and Sarah Smith's King of Space deal with central issues of hypertext-theory - in content as well as formally. They are about agency and sense-making, ironically deconstructing mainstream theory's claims that digital, hyperlinked texts activate readers into a de-facto author-position. They are also representations of contemporary life that may be difficult to read at first but also make strangely adequate and enjoyable texts for today's readers. (Source: abstract in journal)

   Jill Walker Rettberg - 16.11.2011 - 12:01

7. On Hypertext Criticism

   On Hypertext Criticism

   Jill Walker Rettberg - 16.11.2011 - 12:36

8. Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

   Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

   Patricia Tomaszek - 13.02.2012 - 00:53

9. The Paratexts of Inanimate Alice: Thresholds, Genre Expectations and Status

   In her book Writing Machines, N. Katherine Hayles described the concept of thetechnotext. Hayles used this concept to provide an analysis of a range of texts, including online work, based on their materiality. The analysis described in this article complements this method by developing an approach that explores the conditions of production of contemporary digital literature. It achieves this aim by providing a close reading of the online paratextual elements associated with the first four episodes ofInanimate Alice by Kate Pullinger and Chris Joseph. In doing so, it modifies the print-based analytical framework provide by Gérard Genette and others to develop a detailed account of the off-site, on-site and in-file paratexts of this online work. It sets out a range of thresholds that mould the reception of this text. It also notes how they position it within wider discourses about genre, media, literature and literacy. This article concludes by exploring the limits of this paratextual reading. It discusses whether it provides an adequate account of the material conditions of these texts.

   Jill Walker Rettberg - 02.06.2012 - 14:25

10. Collaborative Reading Praxis

    Marino, Douglass, and Pressman describe their award-winning collaborative project, Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope {Bottomless Pit} (2015). Given the novelty of Poundstone’s work and its deviation from traditional forms of print-based literature, the authors break down the methods and platforms that allowed them to respond with new ways of reading—what they call “close reading (reimagined).” Indeed, their respective methods of interpreting Poundstone reminds that the field of e-literature not only brings new literary forms to our critical attention, but also necessitates that hermeneutics adapt to digital contexts as well.

    Hannah Ackermans - 08.09.2020 - 12:20