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1. The New River (Spring 2021)

   The New River (Spring 2021)

   Amanda Hodes - 07.06.2022 - 21:04

2. Spring 2021 Editors' Note

   Our spring 2021 issue arrives over a year into the COVID-19 pandemic. Arguably, we’ve integrated ourselves into digital spaces more than ever before: workplaces have morphed into Slack, classrooms have become Zoom rooms, conferences have trickled into Discord, and social events have turned into FaceTime calls. Although we often frame this digitalization as a limitation, the work in The New River continues to remind us of the innovative affordances of digital creation and connection. 

   Amanda Hodes - 07.06.2022 - 21:07

3. The New River (Fall 2021)

   The New River (Fall 2021)

   Amanda Hodes - 08.06.2022 - 16:30

4. Fall 2021 Editors' Note

   Upon opening the Fall 21 issue, you might be surprised to discover its breadth. Although The New River’s issue contents have historically been in the single digits, this season’s comprises 14 individual pieces, including an interview feature with writer and artist Lillian-Yvonne Bertram. Each work is strikingly different from the next, as the genres range from speculative interactive fiction to online sound installations to generative cruft.

   Amanda Hodes - 08.06.2022 - 16:33

5. Theatricality in the midst of a pandemic: An assessment of artistic responses to COVID-19 pandemic in Zimbabwe

   This article examines theatre as a creative journalistic media deployed by theatre practitioners to map experiences of Zimbabweans during the COVID-19-induced lockdown. When the first positive case of COVID-19 was reported in March 2020, the Zimbabwe government, like many other countries, responded by introducing restrictions for public gatherings and ultimately a lockdown including arts events. Yet, theatricality has refused to capitulate. Artists re-invented their theatre productions into theatrical comic and satirical works posted on various social media platforms, in an effort to make sense of the pandemic, bring laughter and address a serious complex situation. We examine how artists deployed theatre to journal, capture and document the citizen’s collective experiences during the COVID-19 pandemic lockdown, for both the present and posterity. We are specifically interested in analysing the different ways art is deployed to provide entertainment, a broader understanding and awareness of the social, psychological and economic impact of COVID-19 for the present and future generations.

   Jill Walker Rettberg - 08.06.2022 - 23:36

6. All of the spaces collapsing: an interview with xtine burrough

   All of the spaces collapsing: an interview with xtine burrough

   Shanmuga Priya - 11.06.2022 - 18:10

7. Third Generation Electronic Literature and Artisanal Interfaces: Resistance in the Materials

   Third Generation Electronic Literature and Artisanal Interfaces: Resistance in the Materials

   Shanmuga Priya - 11.06.2022 - 18:43

8. Electronic Literature Collection, Volume Four

   The fourth volume of the Electronic Literature Collection (ELC) was published on June 1, 2022  towards the end of the ELO’s annual conference at Como, Italy. ELC4 was edited by Kathi Inman Berens, John Thomas Murray, Lyle Skains, Rui Torres and Mia Zamora. The collection represents a wide variety of works from 42 countries. The enhanced participation in the ELC4 compared to its previous collections shows the global recognition of e-lit (see ABOUT ELC3 and ABOUT ELC4). The 132 electronic literary works are produced in 31 languages, namely: Afrikaans, Ancient Chinese, Arabic, Catalan, Chinese, Danish, Dutch, English, French, German, Greek, Hungarian, Indonesian, isiXhosa, Italian, Japanese, Korean, Norwegian, Polish, Portuguese, Romanian, Russian, Setswana, Simplified Chinese, Slovak, South African Sign Language, Spanish, Swedish, Turkish, Yoruba.

   Shanmuga Priya - 11.06.2022 - 20:37

9. First and Second Waves of Indian Electronic Literature

   In her seminal book Electronic Literature: New Horizons for the Literary (2008), Katherine Hayles historicizes electronic literary works as first generation and second generation published before and after the advent of Web respectively. In addition to this, Leonardo Flores, in his essay “Third Generation Electronic Literature” (2019), defines three waves of electronic literature. He discusses the electronic literary works, which are mostly hypertext, kinetic and text-based, published between 1952 and 1995 as first generation, the multifaceted features of second generation works started after the rise of Web in 1995 and continues to the present. Third generation works encompass of social media networks, apps, mobile and Web API services began around 2005. These works have made important contributions to understanding the field of Western electronic literature. On the other hand, scholars have discoursed about the non-western electronic literary works and emphasised about their generations.

   Shanmuga Priya - 11.06.2022 - 21:46

10. Looking Back while Moving Forward: The Case of Concrete Poetry and Sankofa

    This article considers the intersection between African oral tradition and electronic literature by exploring the potential of Sankofa to interact with concrete poetry in an electronic space. Sankofa is an example of the Adinkra, a set of symbols that were originally created and used by the Akan in West Africa. These symbols have literary value which this article looks at in ways similar to concrete poetry; examining Sankofa as concrete poetry in an electronic context enables a simultaneous dovetailing with as well as convergence from oral and print based modes of engaging with the text: aspects of oral tradition influence this exploration. 

    Jill Walker Rettberg - 27.06.2022 - 18:53

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