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1. Hypertext Fiction in the Twilight Zone

   The first hypertext fictions were written in the early eighties, and the first commercially distributed hypertext fiction was Michael Joyce's Afternoon. A Story. It was published by Eastgate Systems in 1987 - slightly over a decade ago. I would like to take a look at hypertext fiction, its history and present, and try to make some predictions of its future.

   Jill Walker Rettberg - 13.01.2011 - 00:00

2. Forward Anywhere

   Originally written under the auspices of the Xerox PARC Artist in Residence Program, and published in 1996  by Eastgate Systems, Forward Anywhere is a hypertextual narrative written by new media poet Judy Malloy and then Xerox PARC hypertext researcher Cathy Marshall. Created when Malloy was an artist in residence at PARC, beginning in 1993, the collaborative narrative -- an exchange of the details of the lives of two women who work with hypertext -- unfolded via email over a year or so and then was somewhat fictionalizd and recontextualized into Forward Anywhere.  "...each emerges from a particular history and sensibility, Malloy's from the postwar suburbs of Boston, Marshall's from California and the sixties. To pass from one of these moments to the other is to recognize the almost-repetition of emergent or autopoetic pattern, an experience that touches something very deep in the instinctual repertoire, perhaps demonstrating that software does speak to human identity after all," Stuart Moulthrop wrote in "Where to?", Convergence 3:3, Fall, 1997: 132-38.

   Jill Walker Rettberg - 14.01.2011 - 12:04

3. Samplers: Nine Vicious Little Hypertexts

   Deena Larsen's Samplers: Nine Vicious Little Hypertexts was originally published on 3.5-inch floppy disk for Macintosh and PC computers in 1997; it was released later that year on CD-ROM for both platforms. Larsen reports that she produced the work on her Macintosh computer and had not seen the PC version until years later ("Interview"). The work was created with Storyspace 1.2C and requires 5.5 MB of space. It is the second major work by Larsen and follows two years after the success of her opus, Marble Springs(1993). Contained among the nine little hypertexts is Century Cross, a work that was published as a solo work two years after Samplers Version 1.0 was released.  

   Jill Walker Rettberg - 14.01.2011 - 12:09

4. Semantisation, Exploration, Self-reflection and Absorption: Our Modes of Reading Hypertext Fiction

   "How do we read hypertext fiction? The question has been widely explored (Moulthrop 1991; Kaplan and Moulthrop 1991; Snyder 1997; Miall and Dobson 2001; Ryan 2001; Gardner 2003; Gunder 2004; Landow 2006; Mangen 2006; Page 2006) and there seems to be a consensus regarding the reader’s experience of hypertext fiction. Many critics actually claim that reading hypertext fiction generates frustration and insecurity. These and other studies describe how their readers react on and respond to hypertext fiction, but, as I see it, they partly fail in that they put to much weight on the reader’s responds and hardly no weight on the fact that hypertext fiction just like print fiction encourage or prefigure different responses and different modes of reading. The consequence is that these studies suffers from limitations witch lessens their valuable contribution to our knowledge about reading hypertext fiction. One reason for this might be that hypertext theory lack established concepts for describing response structures that encourage different modes of reading.

   Eric Dean Rasmussen - 27.01.2011 - 15:13

5. Electronic Literature Without a Map

   The paper discusses several problems that seem to define and determine the field of electronic literature in theory and practice and suggests several strategies to remedy the situation in the spirit that is both analytical and polemical.

   Electronic literature has been around at least for 50 years and many of its typical ergodic ingredients share a cultural (pre)history that reaches back to classical antiquity and beyond (I Ching). Still, the cultural, economical, educational and even literary status and visibility of electronic literature is low and obscure at best despite occasional canonisations of hypertext fiction and poetry (the works of Michael Joyce and Jim Rosenberg), literary groups such as the OuLiPo that from very early on extended their orientation beyond print literature, and the efforts of an international or semi-international organisation (ELO) to promote and preserve electronic literature - not to mention multiple and more or less influential and comprehensive theories of electronic and ergodic literature.

   Eric Dean Rasmussen - 27.01.2011 - 16:03

6. The Possible Worlds of Hypertext Fiction

   Publisher's blurb: Written in hypertext and read from a computer, hypertext novels exist as a collection of textual fragments, which must be pieced together by the reader.The Possible Worlds of Hypertext Fiction offers a new critical theory tailored specifically for this burgeoning genre, providing a much needed body of criticism in a key area of new media fiction.

   Table of Contents: The Universe of Hypertext Fiction
   Hypertext Fiction and the Importance of Worlds
   Contradictions, World Views and the Nature of Truth in Michael Joyce's (1987) afternoon--a story
   Going, Going, Gone: the Slippery Worlds of Stuart Moulthrop's (1995) Victory Garden
   Is there a Mary/Shelley in this World? Parody and Counterparts in Shelley Jackson's (1997) Patchwork Girl
   The Colourful Worlds of Richard Holeton's (2001) Figurski at Findhorn on Acid
   Bibliography
   Index

   Eric Dean Rasmussen - 01.02.2011 - 11:43

7. Figurski at Findhorn on Acid

   Richard Holeton's Figurski at Findhorn on Acid is a hypertext novel released for Storyspace by Eastgate publishers in 2001. The story follows the main character Frank Figurski’s quest to acquire a legendary mechanical pig. As Alice Bell points out, this was one of the last major hypertext works created using Storyspace, as authors began to move to web-based tools and CD-ROM based platform became outmoded (150).

   Background:

   Holeton's hypertext work originated as an award-winning short story “Streleski on Findhorn on Acid" published in 1996 (Grigar et al). That same year, he took part in Robert Kendell's online writing class "Hypertext Poetry and Fiction" at the The New School for Social Research, where he reworked the print story into an electronic text. He produced a novel-length draft for his masters thesis at San Francisco State University; it was the first electronic thesis approved by SFU (Grigar et al). The "canonical" version of Figurski at Findhorn on Acid was released on CD-ROM by Eastgate publishers in 2001.

   Eric Dean Rasmussen - 02.02.2011 - 14:30

8. For Thee: A Response to Alice Bell

   In an essay that responds to Alice Bell's book The Possible Worlds of Hypertext Fiction (Palgrave Macmillan, 2010), Stuart Moulthrop uses the lessons of hypertext as both an analogy and an explanation for why hypertext and its criticism will stay in a "niche" - and why, despite Bell's concern, that's not such a bad thing. As the response of an author to his critic, addressed to "thee," "implicitly dragging her into the niche with me," this review also dramatizes the very productivity of such specialized, nodal encounters.

   Eric Dean Rasmussen - 03.02.2011 - 11:01

9. Uncle Buddy's Phantom Funhouse

   Art "Buddy" Newkirk has disappeared and left you his literary estate. By the looks of it, he and his friends were a very odd bunch.

   You might have enjoyed knowing them. But you don't: why does "Uncle" Buddy think you do? Where is he, anyway? And what does this have to do with Meister Eckhart and the New York City subway?

   To find out, you'll have to pop the floppies into your Mac, drop the tapes into your boombox, and get ready to meet Buddy's friends, read his email, listen to his band, and sort out his (very strange) Tarot deck.

   (Source: Eastgate catalog description)

   Hypercard on computer discs with two casettes, a letter, and photocopied article.

   Eric Dean Rasmussen - 07.02.2011 - 12:42

10. Interview with Michael Joyce

    Archivist Gabriela Redwine interviewed author Michael Joyce during his visit to the Ransom Center in April 2009. Excerpts from the interview are available as audio files and transcripts. Joyce talks about the reader community around early hypertexts, before they were even published and were just being passed from person to person on floppy disks, about connections between his work and Modernist authors (Stein, Joyce), about lowercase letters not being an obvious requirement to early computer programmers, about e-lit authors having to be their own critics and about the sensation of writing the first line of afternoon and knowing that this was different from conventional literature.

    Jill Walker Rettberg - 14.02.2011 - 11:43

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