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1. "I Am a Double Agent": Shelley Jackson's Patchwork Girl and the Persistence of Print in the Age of Hypertext

   "I Am a Double Agent": Shelley Jackson's Patchwork Girl and the Persistence of Print in the Age of Hypertext

   Eric Dean Rasmussen - 24.06.2011 - 16:17

2. Reproductive Technologies, Fetal Icons, and Genetic Freaks: Shelley Jackson’s Patchwork Girl and the Limits and Possibilities of Donna Haraway’s Cyborg

   This article uses Donna Haraway’s work in “A Cyborg Manifesto” to examine how new reproductive technologies and politics meet and converge with fictional representations of the posthuman subject in Shelley Jackson’s hypertext, Patchwork Girl. It argues that Jackson’s text offers a cyborgian reading of reproduction that challenges the dominant discourse surrounding new reproductive technologies. Ultimately, it argues that Jackson’s text represents assisted conceptions, cyborgian births, and monstrous progenesis in ways that explore the possibilities and limitations of the cyborg, and it addresses current preoccupations with the potential benefits and horrors of new reproductive technologies. (Source: Author's abstract)

   Eric Dean Rasmussen - 27.06.2011 - 08:22

3. The Roar of Destiny

   Described by interactivecinema.org as "...a perfect example of thought and physical interaction working together... ", The Roar of Destiny is a hyperpoem constructed with hundreds of intertwined lexias. A dense interface of links that lead to fragmented story-bearing lexias, creates  an experience of environment and altered environment , and the reader, like the narrator, is involved in a continual struggle between the real and the virtual.

   Scott Rettberg - 02.07.2011 - 01:23

4. Quibbling

   Through motifs of mothering, distance and intimacy, geography and labyrinths, art and writing, nuns and priests, the moon, and sexuality, Quibbling recreates the experience of writing, of assembling a story from fragments of the experience, connecting this empowering process of assembly with the process by which we assemble ourselves and our lives. What at first may seem purposely fragmented is actually as continuous and cohesive as any given time period in a person's life.

   (Source: Eastgate catalog description)

   Jill Walker Rettberg - 27.07.2011 - 15:43

5. Down Time

   Down Time consists of twenty-one stories of the computer age, connected by shared characters, events and objects. A police officer, a terminal patient, a computer technician, and a high-school guidance counselor are just a few of the characters we follow as they try (and fail) to understand themselves, their lovers, and the strangers they meet. Interactive elements allow readers to create their own paths through different stories, revealing new correspondences and connections.

   (Source: Eastgate catalog description)

   Down Time consists of a set of twenty-one short fables named for, and metaphorically based on, computer jargon. In these stories a couple of dozen characters from many walks of life in a mythical Silicon Valley move and interact in complex ways through one another's lives.

   Jill Walker Rettberg - 27.07.2011 - 16:05

6. Traveling in the Breakdown Lane: A Principle of Resistance for Hypertext

   Essay discussing the motif of the car crash in early hypertext fiction, concluding that the breakdown (in many senses) is in fact a key feature of hypertext.

   Jill Walker Rettberg - 28.07.2011 - 14:36

7. Le Nœud

   Le Nœud

   Eric Dean Rasmussen - 17.08.2011 - 16:04

8. Écran Total

   Écran Total

   Eric Dean Rasmussen - 17.08.2011 - 16:06

9. Hyperfiction: Novels for the Computer

   Coover's second significant New York Times' Books article reviewed contemporary hypertexts most substantially including Stuart Moulthrop's Victory Garden, as examples of works that have "printbound analogues" but suggested that new narrative forms were beginning to emerge.

   Scott Rettberg - 06.09.2011 - 13:38

10. The Genealogy of a Creative Community: Why is Afternoon the "Grandaddy" of Hypertext Fiction?

    Michael Joyce’s hypertext fiction afternoon, a story was first publicly presented in 1987, and is generally known as the “granddaddy” of electronic literature (Coover, 1992). It has been anthologised by Norton, is substantially analysed and discussed in dozens of academic treatises and is taught or at least mentioned in almost every course taught on electronic literature. But afternoon is not the first work of electronic literature. Why did this particular work become the progenitor of a community of writers, a common reference point for scholars and students for the next 25 years? There were alternative possibilities. (The case has already been made that interactive fiction is equally a form of electronic literature - but IF is a distinct genre with a distinct community.) Why didn’t bp Nichols’ work “First Screening: Computer Poems” (1984) start a movement? Why are there no cricital discussions of Judy Malloy’s database narrative “Uncle Roger”, published on the WELL in 1986/97? This brief paper will question the role of the mythical progenitor in the creation of a creative communtiy. Why do we tend to imagine a father or “granddaddy” of a field?

    Eric Dean Rasmussen - 08.09.2011 - 16:48

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