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Subjective Boundaries: Shelley Jackson's Hypertexts and the Terrain of the Skin
This presentation traces connections between Shelley Jackson's hypertext, "Patchwork Girl" (1995), and her more recent "Skin" Project (2003-present): a 2095 word short story published only once, tattooed word-by-word onto the bodies of applicants who have elected to become words, henceforth understood as embodying these words. Both works are interested in consequential relationships between living/dying bodies and texts: what it means to embody a text, what texts do to the body. Through avoiding traditional print media, both pieces also call into question the ways we read or write and the future of the book in the age of digital media.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 09.01.2013 - 14:28
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The Monstrous Book and the Manufactured Body in the Late Age of Print: Material Strategies for Innovative Fiction in Shelley Jackson’s Patchwork Girl and Steve Tomasula’s Vas
In recent decades a growing number of innovative writers have begun exploring the possibility of creating new literary forms through the use of digital technology. Yet literary production and reception does not occur in a vacuum. Print culture is five hundred years in the making, and thus new literary forms must contend with readers’ expectations and habits shaped by print. Shelley Jackson’s hyptertextual novel Patchwork Girl and Steve Tomasula’s innovative print novel Vas: An Opera in Flatland both problematize the conventions of how book and reader interact. In both works an enfolding occurs wherein the notion of the body and the book are taken in counterpoint and become productively confused. Jackson’s book, alluding to Mary Shelley’s Frankenstein, is about a monster composed of various bodies while the book itself is also a monstrous text: a nonlinear patchwork of links across networks of words and images.
Audun Andreassen - 10.04.2013 - 13:12
