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1. The Pines at Walden Pond

   This lyric hypertext poem is based on a speaker’s thoughts and observations centered upon the pines at Walden Pond, a space celebrated in American literature thanks to Henry David Thoreau’s book Walden, his experiment in self-reliance and Transcendental song.

   Larsen’s hypertext is mapped upon an image of a pine branch, in which several nodes are connected by spindly linear trails. Each trail of links can be interpreted as a line of thought, starting with four nodes that focus on the pines, the speaker’s perception of them, Thoreau, and the speaker herself. Following the link trails lead to nodes that hold together well, though there are both physical and conceptual branchings. Clicking on links as they appear within each text also creates thematic associations. Both ways navigating this poem lead to a powerfully associative coherence in a piece that engages the beauty of the place while questioning some of Thoreau’s politics.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Scott Rettberg - 03.02.2012 - 15:45

2. Incarnation: Heart of the Maze

   This lyrically powerful hypertext poem is inspired and informed by a large number of sources, primarily on mythology (mostly Greek) and labyrinths (mandala shaped ones). Centered upon the Minotaur myth, the labyrinth Daedalus and Icarus built to contain it, Ariadne and the Minotaur himself, the poem gives a voice to some of these characters, representing them visually with an image of a portion of the mandala-shaped stone maze, and a body part (in the name given to the node. The hypertext is structured like a mandala, allowing readers to take direct paths in towards a center space with its own nodes. The interface also allows for lateral or circular movement across voices, placing them in conversation with one another and allowing readers to spiral in towards the center. (Source: Leonardo Flores, I ♥ E-Poetry)

   Carolyn Guertin - 20.06.2012 - 22:42

3. Tide-Land

   Originally published in BeeHive 3:4 (December 2000), this poem maps human experiences, narrative, weddings, funerals, and memory onto the ebb and flow of waters in tidelands— those coastal regions where rivers flow into the sea. The metaphorical relations between tidelands and individual and collective experience, past and present, knowledge and intuition are enacted in the use of hypertext and layers. This layering of text and image makes some lines and words difficult to read, breaking with the tradition of sequential arrangement of texts to draw attention towards new juxtapositions and the blending of human experiences. The poem also references estuaries, islands, and water during high, low, and neap tides— lunar and maritime cycles presented as a female analog to the more masculine solar solstices and equinoxes that have received such archetypal attention. This is a work worthy of rereading and reflection to allow its language and images to ebb and flow in and out of your conscious mind.

   (Source: Leonardo Flores)

   Helene Helgeland - 29.10.2012 - 14:25

4. Falling

   This visually and rhythmically enthralling piece uses a minimalist interface to create a work that resonates in its repetitions. Organized to look both as a visual piece and a code poem, it uses a simple interface to organize the language and produce multiple readings of each part. I recommend reading this poem out loud to feel the rhythm established by all the repetitions of falling in each line, starting with the page as it loads before clicking on any links. Clicking on the words in the first column trigger the display of new parts of the poem on the right hand column, parts that seem to tell stories of relationships, states of being, moods, war, and other human concerns. You may choose to read the whole thing linearly and intuit a narrative from the sequence, or you may read it texturally, occasionally including a “falling” from the central column for the sake of increasing the echoing quality of the piece and adding a layer of wordplay.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 19.02.2013 - 20:19

5. GIF-Poems

   This selection of six poems built with a type of composite image known as animated GIFs used to create the earliest animations in the Web. In Zervos’ experienced hands (see his “Dimocopo” suite), this simple technology can be very expressive indeed, as can be seen in “Divorce” a kinetic concrete poem that uses moving typography to highlight some of the finer points in a divorce process. The narrative poem seen above, “A Kidz Story,” is best experienced in action because it is a story generator designed with nine animated GIFs, one per line, each with a different time interval between lines. This allows for different combinations to emerge over time, providing the illusion of variation in what eventually becomes very formulaic and repetitive— an incisive comment on the genre it represents. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 09.03.2013 - 21:43

6. Internal Damage Data

   “Internal Damage Data” uses the structure of a multiple choice questionnaire for self assessment of internal damage to shape the first part of the poem. For each question, Mez uses option C (maybe, unsure, other…) to develop her poem, seeking to transcend the traditional yes/no binaries in such questionnaires. In the part depicted above, she uses algorithms to structure her poem: using the logic and language of programming to guide the reader’s experience of the poem. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 12.03.2013 - 23:56

7. Birdfall

   “Birdfall” deconstructs a single narrative sentence written in conventional English and slowly transforming it into mezangelle. As you scroll down the window to read each line and prose poetry paragraph, the language becomes stranger as she inserts extended passages in brackets inside of words, shifts spelling to homophones with different meanings, adds self-referential metatext that suggests links, and more. She uses animated GIFs in the background and foreground to signal to readers that there there are shifting intentions, language, and narrative— as if the ground on which this text is placed is unstable. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 03.05.2013 - 16:24