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Bones of the Book
A short essay about the digital future of books that focuses primarily on various e-book formats, constrating the failures of early experiments by publishers such as Voyager Expanded Books with more recent digital-publishing trends -- such as Touch Press's app version of T.S. Eliot's The Wasteland and meta-analytic tools, such as Amazon's X-Ray, which is bundled with the Kindle Touch -- that suggest the promose of expanded e-books. Electronic literature, in this narrative, receives only cursory attention. After noting that the "electronic literary vanguard tends to dislike e-books because they are too much like real books," Moor provides a brief account of electronic literature that, regretably, equates the field almost exclusively with the hypertextualists who built and wrote using StorySpace. While Moor is aware that a multiplicity of e-literary forms exist, he neglects to describe the "dreamy new places" that author-programmers have subsequently built.
Eric Dean Rasmussen - 07.03.2012 - 14:33
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Where the Senses Become a Stage and Reading is Direction: Performing the Texts of Virtual Reality and Interactive Fiction
Where the Senses Become a Stage and Reading is Direction: Performing the Texts of Virtual Reality and Interactive Fiction
Patricia Tomaszek - 16.03.2012 - 15:47
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Bookend; www.claptrap.com
Bookend; www.claptrap.com
Patricia Tomaszek - 29.04.2012 - 15:17
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Pushing Back: Living and Writing in Broken Space
Pushing Back: Living and Writing in Broken Space
Scott Rettberg - 29.06.2013 - 20:50
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Readerly Freedom from the Nascent Novel to Digital Fiction: Confronting Fielding's Joseph Andrews and Burne's "24 Hours with Someone You Know"
This essay compares two novel forms that are separated by more than 250 years: Henry Fielding's Joseph Andrews, published in 1742, and Philippa Burne's hypertext fiction "24 Hours with Someone You Know," copyrighted in 1996. Using narratological, pragmatic, and cognitive tools and theories, the confrontation of the two distant texts aims to highlight that while "the ethics of the telling" is congruent with the "ethics of the told" in both stories (), the texts differ in the pragmatic positioning of their audiences and the freedom that they seem to grant readers, thereby emphasizing the evolution of the author-reader relationship across centuries and media. The article shows to what extent digital fiction can be said to invite the active participation of the reader via the computer mouse/cursor.
Jill Walker Rettberg - 06.01.2020 - 14:27
