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1. The Jew's Daughter

   The Jew's Daughter is an interactive, non-linear, multivalent narrative, a storyspace that is unstable but nonetheless remains organically intact, progressively weaving itself together by way of subtle transformations on a single virtual page.

   (Source: Authors' description from ELC 1.)

   Patricia Tomaszek - 17.09.2010 - 21:56

2. Twelve Blue

   Published in 1996, “Twelve Blue” is a work by Michael Joyce that has been considered the first hyperlink story of its kind. The story is devised in 8 different bars, and all relate in some way to the color blue. He sets us with minor and major characters and keeps us going through the bars. You are able to click through different links and some of them leads you to pictures, while the rest lead you through more and more of the story. Each story focuses on an object of some kind or some character. The backdrop and text is a dark and a light blue and there is a side bar with a picture of different color bars that look more like stars.The language in “Twelve Blue” is very concise and to the point. It is simple and is placed with a unique purpose. Even however simple the language may be, it tells a thrilling story of lust, memory, and consequences within its contents. Keeping it laid out like a map, the language and story tells of a drowning, a friendship, a boy and a girl, etc. and keeps resurfacing through a web of memories and pictures through the years or days of our lives. Each character is connected in some way and the story keeps you engaged until the end.

   Jill Walker Rettberg - 05.01.2011 - 12:44

3. GRAMMATRON

   Inspired by Derrida's Of Grammatology, Mark Amerika experiments in GRAMMATRON with narrative form in a networked environment. Amerika retells the Jewish Golem myth by adapting it into the culture of programmable media and remixing several genres of text into the story's hybridized style, including metafiction, hypertext, cyberpunk, and conceptual works affiliated with the Art+Language group.

   Narrated from various authorial perspectives, the story introduces readers to Abe Golam, a pioneering Net artist who creates Grammatron, a writing machine. Endowed not with the Word (as in the original myth) but with forbidden data—a specially coded Nanoscript—the creature becomes a digital being that "contains all of the combinatory potential of all the writings." The Grammatron is the personification of the Golem, which is also a personification of Amerika the artist. While the Golem and its environment have been depicted in any number of literary adaptations and works, in GRAMMATRON, Mark Amerika creates a seemingly infinite, recombinant (text-)space in the electrosphere.

   Eric Dean Rasmussen - 16.02.2011 - 15:42

4. my body — a Wunderkammer

   The author and artist Shelley Jackson has produced a corpus of work in print and electronic media that takes as its central focus the relationship between human identity and the body's constituent organs, fluids, connective tissues, and other parts. While her well-known Storyspace hypertext Patchwork Girl revisited the Frankenstein story from the viewpoint of a female monster, my body uses the HTML hypertext form to revitalize the memoir genre. As the reader selects elegantly drawn woodcut images of parts of the author's body, meditations and anecdotes associated with each body part are revealed.

   (Source: Electronic Literature Collection, Volume One)

   Patricia Tomaszek - 24.02.2011 - 17:39

5. Chemical Landscapes Digital Tales

   Chemical Landscapes is a series of photograms by Mary Pinto. The photos suggest landscapes but are created entirely in the dark room, using only chemicals and a flashlight. For this project, I've written a series of "digital tales" suggested by the particular chemical landscape. I hope the relationship of language and narrative to the "tale" parallels the relationship of light and chemicals to the "landscape." The piece begins with a title page that serves as a navigation page. By clicking at various places on the page you're taken to one of the eight chemical landscapes. Once you arrive at a landscape, the digital tale fades in and then out, and you may click on the screen at any point to jump back to the navigation page. I have tried to time the fading in and out of the text so that it is almost impossible to read it all before it fades away. My hope is that the reader will recognize the necessity of jumping around in the text, picking up pieces of the tale to read and ignoring other pieces, thereby creating a different experience with each reading.

   Eric Dean Rasmussen - 19.04.2011 - 07:24

6. Frequently Asked Questions about "Hypertext"

   Frequently Asked Questions about "Hypertext" is a short fiction, in the form of a FAQ document, that revolves around various interpretations of a 69-word poem called "Hypertext." The poem "Hypertext," nominally by "Alan Richardson," is composed from all the hidden words/anagrams contained within the nine-letter word "hypertext." The tongue-in-cheek interpretations of the fictional poem include the perspectives of language poetry, cultural studies, feminism, and transgender studies. Emerging through the interpretations and FAQ answers, however, are the interwoven "real-life" stories of the troubled author and his/her troubled critics. The poem's notoriety creates a fan fiction phenomenon centered around an online database, which, along with its creator(s), comes under attack. As in Nabokov's Pale Fire, pseudo-literary criticism gives way to a mystery story about the real author of the text, transformation and transsexuality, love and murder.

   (Source: Author description, ELC 1).

   Eric Dean Rasmussen - 09.05.2011 - 12:53