Addressing a lacuna in games studies, Jason Lajoie makes a case for why a queer games studies is needed, and he shows how these two areas of study are united in Bonnie Ruberg's and Adrienne Shaw's collection.
ebr Associate Editor Lai-Tze FAN responds to Dani Spinosa's review of llegal Literature: Toward a Disruptive Creativity, by David S. Roh.
McKenzie Wark explores the work of Masha Tupitsyn as a pathway into the conditions of life in the 21st Century, somewhere above (or below) the framework of mediated experience, even beyond the limits of what we often call "theory." With Tupitsyn, Wark troubles the current stasis of representation that stultifies thought in this age of unrepentantly industrialized culture, not by turning us away from the spectacle, but by smashing right through it, picking up its pieces, and discovering new things in the wreckage.
At the Frankfurt Book Fair, Ed Finn and his team attempted to "write, edit, and publish a book in three days." In this essay, Finn explains the process, outcomes, and future considerations of that collaborative experiment in writing, reading, and publishing in parallel and as performance, in the same room at the same time, as he attempts to answer the question, "What is the future of publishing?"
Just as Walter Benjamin declared that all "great works of literature either dissolve a genre or invent one," Brian Kim Stefans argues that all successful works of electronic literature are sui generis and invent their own genre. There can be a vocabulary for this invention, however, and Stefans sets out “The Holy Grails of Electronic Literature,” “Six Varieties of Crisis,” and the “Surrealist Fortune Cookie.” Through these concepts, he describes the formal challenges, reading experiences, and fundamental textual units of electronic literature.
Stephen Ramsay introduces a short film in which he does a live reading of composer Andrew Sorensen's performance "Strange Places" and provides commentary.
David Shepard heads off the discussion regarding Stephen Ramsay's live reading of Andrew Sorensen's "Strange Places." His initial contribution is followed with posts by Amanda French, Mark Marino, Max Feinstein, Jeremy Douglass, Daren Chapin, John Bell, Jeff Nyoff, Jennifer Lieberman, and Stephen Ramsay, as well as Andrew Sorensen himself.
Emily Short interrogates Ian Bogost's Unit Operations and finds his approach to videogame criticism too capacious in its attempt to account for a variety of expressive media, and too narrow in its focus on low-order choices in videogames.
Stephen Schryer contrasts narratological and postsecular readings of postmodernism in a review of Gerhard Hoffmann's vast study, From Modernsism to Postmodernism (2005), and John McClure's narrower but more pointed exploration, Partial Faiths (2007).
A review of John Farrell's magnificent Paranoia and Modernity: Cervantes to Rousseau, in light of contemporary literary criticism: Where Brian McHale declares an end to postmodernism, and where many discount paranoia as a passing literary interest, reviewer Tim Melley sees postmodern paranoia everywhere. As long as corporations are regarded by law as 'individuals' and conspiracy is the preferred way of understanding political and social systems, it seems that we'll remain in the longue duree of the postmodern moment.