On Amy Elias's view of fabulation in the moment of American corporate power, a postmodern novelistic aesthetic that is consistent with Sir Walter Scott's early nineteenth-century mix of romance and Enlightenment-inspired historiography.

Against the notion that music is the most abstract of art forms, Olivia Block thinks of music as a language with its own vocabulary of sounds, patterns, rhythms, notes. On the day of a performance in Kyoto, Japan, these reflections alter Block's sense of her own language, English, deconstructed by Japanese advertisements, tee-shirts, "American" candy-bar wrappers, and text-cell phones.

An argument against the collapse of categories by an author who has, yes, himself perpetrated a few codeworks.

Virginia Kuhn reviews an essay collection - Cybertext: Yearbook 2000 - ambivalent about its own printed status.

Ted Pelton reviews Ben Marcus's novel that's not one.

Thoughts on the debut novel by Alex Shakar.

Recent fiction by Curtis White, Alex Shakar, Michael Martone, and others read through the lens of Gertrude Stein and Wittgenstein.

Carsten Schinko on Niklas Luhmann's Analogue Loyalty.

graphics: Artists Rights Society; Performance for MIDI keyboard, pianola configurations, and click-track:G. Schirmer Rental; studio portrait of Hedy Lamarr: Roy George and Associates.

Lance Olsen tells the story of a creative writing professor who walked.

Lev Manovich makes the first sustained case for a new media theory, but with cinema as his starting point he has a hard time engaging the non-representational artforms and aural explorations to be found there. So argues the Australian media writer, geniwate.

Sukenick responds to Fleisher's feminist critique of "Narralogues" in the voice of his own fictional jeune-fille, Jane.

Sandy Huss suggests that the reform envisioned by Amato and Fleisher is already underway.