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[…]her early drawings. Black hearts bigger than planets “absorb light, hope, and dust particles, …[and] eat comets and space probes” (3). After a painful breakup, an anguished woman allows the fat that naturally grows on walls and furniture in her cosmos to amass until she is swimming through the yellowish ooze like an insect in hardening amber. One Thursday, cancer appears drifting in the middle of man old man’s living room, “barely visible, a pink fizz, a bloodshot spot of air” (56). It begins growing, and it doesn’t stop until it has inundated the protagonist’s house and flooded into his […]
[…]pick up some threads already introduced in the electropoetics issue [link to contents page, ebr5 ] and to examine in a more systematic way the problem of constraints in electronic writing. Contributors might ask: how are we to define the notion of a constraint anyway? what are the new devices used by constrained electronic literature? is it possible to transpose electronically some traditional constraints? what are the new tendencies to be explored in the future? and of course: why should one practice constrained writing when working in electronic environments? Jan Baetens, N + 7: In the third plaid (and this […]
[…]movies from novels, as in Lucian Pintilie’s recent films (The Oak, Unforgettable Summer, and his latest, which is an adaptation from the novel Too Late by Razvan Popescu). It helps to have friends in the West. It also helps to write what the West wants to read. It is unfortunate that the mysticist element in Romanian writing was suppressed while it may have a had a healthy market in the West, although the type of credence in extra-natural forces and human destiny was and remains very much different than the Me-First orgiastic tendencies of a mantra-humming Ginsberg. While most writing […]
[…]noisy partisanship brings into focus and thus helps us understand something of what is at stake (and for whom) when we ask a fundamental question: what are we talking about when we talk about hypertext literature? Two different ways of answering this question have surfaced in the last few years with very different implications. Briefly, on one side there are those who find the terms “hypertext” and “literature” to be oxymoronic. Like Miller, they find the “very concept” of literary hypertexts to be “dreary”; they argue that literary hypertexts distort the true processes of both creating and reading literature. On […]
[…]does it for the same reason as when he started penetrating “Windows NT” six years ago, namely to comprehend the deepest workings of technology. Mudge compares himself to the Sixties radical Abbie Hoffman: “For every Abbie Hoffman, there’s a bunch of Jerry Rubins [sellouts], but you only need that one Abbie Hoffman. Otherwise the world would be a futitle place.” lethal injection for the terrorist tagger A common off-line species of counter-narrative is graffiti. All those coded inscriptions on traffic signs, freeway overpasses, billboards, busses, walls, windows. Cadres of kids, taggers, with their spray cans and magic markers inscribing their […]
[…]peculiarity of Cruikshank that the offered flowers or goodnesses, the scenes and figures intended to comfort and cheer, present themselves under his hand as but more subtly sinister, or more suggestively queer, than the frank badnesses and horrors.” ^2 Henry James. A Small Boy and Others. New York: Charles Scribner’s Sons, n.d., 1913. p 120. James might have had in mind such a plate as the one that shows Oliver after he has been rescued by Mr. Brownlow, “Oliver recovering from the fever,” or the one that shows “Mr. Bumble and Mrs. Corney taking tea.” To read Oliver Twist without […]
[…]of hypertext in book form, and the more treacherous in that it does not announce itself as the latest fashion of critical theory (labeling is dangerous if one wants to produce “dangerous” and critical writing). But as “play,” it’s the perfect booby trap for traditional writing. Federman A to X-X-X-X is such a hypertext too, but the interesting part of it is that it avoids any naive imitation of electronic hypertext, at least in the stereotyped and uncritical vision of it as an unstructured set of labyrinthine linked lexias which are not very motivating to read in themselves. McCaffery, Hartl, […]
[…]of celebration through a wide array of communities and discourses, from popular novels and films to forms of play, such as conspiracy “games.” While a few chapters, particularly those on right-wing militia and Christian groups, are more reportorial than analytical, and hence less interesting, most offer new primary materials and theoretical approaches. One of the best chapters treats conspiracy narrative as a form of hyperactive semiosis. Fenster argues that conspiracy narrative is motivated by a paradoxical desire both to unearth the motive cause of complex social effects and to keep that cause at arm’s length. “If satisfaction is defined as […]
[…]culture include the publication of William Gibson’s Neuromancer (1984), Donna Haraway’s Manifesto for Cyborgs (1985), and Octavia Butler’s Xenogenesis trilogy (1987-89). Memories and premonitions of mushroom clouds loomed over these three speculative and/or scholarly scenarios published during the final decade of the Cold War; each text imagines the form of a posthuman or post-nuclear world. Gramophone, Film, Typewriter posits its posthumanity on the premise that the Strategic Defense Initiative has already set off the fireworks, that the future is always already a prequel to Star Wars. The text begins with the observation that optical fiber networks are “immune…to the bomb. […]
[…]horizon, which have become conventional, and thus discovers treasures of tradition that have heretofore remained hidden for a long time. So far, so good. Unfortunately, there is no strength that couldn’t turn into a weakness. Sloterdijk’s unconcern regarding the criticism of his colleagues perhaps made him all too carefree, and his strongly developed need for creativity and originality took care of the rest. In any case, in chapter five he lets himself be carried away so that he makes statements that in fact are suited to discredit the book in the eyes of most critics. It is this very fifth […]