Sandy Baldwin's response to Lori Emerson


Sandy Baldwin responds to Lori Emerson

First Person, Games, and the Place of Electronic Literature


Scott Rettberg, responding to “The Pixel/The Line” (section 4 of First Person) wonders whether electronic writing isn’t evolving into a subspecies of electronic art, one that uses words as material, ‘just as sculptors use clay.’

Bass Resonance


1999 e-literature award winner John Cayley writes about Saul Bass of classic film title fame. A precursor to language arts innovators Jenny Holzer, Richard Kostelanetz, and Cayley himself, Bass may now be recognized as a poet in his own ‘write,’ important for a new generation of designwriters creating “graphic bodies of language,” moving words and signifying images, in digital environments.

Privileging Language: The Text in Electronic Writing


Now that the First Person essay collection is complete and the case has been made for computer games as a form of narrative, Brian Kim Stefans asks the fundamental questions - concerning what can be read as literature, and what really cannot.

The Flights of A821: dearchiving the proceedings of a birdsong


Marta Werner uncages Emily Dickinson’s fragments.

Querying the Connoisseur of Chaos


A Wallace Stevens conference review from poet and critic Ravi Shankar.

The Cheshire Cat's Grin


Diana Lobb responds to Katherine Hayles and ponders the ambiguities of dialogue.

Visiting Wonderland


Katherine Hayles responds to Diana Lobb.

Markku Eskelinen's response to Julian Raul Kucklich


Markku Eskelinen reiterates the bounds of ludology.

Past Futures, Future's Past


The second in a series of two essays developing the parallels between Iraq and the Peloponnesian Wars, between classical Empire and postmodern Imperialism.