Writing Futures: Hardt and Negri's Notation Politics


Aron Pease introduces this collection of essays by Linda Brigham, Caren Irr, William Wilson and Nick Spencer with a look at the multitude’s programmability.

Peter Hare's response to Lori Emerson


Peter Hare responds to Lori Emerson’s review of Walter Benn Michaels.

Chris Stroffolino's response to Lori Emerson


Chris Stroffolino responds to Lori Emerson

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.