Craig Saper ingeniously interprets Gregory Ulmer as an object of study, as both a vehicle and driver of signification.

NINES is an initiative at the University of Virginia to "establish a coordinated network of peer-reviewed content and tools." We present the project here because it's consistent with the initiative at ebr to create a peer-to-peer literary network for conceptual writing.

Bethany Nowviskie of the University of Virginia introduces the COLLEX tool, a "COLL-ection" and "EX-hibition" of online images and interlinked texts. Nowviskie's white paper is the first essay to be "wrapped" into the ebr interface. That is, the essay has itelf been collected, tagged, and interlinked with the essays in ebr. This way, the essay is not just about the development of a semantic network - it is part of one.

Kiki Benzon and Mark Z. Danielewski discuss his 2006 book Only Revolutions at the International Festival of Authors in Toronto.

There has never been a 'Best of the electronic book review' or a print collection. After ten full years of online publication, ebr has devised other ways of marking time, using techniques available in the same electronic media where the work first appeared. Here the editor presents an initial 'Gathering' of ebr essays, pulled from each of the journal's threads to date.

Trace Reddell introduces Sonic Contents.

Erik Davis listens to Lee Perry's work.

David Rothenberg writes of the affective and effective power of reverb.

Erik Davis discusses the relationship between electronic sound and environment.

James Riley on Jack Kerouac.

From event to non-event. Frank Seeburger deconstructs 9/11.

Marcus Boon explores the healing of traditional music.

Andrew McMurry looks back on ten years of ecocriticism and identifies a "new physiocracy," whose exclusive interest in technology is no better than the exclusive valuation of property that typified physiocrats of the Nineteenth-Century.

Reviewing Andrew McMurry's Environmental Renaissance, Stephen Dougherty questions the systems approach to ecocriticism.

Andrew McMurry introduces Katherine Acheson's review of Radiant Textuality, declaring that Acheson's illuminated critique exemplifies what's missing in McGann: the use of design not just to illustrate prose but also to extend a textual engagement.

Katherine Acheson's free-standing hypertext demonstrates how design can reinforce what's said, offer a counterpoint, and, occasionally, convey a critique of the critic.

In his review of Lee Rozelle's Ecosublime, Andrew McMurry offers a contrasting understanding of the sublime as a term describing our closure to nature, not our openness.

Ted Pelton writes an in-depth account not just of the &Now Conference at Lake Forest College but of the state of experimental writers and small press publishing.

"Dispersion" is a short-story by Rob Swigart.

Michael Wutz writes of how, in Raymond Federman's My Body in Nine Parts, body parts are represented as having registered, inscribed, contributed to Federman's life.