Zuzana Husárová and Nick Montfort up the ante for experimental writing by examining the category of "shuffle literature." What is shuffle literature? Simply put: books that are meant to be shuffled. Using formal reading of narrative and themes, but also a material reading of construction and production, Husárová and Montfort show that there are many writing practices and readerly strategies associated with this diverse category of literature.
Lance Olsen reviews Shelley Jackson's first print collection.
Despite talk of endings and absences at Eastgate Systems, Dave Ciccoricco investigates continuities in the work of Michael Joyce and Mark Bernstein.
Henry Jenkins uses narrative space to distinguish between different tale-ends.
As Christian Moraru argues here that the new is still the objective in contemporary writing. But writers and artists make it by making it anew rather than new ("Get it used," Andrei Codrescu invites us), a new not so much novel as renovated, reframed and reproduced rather than produced, which by the same token redefines and advertises authorship as deliberate plagiarism.
Joseph Tabbi reads both the book and the hypertext version of Strickland's True North.
Paul Harris explores IN.S.OMNIA's technographies.
Tempering the myth of global variety, David Golumbia processes the dominance of English in digital environments - and a highly standardized English at that.
The parallels (and oppositions) between hypertext and AI are brought out in section five.