“‘…there is no story at all; there are only readings’ (124)”.
I don’t know why WordPress is throwing my links all over the page like this. I had to cut a bunch of links to make the post remotely legible. I’ve tried many different things to fix the problem and I think it’s just a system error for the time being. Believe me, I’m annoyed about it too >.>
Flux & Flow
So…. I’m back at it again.
Doing the ELit thing, writing the feelings
whatever those are down, being “insightful”… You know, the usual.
Anyway, let’s get down to business.
I don’t remember what I thought of Jessica Pressman’s “Navigating Electronic Literature” the first time I read it
eons and eons ago but this time around, I found it to be thought-provoking, informative, and intellectually engaging. The article articulates the challenges and nuances of interacting with ELit, especially in a classroom setting, rather well. In my experience, I’ve found just articulating what ELit can be and what it can do to be a challenge in and of itself. So, kudos Jessica~
Pressman’s emphasis on navigation in ELit texts, too, I found particularly deft. Having a wonderful wealth of experience interacting with ELit–even creating my own work!–myself, I know how integral to a work its navigation can be–but, also, how much confusion a work’s navigation can create. More than that, I know how a work’s navigation can complicate reader/interactor understanding of literary purpose and overall merit.
If anything, this time around, I was most interested in the points Pressman was making about problems of conceptualizing, or, really, re-conceptualizing storytelling and authorship when it comes to ELit. Do affordances such as hyperlinking allow readers enough agency to make them co-authors of an ELit work, like Landow suggests? Or, are readers merely explorers of a work, trying to uncover all avenues of story rather than decide them? More, to what extent do readers decide meaning in works like this? Can an inherent meaning be embedded/programmed in these works anymore than meaning can be imbued in a written text? Or, is meaning ultimately decided by the reader?
Are there any stories at all in Elit? Or, is it all just readings?
I don’t have any answers and I love it.
The experimental, the uncertainty, the trans-formative, the de-contextualized, the room for possibility—is what I love about ELit. To me, it is the curiosity and the search for discovery and meaning-making that ELit spurs that makes ELit literary/a literary experience. The literariness exists in what we are given/in what we receive from a work, the questions it generates and the challenges it creates and asks us to tackle.
While I think the binary–stories/readings–is apt in some ways for describing differences between ELit and traditional literature, forgetting that there are readers behind both– story and reading–neglects a vital aspect of understanding new forms of digital literature and media. The underlying depth to ELit, I believe, is something that has to be realized in the reader.
“So a random set of meanings has softly gathered around the word the way lint collects. The mind does that.” from On Being Blue William Gass
In my opinion, Michael Joyce’s Twelve Blue is one of those powerful works of ELit. Like, it’s a seminal work for a reason
not just that it was the first work of Elit. I think I forgot that until I “reread” it this weekend.
The work is a piece of “simple”, hyperlink fiction, progression through the work and its lexia triggered by the reader clicking on one link or “thread” to open a new window with new lexia and so on. Readers aren’t really given a set story or direction–there are no guiding signs or whatnot (other than a “Begin” button when one first opens the work).
Here are the first few “pages” I read:
Instead of clicking “all over” the threads, which I know from prior experience with the work would take me on all kinds of adventures, I decided to click on the links provided from one page to the next–just to see where the story goes, trying for a “pure reading”, so to speak. This went well…till I came across just a screen with a painting on it??? I had to click on the painting and, the next screen I got, didn’t have a link to click on??? So, I had to dive into the sea of threads anyway #whatever~~~~
But, it was interesting to just see where the work would take me (not purely on its own–as I was clicking on the agents spurring the story forward). I read a few excerpts about Lisle and her daughter and then about Javier(?) and his daughter. Nothing that really connected in any linear way. It’s clear from the text, though, that this “story” is taking place across multiple time periods and generations. I read about an accidental drowning that took place years ago and then I read a selection about the friend of the girlfriend, who’s boyfriend drowned, and how this friend remembered the somber atmosphere at school in the days following the mysterious accident. No clear time line is established and yet, the sense of time passing and moving, the sense of people holding on and letting go of time, is so vivid and so visceral. (“What choice do we have but love, what season after?”)
The design and navigation of this work is a topic of discussion that could–and will–continue for a while but the actual text of this work is so rich and fascinating in its own right. Small example but, I mean, how many creative and inventive uses of the word blue did you note while reading this work??? (“She had never been lonelier, never more blue.”) And did you notice each page is titled differently–mostly related to blue words, though–in the tab?? (i.e cornflower)
There’s something distinctly literary about this work’s text, if not its nonlinear navigation. To me, though, if anything, the infinite looping in on itself of this work only serves to enhance the story it is “weaving”/telling. Each page is like a still life, perhaps disconnected from some greater whole, but capable of telling a compelling story in and of itself. For some, that disconnectedness may translate as “brokenness”, the lack of coherence or persistence of narrative over time, as a fault, but, again, I find the questions that exist in those perceived narrative “gaps” in works of ELit like Twelve Blue to be what keeps me coming back. Though, of course, I want answers, I also enjoy not knowing. It creates this mental space for me to explore possibilities–something not always offered IRL, where “pinning things down” is so highly valued these days.
Additionally, I think Twelve Blue gives readers a slight taste of the reciprocity ELit is renown for. (At least, it’s one of my fave parts of ELit.) This reciprocity is realized in the simple act of the readers clicking a link on the screen and being rewarded with a new screen, with new information. The work functions on reader input–slight reader input but still an action the reader must take in order for the work to “move on”. That’s a smidge more agency than most traditional forms of literature have been able to allow for a long time.
Riding the Waves
All in all, if you couldn’t tell, I’m looking forward to diving back into ELit and discovering new ways to tell compelling stories through new digital media. I think Twelve Blue is an excellent place to wade in with. It’s new in many ways but also recognizable in others. And, of course, the work is so beautifully, heart-breakingly, heart-achingly written.
I hope the rest of our class is
at least half-excited as I am looking forward to diving in deep on ELit!
*Feel free to check out some of my notes on this week’s article and respond to them if anything I’ve said resonates or triggers another idea~ Though I’ve been resistant in the past to using hypothes.is, lately, I’ve found it to be a good tool for taking notes
maybe I just don’t like being told I have to use it and now that I don’t have to use it, I’ve got to rebel in the other direction????
*Feel free to follow me on Twitter as well~ In between sharing sappy poetry and prose, I sometimes say some witty things??? #debatable??? #claimthecave
~Till next time ^.^~