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Electronic Literature Seen from a Distance: the Beginnings of a Field Provided by NORA - Norwegian Open1/14/13 Research 13:56 Archives View metadata, citation and similar papers at core.ac.uk brought to you by CORE Electronic Literature Seen from a Distance: The Beginnings of a Field provided by NORA - Norwegian Open1/14/13 Research 13:56 Archives www.dichtung-digital.org/2012/41/walker-rettberg.htm Electronic Literature Seen from a Distance The Beginnings of a Field by Jill Walker Rettberg This paper outlines the development of the hypertext fiction community that developed in the United States of America from the late eighties and onwards. This community was separate from the interactive fiction community (and largely thought of its works as different from “games”) and largely revolved around the use of Storyspace, a software tool for creating electronic literature, and later, around Eastgate, a publisher of hypertext fiction and the company that developed Storyspace. While some work was written and published in Hypercard and other systems, the technology of a dominant software authoring tool and of the mechanics of distribution (diskettes sold by mail order) formed the hub of the electronic literature community during this period. There was little or no communication with other communities, such as the IF community or digital art communities. With the advent of the web, new authoring and distribution channels opened up, and this hub gradually lost its dominance. The transition from this relatively centralised and explicit community to the networked communities and scattered individuals of the Web is an interesting one to explore. I will base this research on historical websites and articles published at the time, as well as on interviews. Introduction The Words We Use to Describe the Field Beginnings Citations: What is Referenced? Beginnings: Moving Closer Five Categories of Early Electronic Literature Conclusion Acknowledgements and Further Information Notes Works Cited Introduction When did electronic literature begin? The answer to this question depends upon what, exactly, this field of practice includes. Does electronic literature begin with Michael Joyce’s hypertext fiction, afternoon, a story, first presented in 1987 and published in 1990? Does it begin with bp Nichol’s poems written in BASIC in 1984? Or with Colossal Cave Adventure, released in 1976? Perhaps it begins with the love letter generator Christopher Strachey wrote for the Manchester Mark I in 1952 (Wardrip-Fruin)? Or as Lori Emerson recently proposed in her blog-post (2011), perhaps electronic literature only began when the Electronic Literature Organization was established in 1999, and the term was truly institutionalized? This article starts to map one beginning of what we have later come to call electronic literature. I wanted to write a history of the early days of hypertext fiction in the United States in the late 1980s and early 1990s, particularly looking at the ways in which a community formed around these works. I had thought this would be an easy task. The http://www.dichtung-digital.org/2012/41/walker-rettberg/walker-rettberg.htm Page 1 of 13 Electronic Literature Seen from a Distance: The Beginnings of a Field 1/14/13 13:56 most important works of the time are cited so repeatedly in so many papers in the field that we all know their names. Michael Joyce’s afternoon, a story, Shelley Jackson’s Patchwork Girl and Stuart Moulthop’s Victory Garden are far more frequently cited than any other works of electronic literature (cf. fig. 2). Yet the more I investigated the period, the more works I discovered that I had not previously heard of. Many works of electronic literature were published prior to afternoon, and there were several other publishers in addition to Eastgate, though Eastgate alone has survived in the US. I will return to some of these later in this paper. My first publication on electronic literature was a close reading of afternoon (Walker). This paper, in contrast, will not attempt to read or interpret any individual works. Instead I want to try to read them as a field, from a distance. In my research, I have used the ELMCIP Knowledge Base for Electronic Literature (ELMCIP: Electronic Literature as a Model of Creativity and Innovation in Practice, cf. Acknowledgements) as a tool for discovering and documenting works, criticism, events and publishers, and also for understanding connections and frequencies. I also use Google’s Ngram viewer that allows the visualisation of search results across a large number of digitized books. Using databases such as these gives us new opportunities for a kind of “distant reading” of literature, as Franco Moretti advocates in Graphs, Maps, Trees: Abstract Models for Literary History (1). A complete “distant reading” of the field of electronic literature is not possible at the present time. Despite the increase in databases on electronic literature, and the wealth of information already available in them, we are very far from having a complete overview of all electronic literature. This paper, then, is simply a start, a preliminary attempt to map some of the early years of electronic literature in one region of the world: the mid-1980s to the mid-1990s in the United States. For literary works written for computers this was a time of transition from a time when very few and largely disconnected works were created, to a time when many works were created every year, and the people who create those works see themselves as contributing to a field. This transition is experienced by every new genre or artistic form goes through as it develops. The Words We Use to Describe the Field Before we delve into the electronic literature of the late 1980s, let’s consider the term itself. In this paper, I choose to follow the Electronic Literature Organization’s broad and inclusive definition of electronic literature as “works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer.” Yet as Lori Emerson points out, this term and definition in itself brought together genres that in many ways were seen as separate in the early years. Emerson writes in her blog-post “On e-literature as a field” that “what did not exist until the founding of the Electronic Literature Organization in 1999 (thanks to Scott Rettberg, Robert Coover, and Jeff Ballowe) is a name, a concept, even a brand with which a remarkably diverse range of digital writing practices could identify: electronic literature.” While it is difficult to pinpoint the date of birth of electronic literature as such, we can say something about the emergence of the terms used to describe literary works that use computational capabilities. I generated (fig. 1) using Google’s Ngram viewer, asking it to compare the frequency of the terms hypertext fiction, electronic literature, digital literature, digital poetry and e-poetry in books published from 1985 to 2008. Unfortunately it is not currently possible to search more recent books. As the graph shows, Emerson is right in that the term “electronic literature” (marked by the red line) has come to dominate in the period after the Electronic Literature Organization was established. However, in the corpus of print books digitized by Google, at least, both “hypertext fiction” and “digital poetry” are close at its heels, with digital poetry, in particular, looking poised to catch up very soon. The term “e-poetry”, although the title of a significant conference in the field since 2001, is not frequently used in print literature, and its purple line is almost invisible, lying flat against the bottom of the chart. http://www.dichtung-digital.org/2012/41/walker-rettberg/walker-rettberg.htm Page 2 of 13 Electronic Literature Seen from a Distance: The Beginnings of a Field 1/14/13 13:56 Fig. 1. Google's Ngram Viewer allows us to graph the frequency with which different terms for electronic literature were used in books published between 1985 and 2008. The blue line shows hypertext fiction, the red electronic literature, the green digital literature, the yellow digital poetry and the purple line (flat against the bottom of the graph) is for e-poetry. Click the image to see at full size. As expected, hypertext fiction (the blue line) was the more popular term in the 1990s, but it also retained its dominance for several years into the 2000s. This could show that the new term “electronic literature” took time to gain general acceptance, or it could also simply be a by-product of the slow pace of scholarship and book publishing. By 2008, the term “electronic literature” is still not as popular as “hypertext fiction” was at its peak, although the combined use of all these terms is growing steadily. It is interesting to see how high the use of “hypertext fiction” remains, even after the dominance of “electronic literature”. The rapid rise of “digital poetry” is also particularly striking. It may seem surprising that the term “electronic literature” grows in popularity well before the establishment of the ELO in 1999. However, almost all uses of the term “electronic literature” before the late 1990s refer to research literature that happens to be in electronic form[1], not to literary works. There are some important exceptions, however. A notable early use of the term in its current usage is from 1985, in an article by Jay David Bolter titled “The Idea of Literature in the Electronic Medium” (25), and Bolter uses the phrase again in the 1991 edition of Writing Space. Ted Nelson's book Literary Machines only uses the exact phrase "electronic literature" twice, and in contexts that primarily refer to non-fiction, but still discusses creativity, writing and authorship and likely had a great deal of influence on thinking in literary terms. A 1992 article in The Print Collector’s Newsletter mentions that Eastgate publishes electronic literature.
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