Ask Me For the Moon: This piece felt overwhelming to me. I am excited to see Ava’s presentation to help me understand the piece better. The lines moved and disappeared too quickly that I couldn’t really keep up that much. I understand that the work covers the tourism in Hawaii and the threat it has on native Hawaiians. I thought it was beautifully written. I also thought the notes section was the most fascinating. The statistic about the number of employees to visitors was mind blowing to me just on Waikiki! I enjoyed hearing the narrative as well it really helped to tie the whole thing together. The note section in my opinion was critical to the piece. I felt like it made the poems more powerful when learning just how much work goes into the tourism there for example, the Zamboni-like machine that smooths out the sand and the works that go out with shovels and rakes to manicure the beach for the next day. It took me a second to get into the swing of things with this piece but overall, I found it to be very moving and insightful.
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STOP! LOOK! LISTEN!
Ask Me About The Moon, by John David Zuern and The Vine & the Fish by Leise Hook
Ask Me About the Moon by John David Zuern felt like stepping into someone’s digital dream sequence. It was quiet, slow, and full of small discoveries. The navigation seemed intentionally delicate: I clicked through scattered words that appeared almost by chance, as if the story wanted to test my patience. I had to pay attention to the words as the overlapped.
Some pages seemed to open fragments of soft text against shifting backgrounds, while other clicks would lead to silence, asking me to notice what wasn’t being said (I think). At one point, I followed a glowing moon icon, only to find it brought me back to where I started, I guess this was supposed to show me that not every path lead to forward movement?!
The Vine & the Fish by Leise Hook felt more alive and awake. Navigation was more of an actually story to me, I could follow a path. As I slid and hovered over and pull through its digital pages I could see something unfolding, an actual story. The vine stretched across the screen, curling around snippets of text that told small stories. It gave the impression of a hidden system, seemingly organic, but intentional. There was a rhythm to it, like breathing or swimming.
The Vine & the Fish for me was timed perfectly. There’s a contractor in my neighborhood causing a lot of waves (like an invasive vine) in building across the street from my house. He’s removing a ton of trees to build an oversize McMansion on the lake we all moved into my neighborhood to be a part of. Being a part of this story and loosing myself in the vines was both ironic and meditative as I was going through something somewhat similar in my personal life.
I loved how both these stories slowed me down. That my current personal life is so overly busy (@12-14 hour days) and both these gave me a chance to just stop and breath and loose myself to the stories as they unfolded. Both remind me that digital literature isn’t about technology showing off (no “MTV style’ fast moving video’s etc.); it’s about using it to create emotion, reflection, and connection in unexpected ways.
Ask me for the moon/ The Vine and the Fish
Ask me for the moon:
The one was one of the more shorter pieces we have been assigned so far. Its short but the meaning behind this piece is so massive. One thing that defintley stood out for me was that we as readers had no control over what we read. Once you click “Begin” the words just keep appearing and you sort of HAVE to read it. Nothing else on the screen is clickable so it kind of seemed as of we were trapped in this space. Don’t think I used “trapped” in a bad way. More or rather, the reader has to come to terms with the major point of this peace. “The land is now called real estate, rather than our mother”, caught my eye because it sounds a bit lyrical. In the sense that I can see this as a poem, as well as a song. However, one thing I have been enjoying about this piece is that there is always some kind of historic background information that makes this peace so much more heartbreaking. As readers you’re shown the beauty of this island but also the heartbreak every local goes through because their home is no longer a home, its a showcase.
The Vine and The Fish
Reading this one felt like an interactive comic book. I appreciated the art, the moving images, and the choice of colors the illustrator decided to use. This one was similar to “Ask me for the moon” as it was also not clickable. One thing about this piece that stood out to me was that as a reader, I was already hooked by the moving images, and so when I would scroll and wait for a page to load up… I was more excited to see what was coming next. Aside from the digital framework, the author compares how immigrants are treated to how people view invasive species like the Kudzu vine and Asian carp, showing how harmful words and labels can spread prejudice and fear. Which is why adding in the Trump’s headline of Corona virus being the “Chinese Virus”, was very significant to this strong pieace of e-lit. Leise Hook’s The Vine and The Fish brings awareness to how the human society and our ecosystems are intertwined in a sense. We must be compassionate towards one another, urge empathy and hold people accountable for the words they decide to use.
Yardley, PA 1997 & Avenue S
This week we covered two wickedly different works of E-lit. First, I want to cover Yardley, PA 1997 by Todd Anderson. This work was pretty cool if I’m being honest. One of the compelling aspects of Anderson’s work is the navigational freedom that he provides in the work. Since the poem and music can be placed in any order, the reader has freedom to navigate the work at their own pace and leisure. The path to the ending is paved through the readers own imagination compared to just the way the author intends. Another aspect of the work is the actual narrative. I loved how the music and the words seemingly matched up. Each line of text works likes a memory, and the music seemingly feels likes a memory coming and fading quickly. The ending really brought the work together for me. The crescendo of both the narrative, and the music both blended perfectly together to illustrate a time in the past we cannot get back. Nostalgia is a topic that is ubiquitous in writing, so it’s always interesting to see how authors use it in their works. In this case, the author uses the interactive aspects of the work to reflect the readers view of the feelings of nostalgia. Reading about the exploits of the speaker and hearing the music did bring back memories from by childhood too. I see this piece as a bit of a literary sandbox. While the author gives their way to work through the piece, they also allow the player to use the piece to create their own work in a way. I really liked this work overall.
The other work that I covered for this week was Avenue S, by Jody Zellen. This work was way different, though it did provide some really unique and interesting moments as I worked through some of it. With this work totaling almost 400 pages, it was hard to see an actual conclusion when compared to the previous work. In some ways, this work felt endless, with me clicking over and over after seeing each new page. It was cool to see the interactive aspects of this work. For one, hovering over the tab of the window revealed the title of each specific page. These titles provided much needed context to some of the more abstract pages in some cases. While some of the pages felt disjointed, they all stylistically felt connected and consistent. In some cases, this work felt like an art installation at a museum. One of the things I really liked is how the “narrative” builds throughout the work. The way it weaves the feelings of loneliness and isolation while also presenting the backdrop of the pandemic and the social unrest that come with it was fantastic. The imagery, the poetry and the overall organization all came together the longer I worked through the piece. The standout vignette that I loved was “trapped” which consisted of many short repeating animations that outlined the circular nature of the lock-down. People being trapped in their homes, as well as in their daily routines. I can say that this is my favorite work we have covered so far in class.
Presenting on Avenue S – Jody Zellen
Exploring Avenue S by Jody Zellen was an experience that felt both visual and emotional. I should start by saying that I chose this piece purposefully because I originally was a fine art major and I felt like it had a good amount of art attached to it.
I then looked-up Jody Zellen, the author/artist, and discovered that she was an artist (graduated RISD) and was a Los Angeles resident. I was surprised by her residency, because I really believed when she spoke about the ‘city’ she was talking about Manhattan (I guess since I consider that my city). What I liked about her approach is that sues movement, layering and interactivity to create experiences, rather than just images or a story. Avenue S truly explored city life during the time of COVID-19.
From the moment I entered the piece, it had a quiet, almost eerie energy: Urban streets without people, fragments of text, and shifting images that seemed to appear and disappear on their own. It didn’t feel like something to “read” in the traditional sense, but more like something to move through, at my own pace, noticing what caught my attention. Also, I felt like I needed to take my time, that it brought me right back to COVID.
My experience with COVID was different then others, much like this piece. We were asked to work-from-home, but only for about 5 or 6 weeks. I had worked at home in a previous career and found it to actually be more work then in you went to your office, so I was somewhat enjoying my house. I was able to take walks around my neighborhood and do my own art. It seems that Jody Zellen and I do not share a similar feeling about such things. For one thing, her experiences is very much city oriented (lots of people – then none, etc.) My experience was very suburban – no people down the shore in March anyway, so this was a kind-of welcomed solitude.
The stark, black-and-white imagery gave the work a haunting kind of beauty. It reminded me of walking through a city on a summer weekend night when the city (my city) would empty out and go to the Hamptons. The emptiness and repetition of certain visuals felt intentional, as if Zellen was trying to capture the rhythm of the city when no one’s around, places in the city you would find that are small forgotten corners. It also paced the passing of time.
Zellen captured a real sense of monotony in parts of the navigation, where certain images or patterns repeated, and the clicks didn’t always lead somewhere new or not new. At first, it felt a little repetitive, but then I realized that was probably the point. It seemed to mirror the routines and rhythms of everyday life, he way days can blur together, especially in the city. I started to see it as Zellen showing us her own day-to-day experience, with its cycles, small shifts, and familiar scenes that might feel the same on the surface but carry quiet differences if you really look.
Because the piece didn’t follow a straightforward story, I wanted to understand how it worked beneath the surface. Again, I’m new to this way of reading and my curiosity and the need for some kind of story seemed to allude me. I looked up things I may have missed in Zellen’s narration, such as secret hyperlinks or hidden paths that others had found while navigating the project. I found it difficult to get these “secrets” to work, even the ones that I thought I had figured out from the calendared page I stumbled upon eventually. Still, that process of searching added another layer to the experience. It made me think about how we try to make sense of these digital pieces of literature, always expecting some kind of clear direction or payoff that doesn’t always come. Plus there’s the personal experience of it directing you down your very own story.
As I continued, I realized Avenue S was more about mood, perception, and even a sense of redundancy than about any kind of clear narrative. he random clicks, the shifting pages, and the unpredictable visuals became their own kind of language. The work made me think about memory and how my memory seems to come in pieces, not in order, and while the memories may not be repeated sometimes they are repeated endlessly.
By the end, I saw Zellen’s Avenue S as less of a story and more of a meditation on solitude, movement, and urban life. It challenges what we consider “literature,” blending photography, design, and poetic fragments into a single experience. Even though I couldn’t access every hidden detail, I still felt like I had wandered through something meaningful. The act of exploring became the story itself.
A World riting 2025-10-20 07:51:56
Lareice’s Digital World
The Aesthetics and Experiential Dimensions of Interactive Electronic Literature
Interactive electronic literature, Yardley PA, and Avenue S, represents a dynamic merging of narrative, visual art, and digital technology. Unlike traditional print-based texts, these works invite readers to engage with storytelling as an immersive, multisensory experience. Through the integration of instrumental soundscapes, animated net art, and game-like navigation, electronic literature transforms passive reading into active participation.
One of the most compelling aspects of this genre is its resemblance to video game mechanics. Users often navigate through the narrative by pressing a single button, which propels them into new story environments. This tangible interaction fosters a sense of agency and exploration, allowing readers to move through the text as if journeying through a virtual landscape. The interface itself becomes a narrative device, guiding users through layers of meaning and emotional resonance.
Vibrant animations and net art aesthetics contribute to a rich tapestry of symbolic and affective imagery
Visual elements play a critical role in shaping the reader’s experience. Vibrant animations and net art aesthetics contribute to a rich tapestry of symbolic and affective imagery. These visuals are not merely decorative; they function as extensions of the narrative, enhancing ideological depth and emotional tone. The interplay between text and image creates a blended form of storytelling that is both intellectually stimulating and visually engaging.
Equally significant is the role of sound. Instrumental effects and ambient audio cues heighten the immersive quality of the work, reinforcing mood and pacing. Sound becomes a narrative element, capable of revealing memory, tension, and transformation. When combined with visual and interactive components, it produces a comprehensive sensory experience that exceeds conventional literary boundaries.
Interactive electronic literature exemplifies the evolving nature of storytelling
Storytelling in the digital age with interactive electronic literature exemplifies the evolving nature of storytelling. It offers a powerful platform for creative expression, pedagogical innovation, and emotional engagement. For scholars, educators, and artists alike, this genre opens new possibilities for exploring trauma, identity, and healing through multimodal narrative forms. As digital media continues to reshape the literary landscape, electronic literature stands as a testament to the enduring power of story reimagined through sound, image, and interaction. It is an engaging and enjoyable storytelling style.
Yardley, PA & Avenue S
Yardley, PA has themes of nostalgia and familial love. The background effects and music is reminiscent of summer, having fun playing outside until the sun went down. I chose to go through the story linear first, then pressed random orders of letters to see if the experience changed. I can’t say it did. Either way, the ending of the piece then transformed from a poem to a bunch of memories popping up all at once with music overlapping loudly. Then comes the line “and then it’s gone” as the conclusion. The music changes, too, with four somber piano notes concluding the piece. It’s lovely and it’s bittersweet, perfectly reflecting how reflecting on childhood memories feel. The author created this work with the intention of showcasing an interactive piece that differs from traditional rectangular text. In my honest opinion, I don’t think the form alone would’ve been enough to earn the title of electronic literature. The musical effects was the stage light that made the poetry and the formatting shine. It really felt like you were composing something.
Avenue S was created during Covid, which immediately peaks my interest since most of the lit we’ve been viewing is much older. I like simplicity of the art style and the use of real pictures. The piece doesn’t take itself too seriously, with one page just being dedicated to drawing a spiral by clicking. Rather than treating lockdown as a means of self-isolation and allowing herself to wallow, the artist just has fun, enjoying the opportunity to return to net art. There are thematic elements in which the speaker(s) wonder when this will be over, when normal daily life will continue again, like the page with the question poem by Jay Brecker. But the silliness of the silhouette drawings makes it seem hopeful that people would be allowed to gather again eventually. It’s a bit bizarre looking at this piece having lived through the pandemic not even a few years ago. I think I would’ve deeply appreciated seeing something like this in 2021, or feel whatever the opposite of nostalgia is ten years from now.
-SS
Yardley, PA & Avenue S
Both Yardley, PA, and Avenue S are an exploration of space, but neither in a typical sense. Yardley decorates the screen with poetry. Even selecting the same key over and over again leaves you with the line patterned across the screen.
‘A’,’A’,’A’,’A’,’A’,’A’,’A’,’A’,’A’,’A’,’A’,’A’,’A’,’A’,
“Russell used to beat on me and my brother“.
In my version of the poem, this is the first line. But the beauty of Yardley, PA, is that you can “play” the poem many ways and choose many first lines.
“Play” has multiple meanings in this context: like a game and like an instrument.
Every key on your keyboard becomes a line in a poem and a musical note played aloud.
Avenue S is an exploration of space through clicking across screens; it is meant to overwhelm you and make you feel lost. There are click-through images, pop-ups, and things that might confuse people unfamiliar with certain digital proprieties concerning navigation.
Both of these projects explore space and navigation, yet through entirely different lenses. While Avenue S is more direct via classic click-and-explore navigation, Yardley allows you to write a poem and play an instrument at the same time, creating an intricate lace between physical space (screen space), sound, and poetry.
Yardley PA 1997 and Avenue S
- Yardley, PA, 1997
- I really like how in order to make the text move, you can press the keys in a certain order or just press the spacebar.
- Pressing the keys in a certain order makes this feel like a game which is really cool.
- Great choice by the author to make this decision as it really leans into the game aspect of interactive fiction.
- The background colors, font, and fireflies invoke a short of coziness. It gives vibe of Summer evenings catching fireflies.
- Since the piece has the year 1997 in it’s title, I am assuming it takes place then.
- I definitely get nostalgia vibes from just staring at the piece.
- The music sounds like it could be a vinyl record because I can hear record scratches.
- It is very calming and really adds a wonderful dimension to this piece.
- The way that the words fade away like fireflies in the dark is really working for the piece.
- I like how the instructions tell you to press the button to make the next line of text appears as soon as the last line disappears.
- This plays into the firefly motif since they glow and then go dark as another firefly lights up.
- I like how the instructions tell you to press the button to make the next line of text appears as soon as the last line disappears.
- What a hauntingly beautiful ending. The way all the text overwhelmed the screen and the music rises to a crescendo and then it all flickers away into the darkness as we are reminded how ephemeral everything in life is.
- I really like how in order to make the text move, you can press the keys in a certain order or just press the spacebar.
- Avenue S
- What an interesting piece! At first I thought it would be more text based and straight forward, but there is a lot of imagery here that needs to be interpreted.
- I think I understand one aspect of how on some pages there is a ton of clutter which is the idea of living in a city that the author misses.
- It’s interesting how some things on the pages, like certain images, take time to make their full picture. This can be a metaphor for having to wait for things in the city – like buses, trains, lines, or slow walkers.
- I think the author is showing what city life can look like to outsiders – overwhelming and crowded. But to people who live in the city, it is the hustle and bustle that makes the city feel alive.
- It’s interesting to note how simple all of the people are drawn. Maybe this is the author’s way of saying that in the end, all people are the same, no matter how you appear on the outside.
- I really like the aspect that the reader has to make meaning out of this. The author gives hints in that each page has a different title if you look in the name of the tab. It seems the story being told isn’t a solid narrative, rather it is a series of the author’s observations about city living that tell a story of change caused by Covid.
- What happens to the crowded city that you love, when it’s people are forced to stay away from each other? If you came to the city for the connection, what do you have in the Covid era? Just isolation. For those who feel alone, Covid in the city is an awful reminder that no matter where you go, the world is forcing you and others to keep your distance (physically and emotionally).
Yardley, PA 1997 & Avenue S
Yardley, PA 1997: I thoroughly enjoyed this piece. I loved that it was a multi-sensory activity. Initially I just clicked through but I did notice sound-wise something sounded off so once I read the little description about the “score” and all that, it made a lot more sense. I really loved the actual poem itself but I also loved that it was also interactive in performance of the piece. It was more simple and effective as far as electronic literature goes. It was straightforward as far as what to expect going into this piece. Before this piece, the other pieces we walked through so far have had hidden like “easter eggs” somewhere within the piece and having many ways of navigation. The different approach to navigation of previous pieces could be fun but it is also overwhelming at times. Being in class and realizing I missed a whole section because I didn’t click the small illustration in the top left that unlocked the entire meaning of the piece could feel discouraging. I think this is a good entryway into the world of electronic literature. Yardley, PA 1997 had a very nostalgic feel and a layer of melancholy.
Avenue S: This piece executed the chaotic and uneasy feeling of the COVID-19 pandemic. I don’t think we acknowledge as a society how traumatic that time was like the world really shut down. We witnessed people dying, the feed of misinformation, fear mongering, divide, isolation, and so much more through our screens and in our lives. We simply could not escape anything (and still really can’t). We cannot move through the world without acknowledging that the world is different post-pandemic. I was definitely feeling overwhelmed with so many different things to click on but my favorite piece that I got to was the collage titled “THE GREAT EMPTY”. It gave a very disjointed feeling but still conveyed exactly what was happening during that time. We lost many things at that time but I think one of the hardest things we are struggling with to bring back is a sense of community and socialization. I thought the artwork was very effective as well as the pieces of poetry that were embedded through the piece for example the haiku called “Covid haiku” by Sally Stein on the section titled “mask culture”. Overall, this piece made me feel very overwhelmed.
