This week’s readings have to do with electronic literature, which is defined by the Electronic Literature Organization as “works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer” (ELO, 2006, n.p.). Examples of e-literature are available here.

Hayles (2007) provides an overview of the development of e-literature through the past twenty years and attempts to identify some of the genre’s inherent features. Douglas (1992, 1994) speaks to the peculiarities of reading e-literature, considering in particular what Hayles refers to as “first-generation” examples of the genre such as hypertext fiction. She also alludes to some of the print harbingers of e-literature, such as the short fiction of Borges. Douglas’s essays are updated and published in a collection of articles on hypermedia and literature: The End of Books—Or Books Without End? (Douglas, 2000). My own article (Dobson, 2006) considers contemporary fiction (e.g., Munro) that shares narrative features in common with e-literature, and ponders how we might approach teaching such narrative through engaging students in social media writing processes.

I invite your thoughts on topics raised in this week’s readings. Alternately, you may wish to try your hand (along with your classmates) at writing a collaborative hypertext fiction in the wiki rather than making a formal response on the blog. I’ve started a wiki page for this purpose here. Feel free to modify or extend this narrative fragment in any way you see fit.

It has often been observed that film is the narrative genre of our generation. Ryan (2005) also points out that many game spaces have a narrative component, and ponders whether particular game forms–Massively Multiplayer Online Role-Playing Games, for example–will eventually win over the sorts of audiences that are traditionally attracted to literary fiction and film. Ryan’s query has relevance for educators: Might game spaces with a narrative component provide a catalyst for critical thinking not unlike fiction or film? Might gaming, often deemed a deterrent to reading, in fact provide a segue to fiction, particularly for reluctant readers? How might games requiring participants to write themselves into the narrative extend literary engagement?

In the next two weeks we’ll take a look at the “poles” of digital narrative described by Ryan, beginning with gaming and moving to e-literature. You may post your thoughts on the ideas posed above, the presentations we attended on Monday, the readings we’ll be taking up in class next week, or any other topic related to gaming.