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Rebooting Electronic Literature: Documenting Pre-Web Born Digital Media

Front Cover of Jane Yellowlees Douglas' I Have Said Nothing

This page is referenced by:

Critical Essay about J. Yellowlees Douglas' "I Have Said Nothing"
Saying Something about "I Have Said Nothing"
On December 1, 2018 we live streamed J. Yellowlees Douglas’ hypertext narrative "I Have Said Nothing" ("IHSN"). Influenced by two real-life car crashes involving girlfriends of her brother Mark, Douglas’s story appears, along with Michael Joyce’s afternoon: a story [1], in W. W. Norton & Co.’s Postmodern American Fiction (1997), the only works of electronic literature ever published in one of its many collections, a development that led scholar Daniel Grassian at the time to wonder if hypertext had reached “canonical status” (168). [2]

As if.

Background

Dates are important to note here since there are at least three versions of the work. Though "IHSN's" copyright date is 1993, the version I am calling Version 1.0––published on a 3.5-inch floppy disk with Mary-Kim Arnold’s "Lust" in The Eastgate Quarterly Review of Hypertext, Volume 1, Number 2––came out in the winter of 1994. [3] Version 2.0, the one published in the Norton anthology, appeared in 1997, and the CD-ROM (Version 3.0) was released a year later in 1998. Douglas reports that she actually developed the concept and text for the story by 1992 and that it took her a mere five days to complete it as a hypertext using Eastgate Systems, Inc.’s Storyspace software on a “luggable” Macintosh computer while living in Brighton, England (Douglas, 1 December 2017). With 96 nodes and 205 links the work is purposely brief, according to Douglas, approximating the length of a short story.

Written from the 1st person point of view, the work features The Narrator, a fiction writer who often alludes to film [4], both violent and absurd (e.g. The Wild Bunch, Psycho, horror films we watched as children, Esther Williams films, Warner Bros. cartoons, Deliverance), a strategy that underscores the dark and strange plot. Through her we meet Luke her brother, a reckless young man who is not-so-accidentally unlucky in love. [5] We also meet Sherry, Luke’s girlfriend, killed when struck by a Chevy Nova going “75 miles an hour.” Sherry is based on Douglas’ brother’s girlfriend who died the same way. Finally there is Juliet (or “Jule”), the second girlfriend of Luke’s who also dies in a car crash, this time involving a Ford Probe. [6] Alcohol underlies the poor life choices in the story that drives the characters literally to their deaths.

Theme
The ignobility of being killed by such mundane, banal vehicles stands out as one of the absurdities of life in the story. Greek heroes, we may remember, die in glorious battle. Perhaps if the Iliad were written today, Homer would have Hector’s body dragged behind Achilles’ Porsche instead of a chariot, but certainly a Nova or a Probe would never figure as that hero’s last ride.

In "IHSN" death is absurd. Luke confesses his incredulity to The Narrator about the fleeting nature of life. One minute we are here and the next we are gone. Thus, the main theme of the story is nothingness––not merely death, but complete non-existence, the aught. Though it is an unconscious realization that seems to underlie the nihilist way Luke and his girlfriends literally drink themselves to their deaths, nothingness is so absurd a condition that Luke is still driven to ask the big question: Why? (in the lexia titled with the same word). Nothingness is instantiated in the blank space that shows up as the lexia, entitled “.” This period represents for us the punctuation of the end of a statement of fact that was once our life. It is unsurprisingly followed by the final lexia, entitled “The End,” where The Narrator quips, not unlike Porky the Pig at the end of a Loony Tunes cartoon, “That’s all she wrote.” Thus, the story ends with The Narrator ramming life’s absurdity at us as if her words were a Bugatti Veyron Super Sport racing 268 miles per hour. It makes sense, then, that "IHSN" is structured in the shape of an hourglass with each pyramid representing two different peoples’ endings” (1 December 2017). The image of the shifting sands of time raise the specter of death in the story, of life that is no longer something other than nothing, or maybe even never was.

Irony
Douglas drew the title from Augustine of Hippo’s De Doctrina Christiana 1.6.6 and cites him in the lexia, entitled “But I’ve Said Nothing.” Douglas writes: “I have done nothing but wish to speak: if I have spoken, I have not said what I wished to say.” [7] So, in the end The Narrator does say something despite the title’s promise that she hadn't. It is just not what we expected––or perhaps hoped––she would say about the absurdity of life, finality of death, and the ridiculous state of the cosmos.

Acknowledgements
I would like to thank the author J. Yellowlees Douglas for her time in helping us host the Live Steam Traversal and for talking with me at length about her work in preparation for the event.

Notes
[1] It is important to note that Joyce’s work also includes a car crash, leading Stuart Moulthrop to talk about in his essay “Traveling in the Breakdown Lane” the reoccurring theme of car crashes in pre-web hypertext narratives.
[2] E-Lit scholar Astrid Ensslin looks theoretically at what drives the canonization of particular hypertext in her book, Canonizing Hypertext: Explorations and Constructions (2007).
[3] Douglas reported in her interview that "I Have Said Nothing" was actually the first publication of The Eastgate Quarterly Review of Hypertext but is numbered “2” because the work slated for number 1 was not available.
[4] Douglas studied film at NYU. In fact, she taught at NYU in 1985 along with John McDaid, a prominent hypertext fiction writer that Stuart and I featured in our Pathfinders project and Traversals book.
[5] As mentioned the story is based on Douglas’ own brother Mark. She said she chose the name “Luke” to stay within names of apostles (Douglas, 1 December 2017).
[6] Douglas mentioned that she chose the two female characters names––Sherry and Jule––as “consumables.” This idea is seen through the many girlfriends that Mark seems to go through and eventually are consumed by death (Douglas, 1 December 2017).
[7] Douglas loosely translates the passage. The original is: “Have we spoken or announced anthing worthy of God? Rather I feel that I have done nothing but wish to speak: if I have spoken, I have not said what I wished to say.” A special thank you to Nicholas Schiller, Associate Director of ELL and a trained Librarian, for finding this citation, especially so quickly during a Live Stream YouTube Chat.

References
Douglas, J. Yellowlees. "I Have Said Nothing." The Eastgate Quarterly Review of Hypertext. Vol. 1 Num. 2. Watertown, MA: Eastgate Systems, Inc. 1994.

—. “Live Stream YouTube Chat.” Electronic Literature Lab. 1 December 2017. http://dtc-wsuv.org/wp/ell/2017/11/22/live-stream-traversal-of-douglas-i-have-said-nothing/.

Ensslin, Astrid. Canonizing Hypertext: Explorations and Constructions. NY, NY, Continuum Press, 2007.

Geyh, Paula, Fred G. Leebron, Andrew Levy, Editors. Postmodern American Fiction: A Norton Anthology. NY, NY: W. W. Norton & Co., 1997.

Grassian, Daniel. Hybrid Fictions: American Literature and Generation X. Jefferson, NC: McFarland Press, 2003.

Miranda, Juan. “Death, and Again: A Critical Analysis of J. Yellowlees Douglas’ 'I Have Said Nothing.'" 24 Feb. 2015.

Moulthrop, Stuart. “Traveling in the Breakdown Lane: A Principle of Resistance for Hypertext.” Mosaic 28, 4 (1995): 55–77. To read the article for free a JSTOR go here.
Photos of J. Yellowlees Douglas' "I Have Said Nothing"

Folio, Front
The folio measures 6” x 9” in size and is made of a faded blue jean color, heavy card stock with black and white images and text printed in ink. The top of the folio contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The publishing series text is black, centered, serif font, underlined in a 1-pixel white line, and measures 5 10/16” x 10/16”. The location of the publishing series text is 1/16” left, 4/16” top, 3/16” right, and 1/16” bottom to the line. The details of the series is set underneath the white underline and separated into two sections and two lines. The first set of series text is white, aligned left, and serif font. Line one reads: “Volume 1, Number 2” and line two reads: “Winter, 1994”. The second set of series text is white, aligned right, and serif font. Line one reads: “for Macintosh & Windows” and line two reads: “$19.95”. Between the last line of the left and right series text is a white 1-pixel line that extends to approximately 1/16” from both of the line twos.

The title, "Lust," a review of the title, and the author’s name is set underneath the publishing information and covers approximately one fourth of the page. The letter “L” of the title text is black, centered with the name, a cursive font and measures 1 11/16” x 1 5/16”. The location of the letter “L” is 3/16” bottom to author’s name, 1 6/16” left, 2/16” top, and 1/16” right to the tittle text. The title text “ust” is black, centered, and serif font, and measures 11/16” x 7/16”. The location of the title text is centered to the letter “L”. The review of the title is black, sans-serif font, left aligned, separated into two lines, and measures 2” x 6/16”. Line one reads: “’A miniature gem’” and line two reads: “—The New York Times”. The location of the review is 3/16” bottom to the author’s name, 4/16” left to the letter “L”, 2/16” top, and 1” right. The author’s name “Mary-Kim Arnold” is white, serif font, centered, and measures 4 2/16” x 5/16”. The location of the author’s name is 1/16” bottom, 15/16” left, 3/16” top, and 15/16” right.

The ASCII art is set underneath the author’s name and covers the center of the folio with two images of people’s eyes and lines. The first ASCII art of eyes measures 9/16” x 1 1/16” and shows a person’s eye and long nose. The location of the first ASCII art is 1 3/16” bottom, 1” left, 1” top, and 4 7/16” right. The second ASCII art of eyes measures 1 ¾” x 13/16” and shows a person’s eyes looking to the right while facing left. The location of the second ASCII art is 2” bottom, 3 ½” left, 6/16” top, and 11/16” right. The ASCII line art is two white lines that are made up of thin and thick bars that make it look like it is winding behind the ASCII art of eyes and is located between 4/16” bottom, 4/16” left, 1/16” top, and 7/16” right.

The second author’s name, title “HAVE SAID NOTHING”, a review of the title is set underneath the ASCII art and covers less than one fourth of the page. The author’s name “J. YELLOWLEES DOUGLAS” is white, serif font, centered, and measures 5 7/16” x 6/16”. The location of the author’s name is 2/16” bottom, 3/16” left, 3/16” top, and 3/16” right. The second title text is black, centered, sans-serif font, and measures 4 15/16” x 7/16”. The location of the second title is 2/16” bottom, ½” left, 2/16” top, and ½” right. The review of the second title is black, sans-serif font, left aligned, separated into three lines, and measures 3 10/16” x 10/16”. Line one reads: “‘Superb, crystalline, finely balanced”, line two reads: “between savagery and sympathy’”, and line three reads: “Stuart Moulthrop, author of Victory Garden”. The location of the review is 4/16” bottom, 1 2/16” left, 2/16” top, and 1 3/16” right.

The border is set underneath the second review and separates a review about Eastgate Systems, Inc.. The 1 to 2-pixel border is white, centered, and measures 5 10/16” across. The review of Eastgate Systems is white, sans-serif font, centered, separated into three lines, and measures 5 6/16” x 8/16”. Line one reads: “Eastgate is starting to deploy some of the most interesting voices”, line two reads: “rising out of the literary terrain. Buy in now!”, and line three reads: “—Mark Amerika, author of The Kafka Chronicles”.

Folio, Back
The folio measures 6” x 9” in size and is made of a faded blue jean color, heavy card stock with black and white images and text printed in ink. The top of the folio contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The publishing series text is left aligned, black, serif font, underlined in a 1-pixel white line, and located at 8 5/16” bottom, 2/16” left, 1/4” top, and 2 1/16” right. The series details are underneath the white underline and separated into two sections. The first section is aligned left, white, serif font, and located at 8 2/16” bottom, 3/16” left, 11/16” top, and 4 10/16” right. The first section reads: “Volume 1, Number 2”. The second section is white, aligned right, serif font, and is located at 8 5/16” bottom, 3 3/16” left, 11/16” top, and 2 1/16” right. The second section reads: “Winter, 1994”.

The author’s name, the title "Lust," and ASCII art is underneath the publishing series information. The author’s name “Mary-Kim Arnold” is left aligned, white, serif font, and located at 7 13/16” bottom, 3/16” right, 14/16” top, and 2 14/16” right. The title is left aligned, black, sans-serif font, and is located at 7 7/16” bottom, 3/16” left, 1 ¼” top, and 5 1/16” right. The ASCII art is an image of two white lines that are made up of thin and thick bars that make it look like it is winding. The ASCII art measures approximately 1 13/16” x 1 5/16” and is located 7 6/16” bottom, 4” left, 5/16” top, and 2/16” right.

The synopsis and reviews of "Lust" are underneath the title of the work and covers over one fourth of the page. The synopsis of Lust is left aligned, white, sans-serif font, and separated into two sections. Section one of the synopsis contains seven lines and is located at 6 5/16” bottom, 3/16” left, 1 10/16” top, and 3/16” right. Line one reads: “In the recombinations and dense linkage of its nodes, the reader of Lust encounters violent”, line two reads: “scenes, a sequence of lovers, the creation and loss of family, blood, and screaming. These”, line three reads: “sequences—and their meanings—depend on the reader’s choices. On writing Lust Mary-Kim”, line four reads: “Arnold says, ‘This experience has been a tremendous one for me, personally, academically, psy-”, line five reads: “chologically, maybe even sexually. In any event, this medium has been the most fertile, flexible,”, line six reads: “giving, nurturing place I have ever found to write in, to be in, to share in.’ This bold work”, and line seven reads: “stretches to the limits of hypertext, to its advantage”

The reviews of "Lust" are between the first and second section of the synopsis. The reviews are centered, white, sans-serif font, and separated into two sections. Section one of the reviews contains two lines and are located at 6” bottom, 6/16” left, 2 12/16” top, and 6/16” right. Line one reads: “‘Uniquely a hypertext, Lust conjures the thing itself and its seductive terrors by presenting fragments of its” and line two reads: “consequences. It conjures a feast from the leftovers.’” Section two of the reviews contains four lines and are located at 5 ½” bottom, 6/16” left, 3 1/16” top, and 6/16” right. Line one reads: “‘A compact and sensual tale, Mary-Kim Arnold’s Lust is always on the verge of exploding into sex, violence”, line two reads: “and murder. Spanning the distance between prose fiction and poetry, Lust undresses the resonances of emo-”, line three reads: “tionally loaded words and phrases, revealing unspoken moments, fragments of memory, and muffled”, and line four reads: “screams.’—Kathryn Cramer, author of In Small & Large Pieces”.

Section two of the synopsis contains four lines and is located at 4 13/16” bottom, 3/16” left, 3 10/16” top, and ¼” right. Line one reads: “Mary-Kim Arnold live in Providence, Rhode Island, with her husband, Brook Connor, and two”, line two reads: “black and white cats, Simon and Schuster, a bunny named Harper, and an iguana named”, line three reads: “Icarus. She is a student at Brown University. She also writes poetry. In her spare time, she”, and line four reads: “tends her window sill herb garden.”

The center 1-pixel border separates the content for “Lust” and “I Have Said Nothing”. The 1-pixel border is white, centered, and measures 5 9/16”. The author’s name, title, and the author’s quote are underneath the 1-pixel border. The author’s name “J. Yellowlees Douglas” is left aligned, white, serif font, and is located at 4 6/16” bottom, 3/16” left, 4 6/16” top, and 1 15/16” right. The title I Have Said Nothing is left aligned, black, sans-serif font, and is located at 3 14/16” bottom, 3/16” left, 4 ¾” top, and 2 7/16” right. The author’s quote is left aligned, black, sans-serif font, and located 3 5/16” bottom, 3 10/16” left, 4 11/16” top, and ¼” right. The author’s quote is separated into six lines. Line one reads: “‘I could say something lame”, line two reads: “about people wasting their”, line three reads: “lives trying to make things”, line four reads: “matter. Of how we spend our”, line five reads: “lives mistaking patterns for”, and line six reads: “Order…But I say nothing.’”

The synopsis of “I Have Said Nothing” is underneath the title and lines five through eight are also underneath the author’s quote. The synopsis is left aligned, white, sans-serif font, and separated into eight lines. Lines one to four are located at 3 ¼” bottom, 3/16” left, 5 3/16” top, and 2 ½” right. Lines five to eight are located at 3 ¼” bottom, 3/16” left, 5 ¾” top, and 3/16” right. Line one reads: “A meditation on the enormous space that divides us”, line two reads: “from each other, bracketed by two car crashes. The”, line three reads: “seeming fragmentation of Douglas’s hypertext, and the”, line four reads: “colloquial tone of the author’s powerful voice, bring us”, line five reads: “closer than we would like to the randomness and loss that are just around the corner in our”, line six reads: “lives. The narrator is driven to tell us that our losses are not like the tragedies on our movie”, line seven reads: “screens, built into meaning. Still, what we read is all a story, so we don’t quite believe it—but”, and line eight reads: “then the flickering bits of texts, coming and going, make us know how it is, for an instant.”

The review of "I Have Said Nothing" is between the synopsis and the author’s biographical information. The review is center aligned, white, sans-serif font, and is located at 2 6/16” bottom, 6/16” left, 6 6/16” top, and 7/16” right. The review is separated into two lines. Line one reads: “‘A single clear narrative voice recounts the accidental deaths of two young women, her brother’s lovers, in suc-” and line two reads: “cession….Douglas’s writing is clear, vigorous and emotionally restrained.’—Judith Kerman, author of Mothering”.

The author’s biographical information is underneath the review. The biographical information is left aligned, white, sans-serif font, and located at 1 ¾” bottom, 3/16” left, 6 11/16” top, and ¼” right. The biographical information is separated into four lines. Line one reads: “J. Yellowlees Douglas is an Assistant Professor of English at Lehman College, City University of”, line two reads: “New York, and director of its Program in Professional Writing. For more than seven years, she”, line three reads: “has been researching and writing on hypertext. Her critical work on hypertext has appeared”, and line four reads: “in leading journals and collections in the US and UK.”

The bottom 1-pixel border separates the content for "I Have Said Nothing" and the publisher’s information. The 1-pixel border is centered, white, and measures 5 9/16”. The computer requirements, publisher’s logo, publisher’s information, and barcode are underneath the 1-pixel border. The computer requirements are left aligned, white, sans-serif font, and located at 1 ½” bottom, 3/16” left, 7 6/16” top, and 1 1/16” right. The computer requirements read: “For WindowsTM and Macintosh.TM Requires 2 MB RAM and a hard disk drive.” The publisher’s logo is a white outlined image of a rounded stone doorway in a stoned wall and is located at 3/16” bottom, 3/16” left, 7 10/16” top, and 4 1/2” right. The publisher’s information is left aligned, white, sans-serif font, and located at 3/8” bottom, 1 9/16” left, 7 10/16” top, and 2 9/16” right. The publisher’s information is separated into six lines. Line one reads: “Published by”, line two reads: “Eastgate Systems INc”, line three reads: “134 Main Street”, line four reads: “Watertown, MA 02172”, line five reads: “(800) 562-1638”, and line six reads: “(617) 924-9044”. The ISBN number is white, sans-serif font, and is located at ¼” bottom, 3 7/16” left, 7 10/16” top, and 2 7/16” right. The ISBN reads: “ISBN 1-884511-12-0.” The barcode is within a white box located at 3/16” bottom, 3 9/16” left, 7 9/16” top, and 3/16” right.

Folio, Spine
The folio spine measures 9” x ¼” in size. The left text of the spine is white, serif font, and reads: “The Eastgate Quarterly Review of Hypertext”. The center-left text of the spine is white, sans-serif font, and reads: “Mary-Kim Arnold”. The center-right text of the spine is white, sans-serif font, and reads: “J. Yellowlees Douglas”. The right text of the spine is white, serif font, and reads: “Eastgate Systems, Inc.”

Folio, Inside, Opened
Folio, Inside Left: The inside folio page is a sleeve that stores the works and paper materials through a vertical opening. The top of the page contains an advertisement for The Eastgate Quarterly Review of Hypertext. The advertisement encourages the reader to subscribe to The Eastgate Quarterly Review of Hypertext for four issues priced at $49.95. The bottom of the page contains the copyright information, trademarks, Eastgate Systems, Inc. logo, and Eastgate Systems, Inc. contact information.

Folio, Inside Right, Opened: The inside folio page is a sleeve that stores the works and paper materials through a vertical opening. The top of the page contains a detailed explanation of what Storyspace is, how it is used, why it is good, and reviews from Robert Coover of New York Time Book Review, George Mitrevski of IALL Journal of Language Learning Technologies, and Prof. George Landow of Brown University. The bottom of the page contains the price for Storyspace and a ten pack of Storyspace. The Storyspace text explains that educational discounts are available for all Storyspace products.

Floppy Disk, Macintosh, Front
The floppy disk is black and measures 3 1/2” x 3 11/16”. The label on the front is white with red text, measures 2 ¾” x 2 2/16”, and wraps over the top of the disk. The top of the label contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The publishing information is red and reads: “Volume 1, Number 2” and “Winter, 1994”. The center of the label contains the titles and the author’s names. The titles and author’s names are red and centered on the left and right side. The left side reads: “Lust” and “Mary Kim-Arnold”. The right side reads: “I Have Said Nothing” and “J. Yellowlees Douglas”. Underneath the author’s name, centered, and in red is the text for the operating system: Macintosh. Separating the top from the bottom of the label is a red thin box with white text that reads: “SERIOUS HYPERTEXT from”. The bottom of the label is white with red text and an ASCII image. The bottom of the label contains the publishing company’s logo, company name, address, and two phone numbers.

Floppy Disk, Macintosh, Back
The floppy disk is black and measures 3 1/2” x 3 11/16”. The label on the back is white with red text, measures 2 ¾” x ½”, and wraps over the top of the disk. The text on the label contains the copyright information by Eastgate Systems, Inc..

Floppy Disk, Windows, Front
The floppy disk is grey and measures 3 1/2” x 3 11/16”. The label on the front is white with red text, measures 2 ¾” x 2 2/16”, and wraps over the top of the disk. The top of the label contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The publishing information is red and reads: “Volume 1, Number 2” and “Winter, 1994”. The center of the label contains the titles and the author’s names. The titles and author’s names are red and centered on the left and right side. The left side reads: “Lust” and “Mary Kim-Arnold”. The right side reads: “I Have Said Nothing” and “J. Yellowlees Douglas”. Underneath the author’s name, centered, and in red is the text for the operating system: Windows. Separating the top from the bottom of the label is a red thin box with white text that reads: “SERIOUS HYPERTEXT from”. The bottom of the label is white with red text and an ASCII image. The bottom of the label contains the publishing company’s logo, company name, address, and two phone numbers.

Floppy Disk, Windows, Back
The floppy disk is grey and measures 3 1/2” x 3 11/16”. The label on the back is white with red text, measures 2 ¾” x ½”, and wraps over the top of the disk. The text on the label contains the copyright information by Eastgate Systems, Inc..

CD, Front
The CD has a diameter of 4 7/16”. The CD is dark red with twelve white lines that create large circles that are offset to the bottom right. The publisher’s name is serif font, white, and located to the left and aligned to the top of the clear, circular plastic piece of the CD. The text inside the circles is sans-serif font, white, and separated into two sections. Section one is located top-right in the first circle and reads: www.eastgate.com. Section two is located bottom-right and reads: “commodity-firmness-delight”.

CD Sleeve, Front
The CD sleeve is white paper with a clear circular window in the center and measures 5” x 5”. The top of the sleeve is an off-white label that wraps over the top and is in red text. The label contains the copyright information by Eastgate Systems, Inc.

CD Sleeve, Back
The CD sleeve is white paper and measures 5” x 5”. The label on the back is off-white, measures 2 ¾” x 2 2/16”, and wraps over the top of the sleeve. The top of the label contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The center of the label contains the version numbers and titles. The version number and titles are black, centered, and read: “EQRH v1.2 I Have Said Nothing & Lust. Separating the top from the bottom of the label is a red thin box with white text that reads: “SERIOUS HYPERTEXT from”. The bottom of the label is white with red text and an ASCII image. The bottom of the label contains the publishing company’s logo, company name, address, and two phone numbers.

Advertising Card, Turning In, Front
The postcard is an advertisement for Wes Chapman’s Turning In, published by Eastgate Systems, Inc. and measures 6” x 4”. The art, color, and font for the title in the advertisement match Turning In’s folio cover.

Advertising Card, Turning In, Back
The postcard is an advertisement for Wes Chapman’s Turning In published by Eastgate Systems, Inc. and measures 6” x 4”. The postcard contains a brief description of Wes Chapman’s Turning In, information about Eastgate Systems, Inc. website, contact information for Eastgate Systems, Inc., and a special offer sticker promising 20% off your next Eastgate order.

Advertising Insert, Front
The full advertisement measures 1’ 9” x 5” and folds inwards in two places. The advertisement sections measure 7” x 5”. The adverstisement of the left side is black with the white Uncle Buddy image of a man’s face covering the right side. The text on the advertisement highlights the game mechanics of John McDaid's Uncle Buddy’s Phantom Funhouse and includes reviews by Robert Coover and Gavin Edwards. The advertisement in the middle is white with an image in the center and text on the side. The image is Michael Joyce’s afternoon, a story. The text on the advertisement contains reviews from Robert Coover, Pamela McCorduck, and Richard Grant. The advertisement on the right is grey with black and white text. The text on the advertisement contains a brief description of the work and a review from Stuart Moluthrop.

Advertising Insert, Back
The full advertisement measures 1’ 9” x 5” and folds outwards in two places. The advertisement sections measure 7” x 5”. The advertisement on the left side is white with some black boxes that contain information about purchasing other Eastgate works. The Eastgate System, Inc. works are Stuart Moulthrop’s Victory Garden $19.95, Judy Malloy’s Its Name Was Penelope $19.95, Jim Rosenberg’s Intergrams $19.95, Carolyn Guyer’s Quibbling $19.95, Clark Humphrey’s The Perfect Couple $19.95, Sarah Smith’s King of Space $24.95, John McDaid’s Uncle Buddy’s Phantom Funhouse $39.95, J. Yellowlees Douglas’s “I Have Said Nothing”/Mary-Kim Arnold’s "Lust" $19.95, and Deena Larsen’s Marble Springs $19.95. The bottom right of the advertisement contains Eastgate Systems, Inc. contact information. The center advertisement has a white background with an image of a rocky cliff on the right half. The Marble Springs advertisement contains a brief description of the work. The advertisement on the right side is white with some black text boxes, white text, black text, and a logo. The advertisement contains Eastgate Systems, Inc. street address and a greeting from Eastgate’s Chief Scientist Mark Bernstein.

Booklet, Front
The booklet front is made of white printing paper with black inked text and measures 5 ½” x 8 ½”. The top of the page contains the series name in serif font and reads: “The Eastgate Quarterly Review of Hypertext”. The center of the page contains the two author’s names above their works in serif font. The first author’s name and work reads: “J. Yellowlees Douglas” and “I Have Said Nothing”. The second author’s name and work reads: “Mary-Kim Arnold” and “Lust”. The bottom of the page contains the volume and number in serif font and reads: “volume 1 number 2”.

Booklet, Back
The booklet back is made of white printing paper and measures 5 ½” x 8 ½”. The page is blank.

Booklet, Non-Numbered Page and Page 1
Non-Numbered: The page is not numbered, made of white printing paper, and measures 5 ½” x 8 ½”. The page contains the copyright information for Eastgate Systems, Inc. and the trademark information for Hypercard, Macintosh, Windows, and Storyspace. The text at the bottom-center explains that the stories and the characters are fictional.
Page 1: The page is made of white printing paper and measures 5 ½” x 8 ½”. The top of the page contains text that explains how to recognize and install the Windows and the Macintosh floppy disks. The bottom of the page contains an advertisement for Carolyn Guyer’s Quibbling. The advertisement contains a brief description of the author’s style, an ASCII image of waves, a review by Robert Coover, Mac and Windows compatibility, and purchase price.

Booklet, Page 2 and Page 3
Page 2: The page is made of white printing paper and measures 5 ½” x 8 ½”. The contents of the page is a forward called “The Quick and The Dirty” for J. Yellowlees Douglas’ “I Have Said Nothing.”
Page 3: The page is made of white printing paper and measures 5 ½” x 8 ½”. The contents of the page is a continuation of the forward called “The Quick and The Dirty” for J. Yellowlees Douglas’ "I Have Said Nothing."

Booklet, Page 4 and Page 5
Page 4: The page is made of white printing paper and measures 5 ½” x 8 ½”. The contents of the page is a continuation of the forward called “The Quick and The Dirty” for J. Yellowlees Douglas’ "I Have Said Nothing." The end of the text is J. Yellowlees Douglas’ CompuServe email and their invitation to discuss their work.
Page 5: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing" and mention John McDaid’s Uncle Buddy’s Phantom Funhouse and other Eastgate Systems, Inc. works.

Booklet, Page 6 and Page 7
Page 6: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing" and mention Mary-Kim Arnold’s "Lust," John McDaid’s Uncle Buddy’s Phantom Funhouse, and other Eastgate Systems, Inc. works.
Page 7: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing" and mention other Eastgate Systems, Inc. works.

Booklet, Page 8 and Page 9
Page 8: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."
Page 9: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."

Booklet, Page 10 and Page 11
Page 10: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."
Page 11: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."

Booklet, Page 12 and Page 13
Page 12: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."
Page 13: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the references used in the forward and the introductory remarks.
Critical Essay on Mary-Kim Arnold's "Lust"
Repetition in Mary-Kim Arnold’s “Lust”
by Dene Grigar

Sexual lust, blood lust, lust for love––all are explored in Mary-Kim Arnold’s “Lust.” Published along with J. Yellowlees Douglas’ “I Have Said Nothing” in The Eastgate Quarterly Review of Hypertext, Volume 1, Number 2 in 1993, [1] “Lust” was hailed by critic Robert Coover as a “miniature gem” (Coover). The story, told in 3rd person, recalls raw emotions experienced by the protagonist, referred to only as “she,” through her relationships with four named lovers. “Lust” is as much a work of poetry as it is prose, achieving the former, in part, through its extensive use of repetition.

Repetition in the Hypertext Structure
After the work is launched, the Prologue appears. It is presented as three stanzas of poetry containing 36 words. Each one of these 36 words links to a lexia. For example, “Nearly,” the first word of the poem, links to the lexia “Counting.” This means that there are 36 lexias beyond the one that constitutes the Prologue. This is the extent of the number of lexias accessible in the work. [2] All other links are derived from these 36 lexias. This means that once readers land on “Counting,” they can click on any of the words of that lexia and go to the lexia, “He Wishing,” the lexia connected to the 23rd word of the Prologue, “of.” The structure is follows for the first two lines, “Nearly naked/this summer night,” and continues in this manner throughout the entire work: [3]

Word #1: “Nearly” -> goes to lexia “Counting” -> goes to lexia “He Wishing” ->
Word #2:  “Naked” -> goes to lexia “Nearly Naked” -> goes to lexia “Summer” ->
Word #3:  “This” -> goes to lexia “Try” -> goes to lexia “In noce” ->
Word #4:  “Summer” -> goes to lexia “Summer” -> goes to lexia “She and the Child” ->
Word #5:  “Night” -> goes to lexia “Wishing” -> goes to lexia “She Aches” ->

What is interesting to note is that Arnold does not link each of 36 lexias to a unique lexia. She uses only 27 of them, repeating nine lexias. “Summer,” “Innocence,” “She Aches,” “John,” “Morning,” “Innocent,” “Wishing,” and “Dave” are used twice, and “Jeffrey” is repeated three times.

Repetition of Words
“Lust” is a short work comprised of only 1738 words, and only 239 of them are unique. [4] The rest––1499––are words or forms of words used repeatedly throughout the work. Most used is the pronoun, “she,” which appears 120 times; “he” is second, appearing 79 times. Examples of repeated words include:

Pronouns
He: 79
She: 120
Him: 43
Her: 74

Nouns
Blade: 5
Blood: 9
Child: 29
Face: 8
Fibers: 7
Flesh: 14
Knife: 11
Naked: 17
Skin: 8
Slowly: 8
Surface: 7

Verbs
Ache/Aching: 5
Fall/Falls/Falling: 6
Remembers/Remembers: 36
Tears/Tearing: 8
Touch/Touching: 14
Scream/Screams/Screaming: 10
Speak/Speaks/Speaking: 30

Repetition of Sounds
Not only are lexias and words repeated but sounds themselves, an approach that contributes to the poetic quality of the work. The Prologue, for example, is filled with the repetitive lushness of the silibant “S” sound found in 10 of its 36 words:

Nearly naked
this summer night
sweet and heavy,
he comes to her.

This night, she follows him,
sweat between them.

They speak of the child
and the summer sun
with words that yield
to the touch.

“[S]ummer,” “sweet,” “comes,” “This,” “follows,” “she,” “speak,” “sweat,” “sun,” “words”––the use of internal rhyme here is not uncommon in print-based poetry, but what makes “Lust” stands out as a work of hypertextual writing is the way sounds and words are linked together to emphasize the raw emotional experience of the protagonist.

For example, the lexia, “Summer,” is linked from the 4th word “Summer” (Word #4:  “Summer” -> goes to lexia “Summer” -> goes to lexia “She and the Child” -> goes to lexia “Knife”) and reads:

She is aching. She wants to sit down. She sits on the carpet, touches her toes.
He speaks to her, asks her to follow him, to stay with him. Here he is like a child,
slowly deliberately.

There is no mourning. They do not speak. There are no screams. There is no blood.
That night, there are no tears. There are blankets of words, the fibers fraying.

The summer sun is sweet and heavy.

The two lines, “[T]his summer night/sweet and heavy,” from the Prologue repeats in this lexia. Due to the addition of the word "is," however, it is now presented as a statement of fact: “The summer sun is sweet and heavy” (my emphasis). Also in the Prologue the protagonist is referred to as “her” in a prepositional phrase where “He” is the subject. This lack of agency for the protagonist shifts in the lexia linked to it, “Summer.” Within the 74 words of this lexia the word, “she,” is used three times. “He” is also used twice, but we find he’s literally subsumed in the “h” and “e” in “her” and in “she” six times, highlighting the protagonist's ability to act in this lexia. Both "her" and "he" are yoked together in the word, “there," an adverb that pinpoints the two characters in a specific location, yet this is not the case in this lexia since there is no reference for one. Space like the male character alluded to both remain vague and undistinguishable, meaning it can be anytime and anyone that these emotions were aroused. The use of "There"+ present tense in the singular form of to be (“is,” “are”) in the third stanza reflects three different types of repetition, including an anaphora, diacope, epimone. [5] Such rhetorical strategy further emphasizes the exhaustion from spent emotion felt by the protagonist.

Clicking on any of the words in "Summer" takes readers to the lexia “She and the Child,” which contains 44 words. It reads:

Dyed in the woolen blanket. Fraying ends. Fibers.

Sand, gravel against soft flesh.

She remembers being put on hold.

She remembers very fast. Very fast wind in the hair of sand.

She remembers cold.

He speaks to her slowly, deliberately.

She remembers the child.

“Slowly, deliberately” from “Summer” is repeated in this lexia and, at the same time, juxtaposed with the word, “fast,” used twice in the same line. The sibilant “S” sound from “[s]lowly” is repeated in the word, “fast,” exemplifying the internal rhyme, consonance. Furthermore, the “F” sound, introduced earlier in the lexia by “[f]raying,” “[f]ibers,” and “flesh,” presents us with a voiceless stop at the beginning of the word, producing the effect of literally being spit out of the mouth when uttered. “Fast,” is, thus, both a violent and lush word. Interestingly, the two lexias connect through the idea that “he,” whoever he is, is “remember[ed]” as a “child.”

Every word in “She and the Child” leads to the lexia, “Knife,” consisting of 20 words. Unlike the other two lexias mentioned earlier, this one is composed as a statement:

She picks up the knife, thinks of his face, runs the smooth cold blade across the surface of her skin.

The emphasis on the “F” sound continues with “knife,” “face,” and “surface. The “P” in “picks” jars the ear in a purposeful way. Like “F,” “P” is voiceless and articulated with our lips, but because it is emitted due to a temporary blockage of the airstream, it literally explodes from the lips. We hear the sound repeated in the word that follows, “up,” the “P” sound once again stopping the flow of the words. So, the phrase "picks up" punctuates the line, stopping its flow. The “cold” that “[s]he remembers” in the previous lexia is used here to describe the “blade” of the “knife.”

“Summer” is the title of two lexias and appears the second time in the fourth stanza as the 28th word in the Prologue. This word takes the reader to a lexia “John” consisting of 24 words:

John had sand colored hair and eyes of sea. He drove a motorcycle, never wore a
helmet. “I am a dyed-in-the-wool Republican,” he said.

He is one of four lovers the protagonist alludes to in the narrative. It is only in this lexia that his name is ever stated. We cannot know how many of the 79 uses of “he” or 43 uses of “him” refers to this character. In fact, three of the men––John, Jeffrey, and Dave––appear in only one lexia by name. Michael, the fourth lover, appears only in a lexia title. The lexia pertaining to John, like the ones in which Dave and Jeffrey appear––the 34th and 35th words, respectively––are written in the past tense. The one pertaining to Michael as well as all other lexias in “Lust” unfold in the present tense. This repetitive use of past tense among all other of the 33 lexias comprising the narrative makes these three lexias stand out in stark difference to Michael’s. Additionally, all three lexias relating to these men are prosaic rather than poetic, unfolding in statements outside of stanzaic form. Reading them together, we see a shift between types of lust, from casual desire to passionate longing.

John, for example, was a risk-taker who would not wear a “helmet,” whose conservative politics belied his lust for life, warns of his insouciance toward danger. Jeffrey was a pragmatist with “a past,” who “wrapped it around him like a blanket to keep him warm, to keep him safe from harm. The blanket of steel, less penetrable than the surface of his skin.” She tells him, “[I]t didn’t matter to me, I wanted to know all of him, not just the good things, the dark side, too. He told me I had seen one too many movies” (Arnold's emphasis). Dave was a “guy’s guy [who] hung with the boys. He wore a baseball cap, only touched her when they were in bed. He called her “dude” and told her that didn’t understand ‘penis things.’” The matter of factness by which these men are described is devoid of emotion, standing in stark contrast to the rawness the protagonist expresses elsewhere in the narrative.

All of the 24 words in John’s lexia takes the reader to the lexia, “Innocence.” It reveals a lover’s quarrel between the protagonist and one of the men:

She follows him that night, running into the street, blindly, tears streaming down her cheeks, heaving wildly. She is barefoot, the gravel hard against the soft flesh of her soles. She runs on, sees him walking. She slows to a brisk walk, trying to catch her breath and tugs at her nightshirt, riding up between her naked thighs. She rakes her fingers through her hair and follows him home.

He looks at her as if he has expected her to follow him like this, naked except for the
long cotton shirt.

‘For god’s sake, sit down.’

I don’t want to sit. (Arnold's emphasis)

Jeffrey’s lexia goes back to the lexia, “John.” “Dave” takes the reader to one entitled, “Wishing.”

She wishes he had stayed with her. She wishes like a child that he had followed her
and stayed that night.

The morning comes. Summer sun, heavy, falling across the carpet fibers. She is on her knees, facing the child.

The child aches. The child comes to her, nearly naked. She speaks slowly, deliberately.

The fourth lover, Michael, on the other hand, is presented differently. As previously stated, his name only appears in the title of the lexia. She tells us that :

Orange juice kisses and summer sun – she remembers him with a faint longing,
wanting nothing like love, nothing like sweat or wind. And when the traces of salty
sweet lay on her skin like a blanket breath and tears, she thinks of him, thinks of him,
always thinking of him.

The repetition of the word “think” found in “thinks” and “thinking,” an example of a polyptoton––a play on words––emphasizes that Michael is the only one of the four men for whom the protagonist still “long[s].”

Repetition as Rhetorical Strategy
Generally, repetition is a strategy used in literary works for emphasizing and clarifying ideas. With as much repetition found in this work, one would think that readers would come away with a clear understanding of the narrative. But this is not the case. Michael Joyce writes in his essay, “Nonce upon Some Times,” that:

In the story a woman has hurt a man or the man her, there is a knife and blood and gravel and a rug, they have a child or she think him one or he does her or they each or both imagine or desire or recall then they were one, he abuses her or she him or we imagine as much, they make love or do not, they sleep or do not, she runs off or he brings her back, they may or may not drink orange juice. There are men named Dave, John, Jeffrey, and Michael; the woman is unnamed, always called “she.” (141)

A History of Twentieth-Century American Women’s Poetry reports that “Lust” is said to “combine just thirty-seven screens, but as their ordering is contingent on the choices of the reader what emerges is a (sometimes frustratingly) incomplete deliberation on the sensuality, violent emotion, and violence surrounding the unnamed narrator “she.” The repetitive intensity that emerges from a reading of “Lust” returns the reader to the insistence of the body.” (NP)

In truth, repetition does not function in “Lust” to make the narrative comprehensible to readers but rather memorable to them. We, like the protagonist, are forced to remember the feelings of raw emotion that lust evokes. The images of “running” the “blade” of a “knife” across “the surface of her skin,” running” “barefoot” on the “gravel,” “blood” on the “carpet,” “tearing,” “screaming,” wrapping themselves up in “blankets” of wool and steel, like a “child”––like the rest of the images Arnold presents us––are built linguistically and rhetorically to emphasize the emotions the protagonist feels or felt about the men with whom she was emotionally involved. We come away from reading “Lust” having received not a clear understanding of a story but instead one that reminds of the damage relationships can do, the lust they can evoke, the raw emotion they can drain from us, and how deeply they can cut.

Notes
[1] As mentioned in the critical essay for the Douglas chapter, Douglas reported in her interview that "I Have Said Nothing" was actually the first publication of The Eastgate Quarterly Review of Hypertext but is numbered “2” because the work slated for number 1 was not available.

[2] When the work loads on the computer, it shows 38 nodes and 141 links. This information is also found in the promotions about “Lust” on the Eastgate Systems, Inc. site. (See http://www.eastgate.com/catalog/q12.html). The missing node may be an example of a janespace. Because of Arnold’s Brown University connection and the fact her work is bundled with J. Yellowless Douglas’––the J in janespace––it is a distinct possibility. See Mouthrop.

[3] The lexias and linking unfold like this:
Word #1: “Nearly” -> goes to lexia “Counting” -> goes to lexia “He Wishing” ->
Word #2:  “Naked” -> goes to lexia “Nearly Naked” -> goes to lexia “Summer” ->
Word #3:  “This” -> goes to lexia “Try” -> goes to lexia “In noce” ->
Word #4:  “Summer” -> goes to lexia “Summer” -> goes to lexia “She and the Child” ->
Word #5:  “Night” -> goes to lexia “Wishing” -> goes to lexia “She Aches” ->
Word #6:  “Sweet” -> goes to lexia “Aching” -> goes to lexia “He Expects” ->
Word #7:  “And” -> goes to lexia “Knife” -> goes to lexia “Fibers” ->
Word #8:  “Heavy” -> goes to lexia “She Aches” -> goes to lexia “Jeffrey” ->
Word #9:  “He” -> goes to lexia “Remembering” -> goes to lexia “He and the Child” ->
Word #10: “Comes” -> goes to lexia “Coming” -> goes to lexia “Jeffrey” ->
Word #11: “To” -> goes to lexia “Fibers” -> goes to lexia “Nearly Naked” ->
Word #12: “Her” -> goes to lexia “She and the Child” -> goes to lexia “Knife” ->
Word #13: “This” -> goes to lexia “She Wishing” -> goes to lexia “Remembering” ->
Word #14: “Night” -> goes to lexia “Crying” -> goes to lexia “Coming” ->
Word #15: “She” -> goes to lexia “She Expects” -> goes to lexia “Morning” ->
Word #16: “Follows” -> goes to lexia “Indulgence” -> goes to lexia “Innocent” ->
Word #17: “Him” -> goes to lexia “Penis Things” -> goes to lexia “Summer” ->
Word #18: “Sweat” -> goes to lexia “Touching” -> goes to lexia “Indulgence” ->
Word #19: “Between” -> goes to lexia “Morning” -> goes to lexia “Wishing” ->
Word #20: “Them” -> goes to lexia “Things” -> goes to lexia “In noce” ->
Word #21: “They” -> goes to lexia “Innocence” -> goes to lexia “This Night” ->
Word #22: “Speak” -> goes to lexia “Michael” -> goes to lexia  “Jeffrey” ->
Word #23: “Of” -> goes to lexia “He Wishing” -> goes to lexia “Dave” ->
Word #24: “The” -> goes to lexia “The Child Speaks” -> goes to lexia “Touching” ->
Word #25: “Child” goes to lexia “The Child” -> goes to lexia “Innocent” ->
Word #26: “And” -> goes to lexia “Innocent” -> goes to lexia “Morning” ->
Word #27: “The” -> goes to lexia “He Expects” -> goes to lexia “Dave” ->
Word #28: “Summer -> goes to lexia “John” -> goes to lexia “Innocence” ->
Word #29: “Sun -> goes to lexia “She” -> goes to lexia “He Listens” ->
Word #30: “With -> goes to lexia “In noce” -> goes to lexia “She Aches” ->
Word #31: “Words -> goes to lexia “He Listens” -> goes to lexia “Michael” ->
Word #32: “That -> goes to lexia “He and the Child” -> goes to lexia “John” ->
Word #33: “Yield -> goes to lexia “This Night” -> goes to lexia “She Wishing” ->
Word #34: “To -> goes to lexia “Jeffrey” -> goes to lexia “John” ->
Word #35: “The -> goes to lexia “Dave” -> goes to lexia “Wishing” ->
Word #36: “Touch -> goes to lexia “Penis” -> goes to lexia “Things” ->

[4] See this downloadable doc that shows all of the unique words used in “Lust."

[5] See Edward P. J. Corbett and Robert J. Connors' Classical Rhetoric for the Modern Student: anaphora, p. 390-91. See "Repetition": diacope and epimone, https://literarydevices.net/repetition/.

References
Coover, Robert. “Hyperfiction: Novels for the Computer.” New York Times Review of Books essay, 29 August 1993. https://archive.nytimes.com/www.nytimes.com/books/98/09/27/specials/coover-hyperfiction.html?_r=1.

A History of Twentieth-Century American Women's Poetry. Ed. Linda A. Kinnahan. NY, NY: Cambridge University Press, 2016.

Joyce, Michael. "Nonce upon Some Times." Othermindness: The Emergence of Network Culture. Ann Arbor: University of Michigan Press, 2000.

Moulthrop, Stuart. “Arnold’s Lust.” Personal Email. 22 May 2018.

Moulthrop, Stuart, and Dene Grigar. Traversals: The Use of Preservation for Early Electronic Writing. Cambridge, MA: The MIT Press, 2017.
Photos of Mary-Kim Arnold's "Lust"

Folio, Front
The folio measures 6” x 9” in size and is made of a faded blue jean color, heavy card stock with black and white images and text printed in ink. The top of the folio contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The publishing series text is black, centered, serif font, underlined in a 1-pixel white line, and measures 5 10/16” x 10/16”. The location of the publishing series text is 1/16” left, 4/16” top, 3/16” right, and 1/16” bottom to the line. The details of the series is set underneath the white underline and separated into two sections and two lines. The first set of series text is white, aligned left, and serif font. Line one reads: “Volume 1, Number 2” and line two reads: “Winter, 1994”. The second set of series text is white, aligned right, and serif font. Line one reads: “for Macintosh & Windows” and line two reads: “$19.95”. Between the last line of the left and right series text is a white 1-pixel line that extends to approximately 1/16” from both of the line twos.

The title "Lust", a review of the title, and the author’s name is set underneath the publishing information and covers approximately one fourth of the page. The letter “L” of the title text is black, centered with the name, a cursive font and measures 1 11/16” x 1 5/16”. The location of the letter “L” is 3/16” bottom to author’s name, 1 6/16” left, 2/16” top, and 1/16” right to the tittle text. The title text “ust” is black, centered, and serif font, and measures 11/16” x 7/16”. The location of the title text is centered to the letter “L”. The review of the title is black, sans-serif font, left aligned, separated into two lines, and measures 2” x 6/16”. Line one reads: “’A miniature gem’” and line two reads: “—The New York Times”. The location of the review is 3/16” bottom to the author’s name, 4/16” left to the letter “L”, 2/16” top, and 1” right. The author’s name “Mary-Kim Arnold” is white, serif font, centered, and measures 4 2/16” x 5/16”. The location of the author’s name is 1/16” bottom, 15/16” left, 3/16” top, and 15/16” right.

The ASCII art is set underneath the author’s name and covers the center of the folio with two images of people’s eyes and lines. The first ASCII art of eyes measures 9/16” x 1 1/16” and shows a person’s eye and long nose. The location of the first ASCII art is 1 3/16” bottom, 1” left, 1” top, and 4 7/16” right. The second ASCII art of eyes measures 1 ¾” x 13/16” and shows a person’s eyes looking to the right while facing left. The location of the second ASCII art is 2” bottom, 3 ½” left, 6/16” top, and 11/16” right. The ASCII line art is two white lines that are made up of thin and thick bars that make it look like it is winding behind the ASCII art of eyes and is located between 4/16” bottom, 4/16” left, 1/16” top, and 7/16” right.

The second author’s name, title "I HAVE SAID NOTHING", a review of the title is set underneath the ASCII art and covers less than one fourth of the page. The author’s name “J. YELLOWLEES DOUGLAS” is white, serif font, centered, and measures 5 7/16” x 6/16”. The location of the author’s name is 2/16” bottom, 3/16” left, 3/16” top, and 3/16” right. The second title text is black, centered, sans-serif font, and measures 4 15/16” x 7/16”. The location of the second title is 2/16” bottom, ½” left, 2/16” top, and ½” right. The review of the second title is black, sans-serif font, left aligned, separated into three lines, and measures 3 10/16” x 10/16”. Line one reads: “’Superb, crystalline, finely balanced”, line two reads: “between savagery and sympathy”, and line three reads: “Stuart Moulthrop, author of Victory Garden”. The location of the review is 4/16” bottom, 1 2/16” left, 2/16” top, and 1 3/16” right.

The border is set underneath the second review and separates a review about Eastgate Systems, Inc.. The 1-2 pixel border is white, centered, and measures 5 10/16” across. The review of Eastgate Systems is white, sans-serif font, centered, separated into three lines, and measures 5 6/16” x 8/16”. Line one reads: “Eastgate is starting to deploy some of the most interesting voices”, line two reads: “rising out of the literary terrain. Buy in now!”, and line three reads: “—Mark Amerika, author of The Kafka Chronicles”.

Folio, Back
The folio measures 6” x 9” in size and is made of a faded blue jean color, heavy card stock with black and white images and text printed in ink. The top of the folio contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The publishing series text is left aligned, black, serif font, underlined in a 1-pixel white line, and located at 8 5/16” bottom, 2/16” left, 1/4” top, and 2 1/16” right. The series details are underneath the white underline and separated into two sections. The first section is aligned left, white, serif font, and located at 8 2/16” bottom, 3/16” left, 11/16” top, and 4 10/16” right. The first section reads: “Volume 1, Number 2”. The second section is white, aligned right, serif font, and is located at 8 5/16” bottom, 3 3/16” left, 11/16” top, and 2 1/16” right. The second section reads: “Winter, 1994”.

The author’s name, the title "Lust", and ASCII art is underneath the publishing series information. The author’s name “Mary-Kim Arnold” is left aligned, white, serif font, and located at 7 13/16” bottom, 3/16” right, 14/16” top, and 2 14/16” right. The title is left aligned, black, sans-serif font, and is located at 7 7/16” bottom, 3/16” left, 1 ¼” top, and 5 1/16” right. The ASCII art is an image of two white lines that are made up of thin and thick bars that make it look like it is winding. The ASCII art measures approximately 1 13/16” x 1 5/16” and is located 7 6/16” bottom, 4” left, 5/16” top, and 2/16” right.

The synopsis and reviews of "Lust" are underneath the title of the work and covers over one fourth of the page. The synopsis of Lust is left aligned, white, sans-serif font, and separated into two sections. Section one of the synopsis contains seven lines and is located at 6 5/16” bottom, 3/16” left, 1 10/16” top, and 3/16” right. Line one reads: “In the recombinations and dense linkage of its nodes, the reader of Lust encounters violent”, line two reads: “scenes, a sequence of lovers, the creation and loss of family, blood, and screaming. These”, line three reads: “sequences—and their meanings—depend on the reader’s choices. On writing Lust Mary-Kim”, line four reads: “Arnold says, ‘This experience has been a tremendous one for me, personally, academically, psy-“, line five reads: “chologically, maybe even sexually. In any event, this medium has been the most fertile, flexible,”, line six reads: giving, nurturing place I have ever found to write in, to be in, to share in.’ This bold work”, and line seven reads: “stretches to the limits of hypertext, to its advantage.

The reviews of Lust are between the first and second section of the synopsis. The reviews are centered, white, sans-serif font, and separated into two sections. Section one of the reviews contains two lines and are located at 6” bottom, 6/16” left, 2 12/16” top, and 6/16” left. Line one reads: “’Uniquely a hypertext, Lust conjures the thing itself and its seductive terrors by presenting fragments of its” and line two reads: “consequences. It conjures a feast from the leftovers.’”. Section two of the reviews contains four lines and are located at 5 ½” bottom, 6/16” left, 3 1/16” top, and 6/16” right. Line one reads: “’A compact and sensual tale, Mary-Kim Arnold’s "Lust" is always on the verge of exploding into sex, violence”, line two reads: “and murder. Spanning the distance between prose fiction and poetry, Lust undresses the resonances of emo-“, line three reads: “tionally loaded words and phrases, revealing unspoken moments, fragments of memory, and muffled”, and line four reads: “screams.’—Kathryn Cramer, author of In Small & Large Pieces”.

Section two of the synopsis contains four lines and is located at 4 13/16” bottom, 3/16” left, 3 10/16” top, and ¼” right. Line one reads: “Mary-Kim Arnold live in Providence, Rhode Island, with her husband, Brook Connor, and two”, line two reads: “black and white cats, Simon and Schuster, a bunny named Harper, and an iguana named”, line three reads: “Icarus. She is a student at Brown University. She also writes poetry. In her spare time, she”, and line four reads: “tends her window sill herb garden.”

The center1-pixel border separates the content for Lust and I Have Said Nothing. The 1-pixel border is white, centered, and measures 5 9/16”. The author’s name, title, and the author’s quote are underneath the 1-pixel border. The author’s name “J. Yellowlees Douglas” is left aligned, white, serif font, and is located at 4 6/16” bottom, 3/16” left, 4 6/16” top, and 1 15/16” right. The title I Have Said Nothing is left aligned, black, sans-serif font, and is located at 3 14/16” bottom, 3/16” left, 4 ¾” top, and 2 7/16” right. The author’s quote is left aligned, black, sans-serif font, and located 3 5/16” bottom, 3 10/16” left, 4 11/16” top, and ¼” right. The author’s quote is separated into six lines. Line one reads: “’I could say something lame’, line two reads: ‘about people wasting their’, line three reads: ‘lives trying to make things’, line four reads: ‘matter. Of how we spend our’, line five reads: ‘lives mistaking patterns for’, and line six reads: ‘Order…But I say nothing.’”

The synopsis of I Have Said Nothing is underneath the title and lines five through eight are also underneath the author’s quote. The synopsis is left aligned, white, sans-serif font, and separated into eight lines. Lines one to four are located at 3 ¼” bottom, 3/16” right, 5 3/16” top, and 2 ½”. Lines five to eight are located at 3 ¼” bottom, 3/16” left, 5 ¾” top, and 3/16” right. Line one reads: “A meditation on the enormous space that divides us”, line two reads: “from each other, bracketed by two car crashes. The”, line three reads: “seeming fragmentation of Douglas’s hypertext, and the”, line four reads: “colloquial tone of the author’s powerful voice, bring us”, line five reads: “closer than we would like to the randomness and loss that are just around the corner in our”, line six reads: “lives. The narrator is driven to tell us that our losses are not like the tragedies on our movie”, line seven reads: “screens, built into meaning. Still, what we read is all a story, so we don’t quite believe it—but”, and line eight reads: “then the flickering bits of texts, coming and going, make us know how it is, for an instant.”

The review of "I Have Said Nothing" is between the synopsis and the author’s biographical information. The review is center aligned, white, sans-serif font, and is located at 2 6/16” bottom, 6/16” right, 6 6/16” top, and 7/16” right. The review is separated into two lines. Line one reads: “’A single clear narrative voice recounts the accidental deaths of two young women, her brother’s lovers, in suc-‘” and line two reads: “’cession….Douglas’s writing is clear, vigorous and emotionally restrained.’—Judith Kerman, author of Mothering”

The author’s biographical information is underneath the review. The biographical information is left aligned, white, sans-serif font, and located at 1 ¾” bottom, 3/16” left, 6 11/16” top, and ¼” right. The biographical information is separated into four lines. Line one reads: “J. Yellowlees Douglas is an Assistant Professor of English at Lehman College, City University of”, line two reads: “New York, and director of its Program in Professional Writing. For more than seven years, she”, line three reads: “has been researching and writing on hypertext. Her critical work on hypertext has appeared”, and line four reads: “in leading journals and collections in the US and UK.”

The bottom 1-pixel border separates the content for "I Have Said Nothing" and the publisher’s information. The 1-pixel border is centered, white, and measures 5 9/16”. The computer requirements, publisher’s logo, publisher’s information, and barcode are underneath the 1-pixel border. The computer requirements are left aligned, white, sans-serif font, and located at 1 ½” bottom, 3/16” left, 7 6/16” top, and 1 1/16” right. The computer requirements read: “For WindowsTM and Macintosh.TM Requires 2 MB RAM and a hard disk drive.” The publisher’s logo is a white outlined image of a rounded stone doorway in a stoned wall and is located at 3/16” bottom, 3/16” left, 7 10/16” top, and 4 1/2” right. The publisher’s information is left aligned, white, sans-serif font, and located at 3/8” bottom, 1 9/16” left, 7 10/16” top, and 2 9/16” right. The publisher’s information is separated into six lines. Line one reads: “Published by”, line two reads: “Eastgate Systems INc”, line three reads: “134 Main Street”, line four reads: “Watertown, MA 02172”, line five reads: “(800) 562-1638”, and line six reads: “(617) 924-9044”. The ISBN number is white, sans-serif font, and is located at ¼” bottom, 3 7/16”, 7 10/16” top, and 2 7/16” right. The ISBN reads: “ISBN 1-884511-12-0.” The barcode is within a white box located at 3/16” bottom, 3 9/16” left, 7 9/16” top, and 3/16” right.

Folio, Spine
The folio spine measures 9” x ¼” in size. The left text of the spine is white, serif font, and reads: “The Eastgate Quarterly Review of Hypertext”. The center-left text of the spine is white, sans-serif font, and reads: “Mary-Kim Arnold”. The center-right text of the spine is white, sans-serif font, and reads: “J. Yellowlees Douglas”. The right text of the spine is white, serif font, and reads: “Eastgate Systems, Inc.”

Folio, Inside, Opened
Folio, Inside Left: The inside folio page is a sleeve that stores the works and paper materials through a vertical opening. The top of the page contains an advertisement for The Eastgate Quarterly Review of Hypertext. The advertisement encourages the reader to subscribe to The Eastgate Quarterly Review of Hypertext for four issues priced at $49.95. The bottom of the page contains the copyright information, trademarks, Eastgate Systems, Inc. logo, and Eastgate Systems, Inc. contact information.

Folio, Inside Right: The inside folio page is a sleeve that stores the works and paper materials through a vertical opening. The top of the page contains a detailed explanation of what Storyspace is, how it is used, why it is good, and reviews from Robert Coover of New York Time Book Review, George Mitrevski of IALL Journal of Language Learning Technologies, and Prof. George Landow of Brown University. The bottom of the page contains the price for Storyspace and a ten pack of Storyspace. The Storyspace text explains that educational discounts are available for all Storyspace products.

Floppy Disk, Macintosh, Front
The floppy disk is black and measures 3 1/2” x 3 11/16”. The label on the front is white with red text, measures 2 ¾” x 2 2/16”, and wraps over the top of the disk. The top of the label contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The publishing information is red and reads: “Volume 1, Number 2” and “Winter, 1994”. The center of the label contains the titles and the author’s names. The titles and author’s names are red and centered on the left and right side. The left side reads: “Lust” and “Mary Kim-Arnold”. The right side reads: “I Have Said Nothing” and “J. Yellowlees Douglas”. Underneath the author’s name, centered, and in red is the text for the operating system: Macintosh. Separating the top from the bottom of the label is a red thin box with white text that reads: “SERIOUS HYPERTEXT from”. The bottom of the label is white with red text and an ASCII image. The bottom of the label contains the publishing company’s logo, company name, address, and two phone numbers.

Floppy Disk, Macintosh, Back
The floppy disk is black and measures 3 1/2” x 3 11/16”. The label on the back is white with red text, measures 2 ¾” x ½”, and wraps over the top of the disk. The text on the label contains the copyright information by Eastgate Systems, Inc..

Floppy Disk, Windows, Front
The floppy disk is grey and measures 3 1/2” x 3 11/16”. The label on the front is white with red text, measures 2 ¾” x 2 2/16”, and wraps over the top of the disk. The top of the label contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The publishing information is red and reads: “Volume 1, Number 2” and “Winter, 1994”. The center of the label contains the titles and the author’s names. The titles and author’s names are red and centered on the left and right side. The left side reads: “Lust” and “Mary Kim-Arnold”. The right side reads: “I Have Said Nothing” and “J. Yellowlees Douglas”. Underneath the author’s name, centered, and in red is the text for the operating system: Windows. Separating the top from the bottom of the label is a red thin box with white text that reads: “SERIOUS HYPERTEXT from”. The bottom of the label is white with red text and an ASCII image. The bottom of the label contains the publishing company’s logo, company name, address, and two phone numbers.

Floppy Disk, Windows, Front
The floppy disk is grey and measures 3 1/2” x 3 11/16”. The label on the back is white with red text, measures 2 ¾” x ½”, and wraps over the top of the disk. The text on the label contains the copyright information by Eastgate Systems, Inc..

CD, Front
The CD has a diameter of 4 7/16”. The CD is dark red with twelve white lines that create large circles that are offset to the bottom right. The publisher’s name is serif font, white, and located to the left and aligned to the top of the clear, circular plastic piece of the CD. The text inside the circles is sans-serif font, white, and separated into two sections. Section one is located top-right in the first circle and reads: www.eastgate.com. Section two is located bottom-right and reads: “commodity-firmness-delight”.

CD Sleeve, Front
The CD sleeve is white paper with a clear circular window in the center and measures 5” x 5”. The top of the sleeve is an off-white label that wraps over the top and is in red text. The label contains the copyright information by Eastgate Systems, Inc.

CD Sleeve, Back
The CD sleeve is white paper and measures 5” x 5”. The label on the back is off-white, measures 2 ¾” x 2 2/16”, and wraps over the top of the sleeve. The top of the label contains the information on the publishing series The Eastgate Quarterly Review of Hypertext. The center of the label contains the version numbers and titles. The version number and titles are black, centered, and read: “EQRH v1.2 I Have Said Nothing & Lust. Separating the top from the bottom of the label is a red thin box with white text that reads: “SERIOUS HYPERTEXT from”. The bottom of the label is white with red text and an ASCII image. The bottom of the label contains the publishing company’s logo, company name, address, and two phone numbers.

Advertising Card, Turning In, Front
The postcard is an advertisement for Wes Chapman’s Turning In, published by Eastgate Systems, Inc. and measures 6” x 4”. The art, color, and font for the title in the advertisement match Turning In’s folio cover.

Advertising Card, Turning In, Back
The postcard is an advertisement for Wes Chapman’s Turning In published by Eastgate Systems, Inc. and measures 6” x 4”. The postcard contains a brief description of Wes Chapman’s Turning In, information about Eastgate Systems, Inc. website, contact information for Eastgate Systems, Inc., and a special offer sticker promising 20% off your next Eastgate order.

Advertising Insert, Front
The full advertisement measures 1’ 9” x 5” and folds inwards in two places. The advertisement sections measure 7” x 5”. The adverstisement of the left side is black with the white Uncle Buddy image of a man’s face covering the right side. The text on the advertisement highlights the game mechanics of John McDaid's Uncle Buddy’s Phantom Funhouse and includes reviews by Robert Coover and Gavin Edwards. The advertisement in the middle is white with an image in the center and text on the side. The image is Michael Joyce’s afternoon, a story. The text on the advertisement contains reviews from Robert Coover, Pamela McCorduck, and Richard Grant. The advertisement on the right is grey with black and white text. The text on the advertisement contains a brief description of the work and a review from Stuart Moluthrop.

Advertising Insert, Back
The full advertisement measures 1’ 9” x 5” and folds outwards in two places. The advertisement sections measure 7” x 5”. The advertisement on the left side is white with some black boxes that contain information about purchasing other Eastgate works. The Eastgate System, Inc. works are Stuart Moulthrop’s Victory Garden $19.95, Judy Malloy’s Its Name Was Penelope $19.95, Jim Rosenberg’s Intergrams $19.95, Carolyn Guyer’s Quibbling $19.95, Clark Humphrey’s The Perfect Couple $19.95, Sarah Smith’s King of Space $24.95, John McDaid’s Uncle Buddy’s Phantom Funhouse $39.95, J. Yellowlees Douglas’s 'I Have Said Nothing"/Mary-Kim Arnold’s "Lust" $19.95, and Deena Larsen’s Marble Springs $19.95. The bottom right of the advertisement contains Eastgate Systems, Inc. contact information. The center advertisement has a white background with an image of a rocky cliff on the right half. The Marble Springs advertisement contains a brief description of the work. The advertisement on the right side is white with some black text boxes, white text, black text, and a logo. The advertisement contains Eastgate Systems, Inc. street address and a greeting from Eastgate’s Chief Scientist Mark Bernstein.

Booklet, Front
The booklet front is made of white printing paper with black inked text and measures 5 ½” x 8 ½”. The top of the page contains the series name in serif font and reads: “The Eastgate Quarterly Review of Hypertext”. The center of the page contains the two author’s names above their works in serif font. The first author’s name and work reads: “J. Yellowlees Douglas” and “I Have Said Nothing”. The second author’s name and work reads: “Mary-Kim Arnold” and “Lust”. The bottom of the page contains the volume and number in serif font and reads: “volume 1 number 2”.

Booklet, Back
The booklet back is made of white printing paper and measures 5 ½” x 8 ½”. The page is blank.

Booklet, Non-Numbered Page and Page 1
Non-Numbered: The page is not numbered, made of white printing paper, and measures 5 ½” x 8 ½”. The page contains the copyright information for Eastgate Systems, Inc. and the trademark information for Hypercard, Macintosh, Windows, and Storyspace. The text at the bottom-center explains that the stories and the characters are fictional.
Page 1: The page is made of white printing paper and measures 5 ½” x 8 ½”. The top of the page contains text that explains how to recognize and install the Windows and the Macintosh floppy disks. The bottom of the page contains an advertisement for Carolyn Guyer’s Quibbling. The advertisement contains a brief description of the author’s style, an ASCII image of waves, a review by Robert Coover, Mac and Windows compatibility, and purchase price.

Booklet, Page 2 and Page 3
Page 2: The page is made of white printing paper and measures 5 ½” x 8 ½”. The contents of the page is a forward called “The Quick and The Dirty” for J. Yellowlees Douglas’ "I Have Said Nothing."
Page 3: The page is made of white printing paper and measures 5 ½” x 8 ½”. The contents of the page is a continuation of the forward called “The Quick and The Dirty” for J. Yellowlees Douglas’ "I Have Said Nothing."

Booklet, Page 4 and Page 5
Page 4: The page is made of white printing paper and measures 5 ½” x 8 ½”. The contents of the page is a continuation of the forward called “The Quick and The Dirty” for J. Yellowlees Douglas’ "I Have Said Nothing." The end of the text is J. Yellowlees Douglas’ CompuServe email and their invitation to discuss their work.
Page 5: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing" and mention John McDaid’s Uncle Buddy’s Phantom Funhouse and other Eastgate Systems, Inc. works.

Booklet, Page 6 and Page 7
Page 6: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing" and mention Mary-Kim Arnold’s "Lust," John McDaid’s Uncle Buddy’s Phantom Funhouse, and other Eastgate Systems, Inc. works.
Page 7: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing" and mention other Eastgate Systems, Inc. works.

Booklet, Page 8 and Page 9
Page 8: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."
Page 9: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."

Booklet, Page 10 and Page 11
Page 10: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."
Page 11: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."

Booklet, Page 12 and Page 13
Page 12: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the continuation of introductory remarks called “The Crash of Nothing into Something” by Stuart Moulthrop. The introductory remarks are written for J. Yellowlees Douglas’ "I Have Said Nothing."
Page 13: The page is made of white printing paper and measures 5 ½” x 8 ½”. The content of the page is the references used in the forward and the introductory remarks.