From (M)App to Print (Part 1)

[Featured image: Screenshot of the Amazon UK rendering of the Faber & Faber codex version.] In an earlier post on The Silent History, I discussed the “remediation” of a digital work into print. We are now accustomed to thinking that the traffic always flows in the opposite direction–that the Internet is quickly hoovering up the entirety of our print (and chirographic for that matter) inheritance. Thus, we can easily overlook the opposite scenario: when the “born digital” is “reborn print.”¬† (I have in mind here digitalia that’s born on software…

William Trevor and the (Modernist) Work of Revision

[Image: Manuscript of William Trevor’s “In Love with Ariadne,” available on the Paris Review website here.] In her wonderful The Work of Revision, Hannah Sullivan tracks the ways that Modernist writers–Henry James, Pound, Eliot, Woolf, Auden–changed their works, arguing in turn that revision should be counted among the chief Modernist virtues. (If you, dear reader, aren’t familiar with the book, I’d urge you read my friend Alan’s insightful review for the now, alas, defunct¬†Books and Culture.) Sullivan ably maps the new ecology of inscription technologies emerging as the twentieth century…

From Screen to Page

Reading Matthew Kirschenbaum’s superb Track Changes: A Literary History of Word Processing recently reminded me of a curious element of bpNichol’s First Screening, one the canonical early works of electronic literature (see Jim Andrews’s website for an emulated version and commentary). First Screening is now often treated–and transmitted–as a batch of twelve kinetic poems (originally programmed in Apple BASIC). In fact, Nichol published it as a little book in an edition of 100 copies, the first imprint of the “Underwhich Software Series.” Readers reached the floppy disk only after gazing…