Chapter 3: Sasha Lutz

The chapter begins by familiarizing the reader with hypertext and how it is used on the world wide web. The “https” seen on every link indicates that it is hypertext. Just like the non-linear, seemingly random style of Dada and combinatory poetics discussed in the previous chapter, the hypertext allows readers to interact with a piece of fiction in a unique manner. It can be approached in different ways, allowing each reader to have their own experience. William Gillespie says “Hypertext, to put it clearly, is a mapping of a text onto a four-dimensional ‘space.’ Normal grammars, then, do not apply, and become branching structures anew. Fragments, branches, links.” (Rettberg 172). Metaphorically speaking, “The Garden of Forking Paths” adopts a similar structure of spontaneity and infinite possibility. Albert explains that Ts’ui Pen, the main character’s ancestor, “believed in an infinite series of times, in a dizzily growing, ever spreading network of diverging, converging and parallel times. This web of time - the strands of which approach one another, bifurcate, intersect or ignore each other through the centuries - embraces every possibility” (Borges 6). Hypertext fiction is all about creating new experiences and pathways for readers!

Out of the many different hypertext fiction novels mentioned in this chapter, I chose to look at Victory Garden and Doll Games. In the former, certain words are links that lead to other parts of the story and explanations. One’s interpretation of the story is shaped by the words they follow—the paths they choose. Similarly, Doll Games offers a story about Shelly and Pamela Jackson playing with their dolls. I honestly don’t know how to interpret this. I think that they’re telling the many stories that they created while playing with the dolls? I’m not completely sure though. I’d like to talk about this during class!