Joyce and Morrissey/Talley (Rhizomatic Storytelling)

“Will she disappear?”

The blue color of the hypertextual words do, and when it fades, there’s a subtle transition on the page, and the blue can be spotted elsewhere, waiting for the mouse to roll over the text and shift once again. Morrissey/Talley’s “The Jew’s Daughter” left me not only incredibly mesmerized but irritated. Like Joyce’s “Twelve Blue,” I couldn’t help but to be hindered by my current traditional, linear reading methods. Reading hypertextual online fiction is much more difficult because of its focus on nonlinearity, on the aesthetics, and on the immediate concern of the sense. Both stories indicate feelings and thoughts at seemingly random moments in time. In “Twelve Blue,” for the first hour of clicking through pages, I felt so very disoriented. There were moments when I felt much like Javier’s (the scientist) wife, drowning in the tangled seaweed of the big blue hyptertextual ocean. I could click on the hypertext or one of the threads in the box on the left, both leading me to different pieces of the story. But after forcing myself to lose that sense of being tangled, of reading the story in a linear, print-like manner, I was able to be immersed in the jumps of thought that do connect, but through these weaves or threads that somehow connect to one another. I still can’t say that I am very fond of reading this rhizomatic, hypertextual style, but the layouts of both stories (especially the type-writer effect in “The Jew’s Daughter,” that was awesome) are so aesthetically pleasing, that I can’t help but to keep searching through each page to become submerged in these nonlinear conceptual threads.

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~ by sarahbartie on February 10, 2013.

 
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