The Monstrous Book and the Manufactured Body in the Late Age of Print: Material Strategies for Innovative Fiction in Shelley Jackson’s PATCHWORK GIRL and Steve Tomasula’s VAS: AN OPERA IN FLATLAND
The Monstrous Book and the Manufactured Body in the Late Age of Print: Material Strategies for Innovative Fiction in Shelley Jackson’s PATCHWORK GIRL and Steve Tomasula’s VAS: AN OPERA IN FLATLAND
Abstract
In recent decades a growing number of innovative writers have begun exploring the possibility of creating new literary forms through the use of digital technology. Yet literary production and reception does not occur in a vacuum. Print culture is five hundred years in the making, and thus new literary forms must contend with readers’ expectations and habits shaped by print. Shelley Jackson’s hyptertextual novel Patchwork Girl and Steve Tomasula’s innovative print novel Vas: An Opera in Flatland both problematize the conventions of how book and reader interact. In both works an enfolding occurs wherein the notion of the body and the book are taken in counterpoint and become productively confused. Jackson’s book, alluding to Mary Shelley’s Frankenstein, is about a monster composed of various bodies while the book itself is also a monstrous text: a nonlinear patchwork of links across networks of words and images. Tomasula’s Vas—alluding to Edwin Abbott Abbott’s 1884 satire, Flatland: A Romance of Many Dimensions—is set in “Flatland” foregrounding the two-dimensional materiality of the page, all while the linear novel within the pages of Vas is under siege by supplementary information about the body in the form of collaged digital images, scientific facts, and historical citations that address such issues as body modification, in vitro fertilization, genetic code, and DNA. Both Vas and Patchwork Girl can be read as exemplary works in the late age of print, in part, because they effectively foreground the materiality of the book, while radically transforming the conventions of the book. In so doing, both works utilize paratextual and extratextual elements. Literary production and reception does not occur in a vacuum. Print culture is five hundred years in the making, and thus new literary forms must contend with readers’ expectations and habits shaped by print. Shelley Jackson’s hyptertextual digital novel Patchwork Girl and Steve Tomasula’s innovative print novel VAS: An Opera in Flatland both problematize the conventions of how book and reader interact. In both works an enfolding occurs wherein the notion of the body and the book are taken in counterpoint and become productively confused. This calls attention to what I will call a dual dualism, a circuit of interaction between mind and body and the literary work and its interface (most commonly a printed book). Within this circuit, it is envisioned that the body engages with the book to facilitate the mind engaging with the literary work. Patchwork Girl and VAS problematize this dual dualism as their authors simultaneously exploit it for literary effect.
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Keywords:
digital literatureHyperfictionComparative Literaturebody