"Malloy uses the fluidity of the hypertextual medium to create a poetic text, which, in spite of its fragmentation and discontinuity, leads to a reading experience that is very satisfying because it allows the reader greater creativity as to the form the reading will take. ...In Malloy's text, the visual is transformed into the verbal. The border between text and image dissolves, and image becomes the text." Jaishree K. Odin, Modern Fiction Studies (MFS)
"Nicely evocative ... the effect is remarkably close to the subjective
quirkiness of memory, of past moments floating unpredictably to the surface."
-- Richard Grant, Washington Post Book World
its name was Penelope,
Eastgate Systems, Cambridge, MA, 1993;
Judy Malloy is a poet who works at the conjunction of hypernarrative, magic realism, artists books, and information
Founding Editor, Authoring Software, a resource for writers and students of electronic literature
Judy Malloy Papers,
Rare Book, Manuscript, and Special
Collections Library, Duke University
Judy Malloy, editor,
".... a subtly worked epistolary text whose own concerns seem to take precedence over those of
the two individuals. Read forward or randomly, it both coheres and surprises."
-- Marek Kohn, The London Independent
"...The fact that the stories are interlinked creates the
feeling of not knowing exactly when they take place. Time is disordered,
there is no beginning or end -- it is like a collage...
The Roar of Destiny (1996)
New: Premiering in June at EL02014: polychoral readings from The Roar of Destiny on radioELO, curator John Barber's project to archive the sounds of electronic literature.
"...Malloy's most technically and visually sophisticated work for the web to date,
while carrrying on her hallmark tradition of intense, compact writing"
Described by interactivecinema.org as "...a perfect example of thought and physical interaction working together... ", The Roar of Destiny is a hyperpoem constructed with hundreds of intertwined lexias. A dense interface of links that lead to fragmented story-bearing lexias, creates an experience of environment and altered environment , and the reader, like the narrator, is involved in a continual struggle between the real and the virtual.
The Roar of Destiny is included in the Boston CyberArts HyperGallery, profiled in Interactive Dramaturgies; (Heide Hagebolling, ed, Berlin, Heidelberg, Springer, 2004) in A dictionary of the avant-gardes; (Routledge, 2001) and in the 2000 Fraunhofer Net Art Guide. It was also featured on the cover of Leonardo in 1996.
November 7-16, 2012 Judy Malloy's classic webwork The Roar of Destiny exhibited in Pulp to Pixels: Artists Books in the Digital Age at the Hampshire College Gallery, Amherst, MA Other writers, artists, and books include Amaranth Borsuk and Brad Bouse, Paul Chan, Johanna Drucker, Collete Fu, Gretchen E Henderson, Paul Zelevansky, and 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. (MIT Press) Curated by Andrea Dezso, Steven Daiber, and Meredith Broberg.
Judy Malloy and Sonya Rapoport,
Objective Connections, Spaces of Life: The Art of Sonya Rapoport,
Mills College Art Museum, January 18-March 11, 2012
Judy Malloy, "Creative Approaches to New Media", in D. Kritt and L. Winegar, eds, Education and Technology: Critical Perspectives and Possible Futures, Lanham MD, Lexington Books, 2007.
Judy Malloy, "Interactive Stories: Writing Public Literature in an Evolving Internet Environment", in Heide Hagebolling, ed., Narrative Dramatologies, Springer, 2004.
Judy Malloy and Cathy Marshall, "Notes on an Exchange Between Intersecting Lives", in: In Search of Innovation - the Xerox PARC PAIR Experiment, Craig Harris, ed., Cambridge, MA: MIT Press, 2000
Judy Malloy, "Narratives and Narrative Structures in LambdaMoo", in Craig Harris, ed, Art and Innovation - the Xerox PARC Artist-in-Residence Program, Cambridge, MA MIT Press, 2000.
Lit [art] ure -- Something Old, Something New a Round Table Discussion with Loss Pequeno Glazier; Judy Malloy, Johanna Drucker; and Mark Amerika -- hosted by Jennifer Ley, Riding the Meridian, v. 2, 2000.
Judy Malloy, "Hypernarrative in the Age of the Web", National Endowment for the Arts NEA arts.community, 1998
Judy Malloy and Cathy Marshall, " Closure was Never a Goal in this Piece," in Lynn Cherny and Elizabeth Reba Weise, eds, Wired Women: Gender and New Realities in Cyberspace , Seattle, WA, Seal Press, 1996 pp. 56-70
Judy Malloy, "Electronic Fiction in the 21st Century" in Cliff Pickover, ed., Visions of the Future: Art, Technology and Computing in the Twenty-First Century St Martins Press, 1994
Judy Malloy, "Uncle Roger, an Online Narrabase", in Ascott, Roy and Carl Eugene Loeffler, Connectivity: Art and Interactive Telecommunications, Leonardo, 24:2, 1991, pp. 195-202
">The Living Room
"..The result is a really new kind of collective composition, a new social way of making music
that didn't exist before. We have a good time." - Tim Perkis writing about
"The Hub", created in 1986 with fellow composer John Bischoff
Making Art Online
A Work of Information Art Conceived and Produced by Judy Malloy,
published on the website of the Walker Art Center
as a part of the traveling exhibition Telematic Connections: The Virtual Embrace, 2001
The Interactive Art Conference
Spring Day Notation, (2010)
a song of
Visiting Lecturer: Social Media Poetics; Electronic Literature, Princeton University, 2013, 2014
Judy Malloy, "'A WAY IS OPEN', Allusion, Identity, Authoring System, and Audience in Early Text-Based Electronic Literature" for the edited book Contexts, Forms, and Practices of Electronic Literature
New: Writer's Notebook for The Not Yet Named Jig
"For over two decades, Malloy has been spinning together history, fiction, technology, memoir, geography, arts, and love into narrative poems that capture the zeitgeist of the early Internet era. With another portion in the making, the time may have arrived for a hypertext epic. - Leonardo Flores
Recent exhibitions and publications: Part VI of Judy Malloy's epic in progress From Ireland with Letters, premiered at Hold The Light, the 2014 Electronic Literature Organization Conference, University of Wisconsin, Milwaukee, June 18-21, 2014. Parts I-V of From Ireland with Letters, were on exhibition in Les littératures numériques d'hier á demain at the Bibliothèque Nationale de France, Paris, France, September 24 thru December 1, 2013.
"A special bonus is that many of the practitioners are at the forefront of creating the kinds of works they discuss, investing their entries written with the double perspectives of scholar and creator. Highly recommended for anyone who wants to know more about this rapidly emerging field." -- Katherine Hayles, Duke University
New: from Johns Hopkins University Press: Marie-Laure Ryan, Lori Emerson,and Benjamin Robertson,eds., Johns Hopkins Guide to Digital Media with Jay David Bolter, "Augmented Reality"; Johanna Drucker, "ebooks", Leonardo Flores, "Digital Poetry", Judy Malloy, "Authoring Systems", Mark Marino, "Code", Emily Short, "Interactive Fiction:, Scott Rettberg, "Collaborative Narrative", and much more!
...created in a polyphonic text structure, based partly on the cadence of ancient Irish poetry:
The Prologue, Begin with the Arrival and Passage, the first three books of Judy Malloy, From Ireland with Letters premiered at Judy Malloy: Retrospective, 2012 Electronic Literature Organization Conference, West Virginia University, June 20-23, 2012; were included in Malloy's Skype performative reading: Judy Malloy: 11 Works 12 Lexias; and were displayed on the plasma screen at FILE 2012 - Electronic Language International Festival, Sao Paulo, Brazil, July 16 - August 19, 2012
Books I-V -- which included Book Four, Fiddler's Passage, and Book Five, Junction of Several Trails -- were on exhibition at Les littératures numériques d'hier á demain at the Bibliothèque Nationale de France, Paris, France, in 2013.
Bringing with them the aroma of garlic, Parmesan cheese, and fresh basil, a parade of waiters entered the room.
Some carried trays laden with pasta a la Florentine ;
some carried bowls of salade nicoise, redolent of the Riviera.
German potato salad, as if we were in an outdoor restaurant overlooking the Rhine River.
A Party at Silver Beach
"...In the eight months which we spent there,
I filled one sketchbook with minutely detailed drawings...."
Narrated by a "Bay Area Figurative" painter, Dorothy Abrona McCrae is a lexia-based electronic manuscript in which the details of the narrator's life are intertwined with a past that is disclosed through descriptions of her work. The story is set in her studio/residence in the California Gold Country foothills. It was the first narrative in a series of works about the lives of Dorothy Abrona McCrae and San Francisco Gallery owner Sid Seibelman.
"...looping in my mind,nested with brief dreams and nightmares..."
Uncle Roger was released on ACEN in 1986 as a narrative intervention and published online as an
interactive hypertext on ACEN Datanet in 1987. In 1987, I programmed an Apple II disk version
using BASIC, which traveled internationally in a series of exhibitions. In 1987,
Uncle Roger was included in Ultimatum II, Images du Futur '87. (Montreal) In
1988 it was exhibited at Tisch School of the Arts, New York University. And from
1988-1989, it was exhibited at San Jose State University, the University of
Colorado, Ars Electronica, (Linz, Austria) Carnegie Melon University, and A Space. (Toronto)
About Judy Malloy
In the twenty-five years since she first wrote Uncle Roger on Art Com Electronic Network, Judy Malloy has created an innovative body of new media narrative poetry that in hypertextual structures explores the lives of artists.
She strives for a poetic clarity, so that each lexia -- an idea developed in the handmade books -- transcends the computer screen and can either stand by itself or be combined in the reading or array to create a larger narrative.
Her work has been exhibited and published internationally including the San Francisco Art Institute; Tisch School of the Arts, NYU; Sao Paulo Biennial; National Library of Madrid; National Library of Portugal, Lisbon; Los Angeles Institute for Contemporary Art; Boston Cyberarts Festival; Walker Art Center; Hammer Museum, Los Angeles, CA; University of Arizona Museum of Art; Visual Studies Workshop; the Electronic Literature Organization; Universite Paris I-Pantheon-Sorbonne; Eastgate Systems; E .P. Dutton; Tanam Press; Seal Press; MIT Press; The Iowa Review Web, and Blue Moon Review, among many others. Parts of her recent work Paths of Memory and Painting have been exhibited or presented at the Berkeley Center for New Media Roundtable, the E-Poetry Festival at the Center of Contemporary Art in Barcelona, and the University of California Irvine, as well as short listed for the Prix poesie-media 2009, Biennale Internationale des poetes en Val de Marne.
Judy Malloy has also been active in documenting new media and is the host of Authoring Software, a resource for teachers and students. She has been an artist in residence and consultant in the document of the future for Xerox PARC, taught as Visiting Faculty in the Digital Media program at the San Francisco Art Institute and is a member of the Electronic Literature Organization's Literary Advisory Board.
As an arts writer, she has worked most notably as Editor of The New York Foundation for the Arts NYFA Current, (formerly Arts Wire Current) an Internet-based National journal on the arts and culture.
She believes that ideally print literature and new media literature; sequential literature and hypernarrative; painting and new media; are parallel art forms where writers and artists in each medium understand each other's vision and, as between poetry and fiction, sometimes move with ease between paper, canvas, and new media.
Her papers are archived as The Judy Malloy Papers at the David M. Rubenstein Rare Book & Manuscript Library at Duke University
"One of the promising things about the better hypertext poems like Judy Malloy's 'Its Name Was Penelope' is that it generates random pages that add up to fascinating patterns or allows readers to create their own narrative and connections as they go along. Every time you read it, it's a different story. The reader decides when the text is over. That's what a successful work of hypertext-based literature can do that paper-based writing can't: share power." - Jimmy Guterman, Chicago Tribune
"Penelope's compounded, disjunctive structure corresponds with and seems to arise from the narrator's restless splitting off of attention, under the opposed attractions of sexual and esthetic desire .....The analogy between the on-screen texts of Penelope and sequences of photographs prompts the reader's reflection up on the nature of each medium...the words of a text screen float on a motile surface, poised for instantaneous change into another, not fully predictable writing." - Barbara Page, Postmodern Culture
"...there is the exploration of evolving human relationships as in a Carolyn Guyer hypernarrative, the sheer pleasure of play as in John McDaid's many-roomed fun house, the revelation of character by randomly linked fragments as in a Judy Malloy hypertext; the possibilities are no doubt as rich and varied as in any other art form." - Robert Coover, The New York Times