Judy Malloy

"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;
Narrabase Press, 1990
The iPad edition of its name was Penelope
is in press from Eastgate
Also reviewed in The New York Times, American Book Review, Modern Fiction Studies, Postmodern Culture and others; exhibited at The Library of Congress, MLA2013, Nouspace Gallery, The Space in Boston; and the Richmond Art Center.
New:: its name was Penelope was exhibited in Electronic Literature and Its Emerging Forms at the Library of Congress, Washington, DC, April 2-5, 2013; (curated by Dr. Dene Grigar and Dr. Kathi Inman Berens) in Avenues of Access ....New "Born Digital" Literature, at MLA 2013, the 128th Modern Language Association Convention, Boston, MA, January 2013; and in Digital Stories of the 1990s: A Look at Works from the Storyspace School with works by Michael Joyce, Judy Malloy, Stuart Moulthrop, Shelley Jackson, Richard Holeton & more on vintage Macs at Nouspace Gallery & Media Lounge, Vancouver, Washington, November 2-24, 2012.

"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

Judy Malloy is a poet/researcher who works at the conjunction of hypernarrative, generative hyperfiction, magic realism, artists books, and information art

Judy Malloy on Twitter

Judy Malloy Papers, Rare Book, Manuscript,
and Special Collections Library, Duke University

CV (.pdf file)
Artists Books, Installations, Performances
Memories of Arts Wire
Memories of Art Com and La Mamelle
Remembering Judith Hoffberg

The Roar of Destiny

"...Malloy's most technically and visually sophisticated work for the web to date, while carrrying on her hallmark tradition of intense, compact writing"
Richard Kostelanetz, A Dictionary of the Avant-Gardes, Routledge

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, editor,
Women, Art & Technology, Cambridge, MA, MIT Press, 2003

"...A rich source of information about the women and works that have made media arts history -- or should. Not only is it a must-read but it is also a must-have..." - Dene Grigar, American Book Review...
2014 edition: Women in New Media Website

".... 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

Judy Malloy and Cathy Marshall, Forward Anywhere Eastgate Systems, 1996. A second edition is in progress.
This seminal email-created narrative weblog was produced during a residency at Xerox PARC in Palo Alto in 1994. It was exhibited at PARC as part of the 25th Anniversary Celebration and at Artemisia Gallery in Chicago. Readings from this work were at The University of California at Davis and, as part of Wired Women, at Black Oak Books in Berkeley.

"...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...
Joan Campàs, Dichtung-Digital

"I tried to think about xmodem, ymodem, zmodem -- data transfer protocols lined up on a menu waiting for my choice like equally alluring varieties of beer chalked up on a blackboard menu in a wood paneled bar overlooking the Potomac. But all I could think of was the taste of German white wine in green glasses on the table between us..."
l0ve0ne, Cambridge, MA: Eastgate Web Workshop, 1994
A polish translation of L0ve0ne -- k0cHack0g0s -- by Mariusz Pisarski and Zuzanna Grochulska, is available at http://www.techsty.art.pl/magazyn/malloy.htm

">The Living Room
>It is very bright, open, and airy here, with large plate-glass windows
>looking southward over the pool to the gardens beyond. On the north
>wall, there is a rough stonework fireplace. The east and west walls are
>almost completely covered with large, well-stocked bookcases...

- Pavel Curtis: the LambdaMoo 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 - 1991-1994

The Interactive Art Conference
The Interactive Art Conference was founded by Anna Couey & Judy Malloy on Arts Wire in 1993 and was an active forum for discussion and interviews until 1998.

Spring Day Notation, (2010) a song of
wildflowers on the trail, painting, and musical notation

[ Landscape Projects]
[ Biography with Family and Photos]
[ Artists Books, Installations, Performances]
[photos for the press]

Visiting Lecturer: Electronic Literature, 2014; Social Media Poetics, 2013,
Princeton University

Social Media Archeology and Poetics,
MIT Press, July, 2016

Founding Editor:
content | code | process

2015 writer's notebook

An historic panel: April Ford, Michael Joyce, Judy Malloy, and Nick Montfort on New Media and Literary Innovation at the Intercollegiate Literary Conference, Princeton, Oct 4, 2015

New: Enjoyed writing the Foreword to Donna Cox, Ellen Sandor, and Janine Fron, Women in New Media Arts: Perspectives on Innovative Collaboration. U.Illinois Press, 2016

A pioneer on the Internet and in electronic literature, Judy Malloy followed a vision of hypertextual narrative that she began in the 1970's with experimental artist books created in card catalog and electro-mechanical structures, and in 1986 she wrote and programmed the pioneering hyperfiction Uncle Roger, which was recently documented in the NEH-funded Pathfinders: Documenting the Experience of Early Digital Literature and in Literary and Linguistic Computing. In the ensuing years she created a series of hypernarratives published by Eastgate, including its name was Penelope, which was called one of the early classics of electronic literature by Robert Coover. In 1993, she was invited to Xerox PARC where she worked in Computer Science Laboratory as an artist-in-residence, and consultant in the document of the future.

At Princeton University in 2013 and 2014, as a Distinguished Fellow she taught a seminar in Social Media: History, Poetics and Practice and as a Visiting Lecturer, she co-taught Electronic Literature: Lineage, Theory and Contemporary Practice

Her work has been exhibited and published internationally including, among many others, the Library of Congress; Tisch School of the Arts; Sao Paulo Biennial; National Library of Madrid; Los Angeles Institute for Contemporary Art; Walker Art Center; Hammer Museum; Universite Paris I-Pantheon-Sorbonne; the Center of Contemporary Art in Barcelona; Eastgate Systems; E. P. Dutton; Tanam Press; Seal Press; MIT Press; The Iowa Review Web, Blue Moon Review, and the Biennale Internationale des poetes en Val de Marne, where her work was short listed for the Prix poesie-media 2009. Her current work, From Ireland with Letters premiered at Judy Malloy: Retrospective at the 2012 Electronic Literature Organization Conference in 2012 and was on exhibition in 2013 at Les litteratures numeriques d'hier a demain, Bibliotheque Nationale de France, Paris, France. Recently, her work was featured in the exhibition Pathfinders: 25 Years of Experimental Literary Art at MLA2014 and her artists books were featured in Versions: Kristin Lucas and Judy Malloy at krowswork in Oakland in 2015. An iPad edition of her classic hyperfiction, its name was Penelope (Cambridge, MA: Eastgate) is in press.

As an arts writer, she has been Editor of Arts Wire Current/NYFA Current and content coordinator/network coordintor of Arts Wire, a social media initiative that brought artists and arts organizations online under the auspices of the New York Foundation for the Arts. She is the editor of the 2016 MIT Press book, Social Media Archeology and Poetics and of the MIT Press compendium, Women, Art & Technology, as well as Founding Editor of Content | Code | Process. Her chapter on "Authoring Systems" was published in the Johns Hopkins Guide to Digital Media in 2014, and her chapter "'A WAY IS OPEN', Allusion, Identity, Authoring System, and Audience in Early Text-Based Electronic Literature" is in press for Contexts, Forms, and Practices of Electronic Literature, forthcoming from West Virginia University Press. Her papers are archived as The Judy Malloy Papers at the David M. Rubenstein Rare Book & Manuscript Library at Duke University.

"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

Judy Malloy has finished and is currently in the throes of editing and recoding From Ireland with Letters, a work of public literature, written in generative hypertext and polyphonic text and based partly on the cadence of ancient Irish poetry. Part VII The Not Yet Named Jig premiered in 2015 Electronic Literature Organization Conference, Bergen, Norway, August 6, 2015. 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 and were displayed on the plasma screen at FILE 2012 - Electronic Language International Festival, Sao Paulo, Brazil, July 16 - August 19, 2012.

"armed only with remembered song"
Paths of Memory and Painting
featured at the UC Berkeley Center for New Media Roundtable, 2010, and exhibited at the Electronic Literature Organization Conference, Brown University, 2010

multiple paths through narrative ...a reading experience of successive text-paintings that chronicle the changes in a painter's work
Part I: where every luminous landscape (2008)
was short listed for the 2009 Prix poesie-media, France; featured at: The Future of Writing, UC Irvine, 2008; on Cover to Cover on KPFA radio in Berkeley in 2008; and at E-Poetry Festival, Barcelona, 2009.

"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!

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 (2003; 2012)
"As in the aftermath of a weekend houseparty near the beach -- where family, friends, and strangers appear, disappear and reappear in the summer afternoon sun, while the sound of the ocean rolling in and out intermingles with music and the sweet echo of wine glasses clinking together -- Dorothy and Sid's party is occurring and reoccuring in my mind. Overlapping conversations repeat as in an old round. In the warm sun, the taste of champagne triggers memories and dreams."

"...In the eight months which we spent there, I filled one sketchbook with minutely detailed drawings...."

Dorothy Abrona McCrae
an electronic manuscript
Narrabase Press, 2000
Included in the Hammer Museum Electronic Readings, Los Angeles, CA, 2002

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.

New: the restored BASIC version of Uncle Roger plus The complete Twitter log of the recreation of Uncle Roger and images from the BASIC Uncle Roger

"...looping in my mind,nested with brief dreams and nightmares..."
Uncle Roger - 25th Anniversary: 1986-2011
In September, Uncle Roger (Art Com Electronic Network, 1986-1988) was documented in a two day series of interviews and readings produced by Pathfinders, a National Endowment for the Humanities funded ELO project to discover the reading experience of early digital literature. The project is led by Dene Grigar (Washington State University Vancouver) and Stuart Moulthrop. (University of Wisconsin Milwaukee)

In the spring of 1986, I was invited by my friend, video and performance art curator Carl Loeffler, to go online and write on the seminal Art Com Electronic Network (ACEN) on The WELL where ACEN Datanet, an early online publication, would soon feature actual works of art, including works by John Cage, Jim Rosenberg, and my own Uncle Roger. Once in a while in a lifetime, everything comes together. In 1986, it was my experience in database programming, the idea I had been working on since 1976 of using molecular narrative units to create nonsequential narrative, the availability of personal computers that would make what I had been trying to do with "card catalog" artists books more feasible, and the arrival of ACEN, a place to create, publish and discuss the work.

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)
notes on the creation of Uncle Roger In 1989, Uncle Roger was honored with inclusion in the Centennial issue of The Wall Street Journal, and 27 years since Uncle Roger was released, a World Wide Web version is still available. and the 1986-1988 BASIC version of Uncle Roger is available for download.

"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

"...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

Contact me at jmalloy@well.com