"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;
"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 Papers,
Rare Book, Manuscript,
CV (.pdf file)Artists Books, Installations, Performances
Memories of Arts Wire
Memories of Art Com and La Mamelle
Remembering Judith Hoffberg
"...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, 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
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...
">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
The Interactive Art Conference
Spring Day Notation, (2010)
a song of
Digital Studies Fellow, Rutgers University Camden DSC: Social Media Narrative: Lineage and Contemporary Practice, Fall 2016,
2016 writer's notebook:
New: Another Party in Woodside won Second Prize in the short story division of the Neukom Institute for Computational Science at Dartmouth's Turing Test in the Computational Arts. The 20th anniversary edition of The Roar of Destiny premiered at the 2016 Electronic Literature Organization international conference, at the University of Victoria, in Victoria, B.C. in June, 2016.
Three versions of my 1991-1992 narrative data structure, Wasting Time were explored in Matthew Kirschenbaum's extraordinary Rosenbach Lectures at Penn. The Eastgate its name was Penelope is on exhibition at Doe Library, U.C. Berkeley in an exhibition curated by Alex Saum-Pascual and Elika Ortega that explores relationships of English language electronic literature with Spanish and Portuguese language works. (until Sept 2, 2016)
The BASIC version of Uncle Roger is included in vol 3 of the Electronic Literature Collection. In January, for the 2016 Humanities and Critical Code Studies Lab's Critical Studies Working Group, I reconstructed the BASIC version of its name was Penelope.
And last fall in Princeton, an historic panel: April Ford, Michael Joyce, Judy Malloy, and Nick Montfort at the Intercollegiate Literary Conference addressed New Media and Literary Innovation.
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 virtual communities and 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 team-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.
multiple paths through narrative ...a reading experience of successive text-paintings that
chronicle the changes in a painter's work
"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
"...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)
"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