There is a broad consensus that digital narrative is "spatial," but what this critical term means and how it is used varies greatly depending on the discipline from which it is approached. Digital Narrative Spaces brings together essays by prominent scholars in electronic literature and other forms of digital authorship to explore the relationship between story and space across these disciplines. This volume includes an introduction with Marie-Laure Ryan's typology of space, followed by thought-provoking individual chapters which explore innovative explorations of electronic literature, locative media, literary tourism, and the mapping of real-world literary spaces. The collection closes with an essay analyzing continuities and discontinuities in theory of space across the chapters. This volume will provide an important framework for establishing a dialogue across disciplines and future scholarship in these fields.

There is a broad consensus that digital narrative is "spatial," but what this critical term means and how it is used varies greatly depending on the discipline from which it is approached. Digital Narrative Spaces brings together essays by prominent scholars in electronic literature and other forms of digital authorship to explore the relationship between story and space across these disciplines. This volume includes an introduction with Marie-Laure Ryan's typology of space, followed by thought-provoking individual chapters which explore innovative explorations of electronic literature, locative media, literary tourism, and the mapping of real-world literary spaces. The collection closes with an essay analyzing continuities and discontinuities in theory of space across the chapters. This volume will provide an important framework for establishing a dialogue across disciplines and future scholarship in these fields.

Interrogating stories told about life after deconstruction, and discovering instead a kind of afterlife of deconstruction, Daniel Punday draws on a wide range of theorists to develop a rigorous theory of narrative as an alternative model for literary interpretation. Drawing on an observation made by Jean-Francois Lyotard, Punday argues that at the heart of narrative are concrete objects that can serve as "lynchpins" through which many different explanations and interpretations can come together. Narrative after Deconstruction traces the often grudging emergence of a post-deconstructive interest in narrative throughout contemporary literary theory by examining critics as diverse as Jacques Derrida, Gilles Deleuze, Elizabeth Grosz, and Edward Said. Experimental novelists like Ronald Sukenick, Raymond Federman, Clarence Major, and Kathy Acker likewise work through many of the same problems of constructing texts in the wake of deconstruction, and so provide a glimpse of this post-deconstructive narrative approach to writing and interpretation at its most accomplished and powerful.

This book examines the common metaphor that equates computing and writing, tracing it from the naming of devices ("notebook" computers) through the design of user interfaces (the "desktop") to how we describe the work of programmers ("writing" code). Computing as Writing ponders both the implications and contradictions of the metaphor. During the past decade, analysis of digital media honed its focus on particular hardware and software platforms. Daniel Punday argues that scholars should, instead, embrace both the power and the fuzziness of the writing metaphor as it relates to computing-which isn't simply a set of techniques or a collection of technologies but also an idea that resonates throughout contemporary culture. He addresses a wide array of subjects, including film representations of computing (Desk Set, The Social Network), Neal Stephenson's famous open source manifesto, J. K. Rowling's legal battle with a fan site, the sorting of digital libraries, subscription services like Netflix, and the Apple versus Google debate over openness in computing. Punday shows how contemporary authors are caught between traditional notions of writerly authority and computing's emphasis on doing things with writing. What does it mean to be a writer today? Is writing code for an app equivalent to writing a novel? Should we change how we teach writing? Punday's answers to these questions and others are original and refreshing, and push the study of digital media in productive new directions.

While some cultural critics are pronouncing the death of the novel, a whole generation of novelists have turned to other media with curiosity rather than fear. These novelists are not simply incorporating references to other media into their work for the sake of verisimilitude, they are also engaging precisely such media as a way of talking about what it means to write and read narrative in a society filled with stories told outside the print medium. By examining how some of our best fiction writers have taken up the challenge of film, television, video games, and hypertext, Daniel Punday offers an enlightening look into the current status of such fundamental narrative concepts as character, plot, and setting. He considers well-known postmodernists like Thomas Pynchon and Robert Coover, more-accessible authors like Maxine Hong Kingston and Oscar Hijuelos, and unjustly overlooked writers like Susan Daitch and Kenneth Gangemi, and asks how their works investigate the nature and limits of print as a medium for storytelling. Writing at the Limit explores how novelists locate print writing within the contemporary media ecology, and what it really means to be writing at print's media limit.