(2) Hayles's theory here responds both to the overall workings of digital textuality and to the first generation of electronic literature authors who deployed these workings for literary effect, including Michael Joyce [Twelve Blue, 1996), Talan Memmott (Lexia to Perplexia, 2000), Brian Kim Stefans (The Dreamlife of Letters, 2000), and Shelley Jackson (Patchwork Girl
Frank Baum's novel "The Patchwork Girl
of Oz" inspired "Scraps," a new play about racial and gender identity by New American Folk Theatre co-artistic director Anthony Whitaker.
Published on CD-ROM, Shelley Jackson's Patchwork Girl
; or, a Modern Monster (1995) is a hypertext rewriting of Mary Shelley's gothic novel Frankenstein; or, The Modern Prometheus (1818).
English and other scholars from North America and the UK discuss The Stuff of Legend; oThe Steadfast Tin Soldiero by Hans Christian Andersen; The Indian in the Cupboard; the horror film Dolls; the world of Oz, particularly in The Patchwork Girl
of Oz; Toy Story and Wreck-It Ralph; the picture book Paddle-to-the-Sea; the film Small Soldiers; The Lonely Doll picture book series; The Velveteen Rabbit; and literary goodbyes between children and toys.
Using the idea of narrative choice to disrupt our experience of linear chronology reminds us not only of the earliest hypertext fictions (such as Shelley Jackson's Patchwork Girl
) but also of the playful design of the postwar Latin American novel, especially Julio Cortazar's Hopscotch (1963).
"'Something between higgledy-piggledy and the eternal sphere': Queering Age/Sex in Shelley Jackson's Patchwork Girl
" by Emily Mattingly addresses that seminal and fascinating hypertext that turns Frankenstein on its head.
Shelley Jackson is the author of a seminal CD ROM project called Patchwork Girl
, one of the first interactive narratives to use Storyspace and incorporate hypertext and hypermedia.
Shelley Jackson's Patchwork Girl
is not simply a new recreation of Mary Shelley's Frankenstein in hypertext format; it also tries to develop some of the implications in the original text from the paradigms of contemporary science and criticism.
For example, in Shelley Jackson's Patchwork Girl
, a contemporary, feminist telling of Mary Shelley's Frankenstein, the reader confronts an image of the nude female body.
Dock-teater Filur's The Patchwork Girl
and the Tramp takes its cue from L.
Baum was much plagued by his publishers and admirers to produce sequels, and he wrote a number of them: The New Wizard of Oz (1903), Ozma of Oz (1907), Dorothy and the Wizard of Oz (1908), The Road to Oz (1909), The Emerald City of Oz (1910), and The Patchwork Girl
of Oz (1913).
The Specter of Orality in Frankenstein and Patchwork Girl