His scholarly publications include studies of the prose of Francis Bacon, Robert Burton, and Izaak Walton; the fiction of Tolkien and Thomas Pynchon; the science fiction short story;
hyperfiction and role playing games; and online pedagogy.
In 1992, Robert Coover published an article under titled "The End of Books" in The New York Times (<https://www.nytimes.com/books/98/09/27/specials/coover- end.html>) and in 1993 an article titled "
Hyperfiction: Novels for the Computer" (<https://www.nytimes.com/books/98/09/27/specials/coover-
hyperfiction.html>) where he presented new forms of literature.
This collection of ten articles, many from leading theorists, examines "unnatural" elements of story, time, space, voice, minds, narrative levels, realism, nonfiction,
hyperfiction, and narrative poetry.
It was hailed as the first interactive work in reviews from the Wall Street Journal and Utne Reader in 1994 ("Marble Springs points to the future of constructive
hyperfiction." Harry Goldstein, Utne Reader).
hypertext fiction" that he had so carefully plastered to my
hyperfiction, would one day come to sit like a cap on my balding scalp).
case is similar for many pieces of '
hyperfiction' which exist
But her point is well made, and is still valid in spite of the intervening years since she first made this observation: there exist few examinations of how reading processes may change when readers interact with complex digital genres such as
hyperfiction. Members of our research team have worked to fill this significant lacuna in the literature (e.g., Dobson and Miall 1998; Miall and Dobson 2001; Dobson and Luce-Kapler 2005; Luce-Kapler and Dobson 2005; Dobson 2006), but much research remains to be done, and appropriate models of reading are still in need of development.
Having discussed how the number of implied authors in offline narratives may be determined, let me now turn to online
hyperfiction. Here, the concept of the implied author is even further complicated, as the reader plays an active role when with each hyperlink she co-decides on the final version of the text: "hypertexts challenge coherence ...
Digital fiction is known by many names including participatory fiction (Glasner, 2004 in Petrelli, 2009), non-linear or multi-linear writing, hypertext fiction (Bolter and Joyce, 1987),
hyperfiction, cybertext (Aarseth 1997 in Petrelli, 2009), digital or e-writing.
While this narrative fragmentation may also point to the philosophy of
hyperfiction that Coover embraced in his later years, and on which we will return in the end, the tension between the unifying framework of television and spectacular variety seem to loom historically behind the fictional strategies of A Night at the Movies.
In these brief chapters, Sasson-Henry focuses her analysis on "La biblioteca de Babel" and "El jardin de senderos que se bifurcan," looping back in various chapters to cover different aspects of the relationships she sees between the two stories and
hyperfiction, hypertextual environments and the World Wide Web.
Another list was generated for 'reasons to describe why teachers have not accessed
hyperfiction.' This nine-item list explored teacher perceived constraints of professional development (two items), online access (two items), time (one item), teacher interest (two items) and personal opinions of pertinence and liking for screen reading (two items).