intertextuality

Textual combinatics programmed from texts by Abílio-José Santos, with sound.

Textual engine, with sound, from texts and lexicon by Fernando Pessoa and Sophia de Mello Breyner Andersen. Retextualization to HTML + CSS + XML + JS of poems originally created in Flash / ActionScript (2009)

Textual engine, with sound, from Fernando Pessoa's translation of "The Crow", by Edgar A. Poe. Retextualization to HTML + CSS + XML + JS of poems originally created in Flash / ActionScript (2009).

Textual engine based on ‘Húmus’ by Herberto Helder (1968) and Raul Brandão (1918). Retextualization to HTML + CSS + XML + JS of poems originally created in Flash / ActionScript (2008)

Textual engine, with sound, text created from the short story "Amor", by Clarice Lispector, with lexicon from the book "Laços de Família", by the same author. Retextualization to HTML + CSS + XML + JS of poems originally created in Flash / ActionScript (2008)

Textual engine, animation, based on texts by Salette Tavares and lexicon by Salette Tavares and Fernando Pessoa. Retextualization to HTML + CSS + XML + JS of poems originally created in Flash / ActionScript (2010)

"Verrà H.P. e avrà i tuoi occhi" is a story of a love that has split. It is the story of the father. It's the story of a game that has no rules, it's the delirium of a sick person. It is a story that does not want to become a novel, but that must be told the same, going back, imagining what could have happened. Imagining all the things that could have happened. Provided that the connection does not fall.

Source: https://www.goodreads.com/book/show/9337893-verr-h-p-e-avr-i-tuoi-occhi

"Chi ha ucciso David Crane?" (2010) is a "possibility" story and it has a single page beginning of the story and a reduced number of end pages. The novel is narrated in the first person by the protagonist, who proposes to the reader from time to time the choices to continue reading of the single story. At the beginning of the story the reader finds himself in a dangerous situation for the protagonist, and immediately he is offered an important choice: continue the current story or remember the previous facts to understand, in a long flashback, the reason why the protagonist he is in that situation. The choice is important from the point of view of the narrative because, in the case you choose to live the current story, it will no longer be possible to go back to reading the flashback (unless you start the novel from the beginning). Vice versa, the choice to read the flashback will allow, at its end, to resume the events "current" and to read the story started on the first page.

Source: http://www.parolata.it/Letterarie/Iperromanzo/IperCrane.htm

Breakfast of Champions, or Goodbye Blue Monday, published in 1973, is the seventh novel by the American author Kurt Vonnegut. Set predominantly in the fictional town of Midland City, Ohio, it is the story of "two lonesome, skinny, fairly old white men on a planet which was dying fast." One of these men, Dwayne Hoover, is a charming but deeply deranged Pontiac dealer, and extensive land and franchise owner, whose mental illness causes him to believe that a science fiction story by the other man, Kilgore Trout, is the literal truth. Trout, a largely unknown pulp science fiction writer who has appeared in several other Vonnegut novels, looks like a crazy old man but is in fact relatively sane. As the novel opens, Trout hitchhikes toward Midland City to appear at an art convention where he is destined to meet Dwayne Hoover and unwittingly inspire him to run amok.

(Source: Wikipedia entry on Breakfast of Champions)

Set in 17th century London, Sexing the Cherry is about the journeys of a mother, known as The Dog Woman, and her protégé, Jordan. They journey in a space-time flux: across the seas to find exotic fruits such as bananas and pineapples; and across time, with glimpses of "the present" and references to Charles I of England and Oliver Cromwell. The mother’s physical appearance is somewhat "grotesque". She is a giant, wrapped in a skirt big enough to serve as a ship’s sail and strong enough to fling an elephant. She is also hideous, with smallpox scars in which fleas live, a flat nose and foul teeth. Her son, however, is proud of her, as no other mother can hold a good dozen oranges in her mouth all at once. Ultimately, their journey is a journey in search of The Self. Sexing the Cherry is a postmodernist work and features many examples of intertextuality. 

(Source: Wikipedia entry on Sexing the Cherry)