Published on the Web (online journal)

This is a work in Flash format. It contains three separate but related sections: the title prose poem, "Girls' Day Out"; the author's note on the poem; and "Shards," a poem composed from phrases found in articles in the Houston Chronicle that covered the events that inspired the poem.
(Source: Author description, ELC 1).

from the ELD http://directory.eliterature.org/node/3943
After opening the piece, there are three different links you can click on to read all parts of Kerry's work. The top link, located on the right side of the page is labeled as "poem." The next link is in the middle of the page on the left side and is labeled "author's note." The final link is centered on the bottom of the page and is labeled as "Shards."

"Girl's Day Out" is a poem which describes a day in the life of two sisters. They are venturing through Texan pastures on horseback. A storm begins to brew, so the sisters head for home. As one horse begins to become anxious, he frantically jumps around and causes injury to one of the sisters. The author's note describes the events which took place and inspired the "Girl's Day Out" poem. Two sisters who frequently visited a stable in Texas discover headlines in the Houston Chronicle. Several female body remains were found throughout the pastures. Most of the victims were identified, but the murderer was never found. The last section of this piece, "Shards" is a poem consisting of phrases from the headlines in the Houston Chronicle that covered the homicide case.
This piece is composed of two poems and one personal narrative by Kerry Lawrynovicz. The theme is very spooky and could almost be considered a murder mystery.

This set of works provides three different and powerful combinations of text, sound, image, and exploded letters, all of which function to cut up and recombine language using code developed for Concatenation. In Concatenation, the machine of the text assembles poems that deal with the ability of language to enact violence; in When You Reach Kyoto, the text and images engage the city and computation; and in Semtexts, combinations work at the level of syllable and letter.

(Source: Electronic Literature Collection, Vol. 1).

Frequently Asked Questions about "Hypertext" is a short fiction, in the form of a FAQ document, that revolves around various interpretations of a 69-word poem called "Hypertext." The poem "Hypertext," nominally by "Alan Richardson," is composed from all the hidden words/anagrams contained within the nine-letter word "hypertext." The tongue-in-cheek interpretations of the fictional poem include the perspectives of language poetry, cultural studies, feminism, and transgender studies. Emerging through the interpretations and FAQ answers, however, are the interwoven "real-life" stories of the troubled author and his/her troubled critics. The poem's notoriety creates a fan fiction phenomenon centered around an online database, which, along with its creator(s), comes under attack. As in Nabokov's Pale Fire, pseudo-literary criticism gives way to a mystery story about the real author of the text, transformation and transsexuality, love and murder.

(Source: Author description, ELC 1).

Multilingual textworks with translations in Dutch, German, Spanish, Portuguese, Greek and Serbian. Translators: Babelfish( German and French), Portugese: Ana Valdez, Spanish: Isabelle Brison, Serbian: MANIK, Greek: Arelis Eletherios. Based on an original text in Dutch by Judith V. Symbolic English notation: A. Andreas. 2008-2011

This series of spatially combinatorial poems are built by arranging words on a five by five three-dimensional grid, using the same engine as in “I, You, We.” Readers can manipulate the object in several ways, zooming in and out and rotating the cube to allow certain phrases to come to the foreground and be read. There is always a word around which the rest of the cube rotates, giving it special meaning within the potential phrases the cube can produce.

(Source: Leonardo Flores, I ♥ E-Poetry)

The z dimension in this work is important to the conceptual as well
as the physical operation of the work. Normally, I am not so much
concerned beyond the xy. My work is first graphic, then literary,
interactive, and whatever else, so a concern beyond 2D is not high
priority – until now, and with thanks in part to Rita Raley’s z
queries.

The idea of 'versus' (as opposition) demands at the
least two sides, so, it could be represented visually with just xy.
Previous 'dual' examples (and these are xy representations):

    warnell.com/pbn_io/dialog04.htm. Subject: dialog
    Email from John Cayley (/w Rita Raley), 2004

    warnell.com/real/dialog.htm. Dialog
    Email exchange with visual poet Jim Andrews, 1997

So, thinking along that z line... the opposition
comes not from the left or right, but from back to front ( 1 white from
9 x white moves to top )

    layer structure (top/front to bottom/rear):

        top (white)
        red
        9 x variable gray/black (opposite source to below)
        9 x white (may be TLT source or LL source)
        gray 'page'
        background

The idea of the 'versus' taking the form of 'rising'
(coming to top/front) rather than 'pushing' (as it were) from
left/right -- this is a new way of thinking about it (opposition) for
me... thinking on z vs xy axis(!) This opens new conceptual
possibilities that I will continue to explore in future.

Description taken from N. Katherine Hayles, Electronic Literature: "David Knoebel's exquisitely choreographed 'Heart Pole,' from his collection 'Click Poetry,' features a circular globe of words, with two rings spinning at 90 degrees from one another, 'moment to moment' and 'mind absorbing.' A longer narrative sequence, imaged as a plane undulating in space, can be manipulated by clicking and dragging. The narrative, focalized through the memories of a third-person male persona, recalls the moment between waking and sleeping when the narrator's mother is singing him to sleep with a song composed of his day's activities. But like the slippery plane that shifts in and out of legibility as it twists and turns, this moment of intimacy is irrevocably lost to time, forming the 'heart pole' that registers both its evocation and the on-goingness that condemns even the most deeply seated experiences to loss" (11).