This paper argues that attending to the tropes of circularity featuring in print-based literature proves to be a useful foil for an analysis of electronic literature. Based on the idea that digital literary mechanisms do not obliviate previous circularity-inducing structuring motifs in analog literature, such as labyrinths, chess, rivers, and clockwork, this argument arrives at a crucial time for literature, which is currently the object of intensified debates on beginnings and ends, especially in the context of digitality and multisensory perception becoming central to some aspects of its processes. Accordingly, circular motion is here analysed in its depiction and actuation across several kinds of literary / literal machines, in reflection also on how sensory perception both mediate and is mediated. If literature is conditional upon a series of unique, though interconnected, mechanisms, it seems reasonable not to discard a certain circularity of the senses that is brought into play there and, indeed, given both thematic and formal substance in analog and digital works. In other words, representations generated at the confluence of both biological and technological bodies cannot but instigate a circularity on which they are dependent: an idea which this article examines and critiques with reference to canonical and electronic literature, particularly Borges, Beckett, and Joyce.
Samuel Beckett
Megawatt is based on passages from Samuel Beckett’s novel Watt, first published in 1953 but written much earlier, when Beckett was aiding the French Resistance during World War II. The novel Megawatt leaves aside all of the more intelligible language of Beckett’s novel and is based, instead, on that which is most systematic and inscrutable. It does not just recreate these passages, although with minor changes the Megawatt code can be used to do so. In the new novel, rather, they are intensified by generating, using the same methods that Beckett used, significantly more text than is found in the already excessive Watt. The novel concludes with a listing of the code that was used to generate it.
(Source: Harvard Book Store)
Megawatt, a book of 246 pages based on Samuel Beckett's Watt, is generated by 350 lines of Python.
A single-loading VIC-20 demo (3583 bytes) presented on November 30, 2013 at Récursion in Montréal. Nanowatt is a 3.5 KB assembly-language program for a 1981 computer that can display only 22 characters on a line. This demo was completed and first shown publicly at Récursion, a demoparty in Montréal, on November 30, 2013. Montfort developed the concept and programmed the demo working with French and Beckett expert Patsy Baudoin and with Michael Martin, who wrote the music and programmed the music system, Soundnaif. Nanowatt is not simply inspired by Samuel Beckett’s second novel, Watt; it, like Jorge Luis Borges’s famous author Pierre Menard, produces a long passage from Watt (and from the French translation of Watt) verbatim. (Source: Author's description)
It runs on the Commodore VIC-20, a 1981 computer that displays only 22 characters per line. The 3.5KB program exactly quotes 8KB of English text, then exactly quotes 8KB in French translation, all while music (composed by Michael C. Martin) plays.