Module 9 Cyberliterature

Contemporary,
Popular and
Emergent
Literature
A Modular Approach with

Compendium of Readings
Prof. Marco D. Meduranda

Navotas Polytechnic College
Module 9:
Literature in
Cyberspace
At the end of the week, the pre- service

teacher (PST) should be able to:
1. define and characterize cyberliterature;

2. explain the relationship of hypertext
and cybertext;
3. discuss fanfiction, a subcategory of
cyberliterature, including its
characteristics, history and typology.
2
General Instructions
This unit aims to deepen your understanding

about cyberliterature, an emerging
contemporary form of literature. This attempts
to focus on the question as to what happens to
literary texts in cyberspace, and how they adapt
in the environment. The assessment tasks at the
end will allow you to synthesize your
understanding to these concept of literature in
cyberspace.
Connect with your teacher via the learning

management system created for this particular
course. If you have clarifications and questions,
contact him via his email:
mdmed2410@gmail.com or through the
messenger chat of the class online learning
group.
Your success to this course lies in your hands.

Good luck!
MDM
Assessment Tasks
Complete all of the following tasks:
Create a comprehensive infographics or graphic organizer that completely presents the

definition, characteristics, types, purpose, nature and essentials of cyberliterature and
its subcategory fanfiction . Include terms and brief definitions.
Fill out the chart below
3 things I find 2 questions I like to ask the 1 idea that I will

interesting about author of the article research further
cyberliterature regarding cyberliterature (and why)
4
Assessment Tasks
Create a 200-250 word reflection about the article you read. Be guided by the rubric
below.
5
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Literature in Cyberspace
Article in Folklore (Estonia) · August 2005

DOI: 10.7592/FEJF2005.29.cyberlit · Source: DOAJ
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LITERATURE IN CYBERSPACE1
Piret Viires
Abstract
Contemporary society has become an information society and hence it makes
sense to interpret various changes in the cultural sphere. Connections be-
tween computer technology and literature are one aspect of the compli-
cated global set of problems in tackling the adaptation of texts with the
media. The article focuses on what happens with literary texts in cyberspace,
how they adapt to that environment, and it examines the forms of
“cyberliterature”. The most comprehensive definition of cyberliterature
derives from the concept of digital literature, i.e. literature created on the
computer and presented by means of the computer. Trying to narrow the
concept of cyberliterature, it can be characterised by certain computer-spe-
cific qualities: multi-linearity, different parts of hypertexts connected by
links, uniting the written text with multimedia, interactivity etc. The sec-
ond part of the article analyses a specific sub-category, one of the most
intriguing border areas of cyberliterature – fanfiction. Fanfiction signifies
texts mainly created as ‘pseudo-sequels’ to a book, comic strip, TV-series or
film, and that are not written by professional authors but by fans. A sepa-
rate section of fanfiction consists of texts written by aficionados of a pop or
rock group – this is the case of “real person fiction”.
Cyberliterature is part of a larger set of problems, the most general back-
ground of which is the increasing role of technology in our society. Other
factors include the myriad opportunities that characterise the postmodernist
cultural situation, the expansion of the concept of literature and the emer-
gence of new forms of literature.
Keywords: cyberspace, digital literature, fanfiction, postmodernism, tech-
nology and literature.
Global changes in the world form the general background of this

article. Modern society has advanced into an information or com-
munication society, and this change has necessitated the recon-
ceptualisation of progress in the cultural sphere. New forms syn-
thesising different means of expression have emerged next to
traditional forms also in literature.
The interrelation of computer technology and literature consti-

tutes one aspect of this intricate and novel set of issues. Virtual
space generated by computer network functions here as a new
medium. This article attempts to focus on the question as to
what happens to literary texts in cyberspace, and how they adapt
in the environment, and follows the author’s earlier studies into
cyberliterature and the related problems (see Viires 2001, 2002).
http://www.folklore.ee/folklore/vol29/cyberlit.pdf
153 www.folklore.ee/folklore
Piret Viires Folklore 29
Cyberliterature: definition and study
The most comprehensive definition of cyberliterature would pro-

ceed from the concept of digital literature – namely, literature
created and presented by means of computer (presented mostly
in WWW, but also on a CD or on a computer hard drive). In nar-
rower terms, the concept of cyberliterature can be characterised
by certain computer-specific qualities: multilinearity, lexias (blocks
of text connected with various hypertext links) joined by links,
linking a written text with multi-media, interactivity, etc. In the
English language a parallel term hypertext literature has been
used. In the Estonian language, however, the most apposite term
would be küberkirjandus, which indicates to the phenomenon’s
connection with technology, cyberspace, while avoiding the limit-
ing of different forms of computer literature with the require-
ment of hypertextuality, and has a wider meaning.
Cyberliterature could therefore serve as an umbrella term which

could tentatively be divided in three:
(i) All literary texts available in the Internet (WWW). This

term covers prose or poetry texts available at the home
pages of professional writers; anthologies of prose or po-
etry published and digitised; collections of classical texts
(e.g. Project Gutenberg2 ); online literature magazines (e.g.
Ninniku3 ), etc.
(ii) Non-professional literary texts available at the Internet,
which inclusion in literary analysis expands the bounda-
ries of traditional literature. Here the net functions first
and foremost as an independent place of publication. The
term would cover home pages of amateur writers, groups
of unrecognised young authors and their portals (e.g.
Kloaak4 ). Here we might also include peripheries of lit-
erature, such as fanfiction or blogs describing people’s daily
life, also text-based role-playing games and collective online
novels.
(iii) Hypertext literature and cybertexts. These would include
literary texts of more complex structure, which exploit vari-
ous hypertext solutions, but also intricate multimedia
cybertexts. Such cybertexts would be the most authentic
www.folklore.ee/folklore 154
example of multimedia artefacts, merging literature, visual

arts, film, music.
Academic discourse over cyberliterature has been relatively ac-
tive since the late 1980s (the first conference on hypertext was
held in 1987, see Koskimaa 2000) and shows no signs of fading.
There are no common views in regard to cyberliterature, as it is
a set of complicated issues which transgresses the established
boundaries of literary theory and results in refined theoretical
constructions. The discourse comprises arguments for and against
by people in favour of cyberliterature to those vehemently op-
posed to it. Regardless of that, all parties agree that the spread
of computer technology has brought along the need to make cer-
tain amendments in the study of the humanities. A new phenom-
enon – cyberliterature – has emerged and many authors use this
complex and versatile genre. In addition to ordinary hypertext
processing programs, those created for writing cyberliterature
(hypertext poetry or prose, such as Intermedia, Storyspace) and
also literature written with these programs can be ordered from
the Internet. The largest portal mediating these programs and
cyberliterature is Eastgate Systems.5
Hypertext or cybertext?
One of the leading theoreticians of cyberliterature is George P.

Landow who has published monumental works Hypertext. The
Convergence of Contemporary Critical Theory and Technology
(Landow 1992) and Hypertext 2.0. The Convergence of Contempo-
rary Critical Theory and Technology (Landow 1997). He has con-
sidered the technologies that open new horizons in literary and
cultural theory as revolutionary, and has stated, among other
things, that computer technology and cyberliterature, at last,
enable to put things described by poststructuralist and deconstruc-
tivist theories into practice, and has concluded that the experi-
ence of reading a hypertext opens up several important ideas in
poststructuralist literary theory. According to Landow, Roland
Barthes’ ideal text has been materialised in hypertext and the
ideas by J. Derrida, M. Bakhtin and M. Riffaterre have been ex-
pressed in hypertext. To illustrate this point I will present
Landow’s view, which has been referred to in several previous
works (Viires 2001: 232; 2002: 1237; Laak 2001: 124):
In S/Z , Roland Barthes describes an ideal textuality that

precisely matches that which has come to be called computer
hypertext – text composed of blocks of words (or images) linked
electronically by multiple paths, chains, or trails in an open-
ended, perpetually unfinished textuality described by the terms
link, node, network, web, and path (Landow 1997: 2).
Such an optimistic view has triggered scepticism from other au-

thors studying the field. For example, in an interview to Markku
Eskelinen and Raine Koskimaa, Brian McHale has expressed
doubts about Landow’s views, considering the latter too simpli-
fying (McHale 2001). Among the reasons for his doubts is also
the rapid advancement of technology, resulting in the invalidity
of arguments built upon a computer program’s limits in a few
years’ time. Marin Laak has reached the same conclusion (see
Laak 2005).
Thus, the entire conflict between hypertext and cybertext theory

(the main representative of which is Espen Aarseth, see below)
becomes evident first and foremost in the context of technologi-
cal progress. While the hypertext literature created in the late
1980s and early 1990s was primarily text-based and was charac-
terised by linking various blocks of texts together, modern hyper-
text literature exists more commonly in the form of complicated
multimedia works combining written texts with video clips, works
of music, media art. Approaching these with an ordinary hypertext
theory yields limited results, thus Espen Aarseth and other rep-
resentatives of his school have used the concept of cybertext for
the analysis.
Expanding the context and observation of the relation of cyber-

literature with, say, postmodernism is hindered by one aspect –
namely, favouring technology, the positive attitude towards tech-
nological advances has been most characteristic of modernism,
whereas postmodernism has generally been opposed to new tech-
nologies. Therein lies a paradox, of course, as is demonstrated by
the case of William Burroughs, who as a postmodernist author
was still fascinated by new technologies (cf. McHale 2001: 71).
Similar paradoxes cover the entire cyberliterature, where ele-
ments characteristic of postmodernist writing (e.g. text endings
are omitted, the texts lack concrete structure, opening and end,
or are circular in that the end refers to the beginning; fragmenta-

riness, eclecticism, intertexuality, obscuration and disappearance
of genre limits; also, labyrinth, a key concept of postmodernism
is characteristic of cyberliterature) are embedded in texts and
presented by means of technological (and postmodernist, in con-
tents) solutions. The discussion about postmodernism and cyber-
literature should proceed from the views of Markku Eskelinen,
who argues that cyberliterature stands outside the entire post-
modernism-modernism discourse. Relying on Brian McHale’s
opposition of epistemological (modernist) and ontological (post-
modernist) literature (McHale 1987), Eskelinen has noticed that
the lines of epistemological and ontological literature also run
through cyberliterature. Cyberliterature includes representatives
of either type, and the specific medium used for presenting the
text is not relevant in this context (see Eskelinen 2001, 2002).
Reader of cyberliterature and time
Yet another paradoxical view is the argument “a reader becomes

an author”. A work of cyberliterature presented as a hypertext
would be first and foremost characterised by links connecting
blocks of texts. A reader follows these links and makes choices.
Such active reading has been commonly called “interactive read-
ing”, arguing that this way the reader becomes an author. At the
same time these links have been intentionally and purposefully
created by the original author. As Tim Parks has noted in his
article Tales Told by the Computer (2002), which discusses clas-
sical cyberliterature texts such as Shelley Jackson’s Patchwork
Girl and Stuart Moulthrop’s Hegirascope, these links, in fact,
impose limitations during the reading. A reader still follows the
path created by the author, even though there may be more than
one simultaneous paths to choose from. Although different read-
ers do not probably read these paths in the same order, the read-
ing is still determined by the author. A reader cannot go beyond
the paths pointed out by the author. According to Parks, “But to
say that this [making a choice between links – P.V.] makes me a
co-writer, to the same extent as the author who prepared the
texts and decided what links would be available to me, where,
and when, is absurd. I have written nothing.” (Parks 2002). Thus,
Parks argues that traditional literature in the form of books pro-
vide the reader much more freedom, as during reading a read-

er’s imagination can move along quite different paths than pro-
posed by the author, and can also put down his or her notes or
comments on margins.
Tim Parks therefore represents the other extremity in cyber-

literature discourse, that of clear opposition, arguing that tech-
nological solutions have essentially given nothing to literature,
and have, in fact, taken something from it.
Three theoretical approaches could be pointed out in the entire

intricate complex which constitutes cyberliterature discourse.
These three approaches are represented by Finnish scholars
Markku Eskelinen and Raine Koskimaa, and the Norwegian au-
thor Espen Aarseth, and appear most productive in the perspec-
tive of further research. These scholars have given up the rigid
dichotomy book text versus digital text and have plunged into
the deeper nature of text creation.
Markku Eskelinen argues that the key to the study of cyber-

literature is narratology and analysis of cybertexts from the as-
pects of narrative and, more importantly, of temporality. He fo-
cuses on the issues of the changing of time in cyberliterature,
presentation of narrative, possibilities of its transformation and
interpretation. While Gérard Genette describes narrative tem-
porality by means of three concepts – order, speed and frequency
–,Eskelin argues that the temporality of cybertext can be de-
scribed by means of 12 parameters (Eskelinen 2002: 55-56), where
he further distinguishes between the time of the text and the
time of reading. Temporality-centred approach is also supported
by several examples of cyberliterature. In Stuart Moulthrop’s
Hegirascope, for example, the author has determined the length
of time for reading the text: the text displayed on the screen
changes in every 30 seconds unless the reader disrupts it before.
Raine Koskimaa has defended a comprehensive Ph.D. thesis Dig-

ital Literatyre – From Text to Hypertext and Beyond (Koskimaa
2000) on the topic and has focused in his most recent studies on
the role of reader in interpreting cyberliterature, proceeding from
the changes in traditional reading conventions in cyberliterature,
and how cyberliterature “teaches” readers to read in novel ways.
His approach is based on Espen Aarseth’s view that while gener-

ally a reader’s role is limited to interpretation, then in terms of
cyberliterature a reader or a user serves four functions. A reader
has an active role – in addition to interpretation he navigates,
configures and writes (Aarseth 1997: 64).
Espen Aarseth and cybertext
Espen Aarseth has proposed the most complex theoretical frame-

work for the study of cyberliterature, and attempts to offer a
universal key to solve all the problems in his Cybertext Perspec-
tives on Ergodic Literature (Aarseth 1997). Some of Aarseth’s
views may seem shocking at first, since he views problems at
unexpected angles. For example, Aarseth claims that the reason
why the entire cyberliterature discourse has diverged is its fo-
cus on the medium, the means of presenting the text, i.e. either
a book or a computer. Aarseth defines cybertext as a way of cre-
ating texts. He views text as a machine, and not in metaphorical
sense but as an actual mechanical means for producing and con-
suming verbal signs. He uses the term ergodic text synonymously
with cybertext, meaning that while reading, a reader is constantly
involved in making nontrivial efforts, decisions, movements. Un-
der trivial efforts Aarseth means the moving of eyes from line to
another and turning pages. His definition of cybertext therefore
does not only comprise computer-generated literature or com-
puter games, MUDs (Multi-User Dungeons – text-based compu-
ter games) and virtual reality, but any text in any form, which
requires the reader nontrivial efforts and is ambivalent and
multilinear. A cybertext may therefore exist in print. Among such
examples of cybertext Aarseth mentions I Ching, the Chinese
Book of Changes, also the inscriptions on the walls of ancient
Egyptian temples, One Hundred Thousand Billion Sonnets by
Raymond Queneau, and the novel Composition No. 1, Roman by
Marc Saporta, which has been created in the form of a deck of
cards and can be read in random order (Aarseth 1997: 9-10). In
this manner, cybertext would cover a major bulk of experimental
literature. The definition of cybertext, therefore, does not pro-
ceed from the medium, the way a text is presented, but from the
way the text has been created – it has to be created as multilinear
or even as three-dimensional. Also, “cybertext shifts the focus”
from the traditional triple division author-text-reader “to the

cybernetic intercourse between the various part(icipant)s in the
textual machine” (Aarseth 1997: 22).
It is true that discourse on the topic of cybertext has been heated

and there is no universal truth in this matter. In any case, com-
puter technology has introduced a number of problems that even
quite recently required no consideration. Changes brought along
by technological progress should definitely be considered in the
field of the humanities. Arguments over the freedom of the reader
in reading a work of cyberliterature or an ordinary book in codex
binding are fine, but discussions in these topics indicate that
technological advances have forced us to take notice of aspects
that were formerly considered marginal. Aarseth’s theory re-
minds Ihab Hassan’s statement on postmodernism: in the
postmodern era we can find evidences of postmodernism even in
texts that were never before considered postmodern, “because
our eyes have learned to recognize postmodern features” (Hassan
2001: 24). Paraphrasing his words, we could say that “our eyes
have learned to recognize cybertext features”.
On the Possibility of Cyberliterature in Estonia
In Estonia, discourse on cyberliterature has remained fairly mod-

est. Compared to my overview a few years ago (see Viires 2002),
very little cyberliterature has been added. Hasso Krull’s pure
genre hypertext poem Trepp (‘Staircase’) 6 is still chrestomathic.
Attempts in media art, however, have been considerably more
dynamic (e.g. Raivo Kelomees, Mare Tralla, prematurely departed
Tiia Johannson). The line marking the end of cyberliterature and
the beginning of media art is often very thin, especially in terms
of new intricate multimedia projects. Cyberliterature, in my opin-
ion, is where the written text prevails over visual images and
sound, where it is clear that the original impulse has been tex-
tual rather than visual (e.g. the works by M. D. Coverley 7 or
John Caylay8 ).
The most interesting works of cyberliterature in Estonia have

been created by The Pression group together with Lendav Hol-
landlane [‘The Flying Dutchman’]9 . The work closest to cyber-
literature proper is Tambet Tamm’s project The Weather Station

Never Lies, 10 available at the website, which leads the reader to
an imaginary futuristic portal with news from Mars accompa-
nied by a science fiction tale. Upon opening the web page the
reader is given a warning that the web browser is out of date and
a suggestion to download CyberScape Navigator 7.3 or Virtuanet
Explorer 4+. Here the created futuristic reality is cleverly asso-
ciated with error messages that computer users have to deal
with on daily basis, so that the reader might at first even believe
these. This is a truly good and witty example of cyberliterature.
Jaana Lepik’s collection of poetry Silmus või sõlm is available in

the Internet in .mp3 file format.11 Also, Lemmit Kaplinski and
Jaak Tomberg’s Prepare 12 has remained a unique example of a
symbiosis of hypertext theory and creativity. Jaak Tomberg is
also among the authors who take greater interest in the theory
of cyberliterature.
Considering Espen Aarseth’s definition of cybertext, the most

copious example of this in Estonia would be the sonnet machine
by Märt Väljataga, which has rendered the links between a text
and a machine almost tangible. The elaboration of Raymond Que-
neau’s idea in One Hundred Thousand Billion Sonnets resulted
in constructing a gigantic machine to accompany the book (Välja-
taga 2000) and the online version. In its complexity, Väljataga’s
project would suit well to illustrate Aarseth’s cybertext defini-
tion. Here the reader is offered a wonderful opportunity to ob-
serve the adaptation of a text in three different environments:
in a printed edition with loose pages, in online version and as a
three-dimensional machine. Relying on Aarseth, the question
whether the text remains the same in all the three cases or un-
dergoes changes could be answered here that it is the same cyber-
text and it is not dependent on the means of information.
The best example of translated cybertext poetry is perhaps the

file poetry by a Russian author Lev Rubinstein, which in the Es-
tonian language has been published, unfortunately, only in the
form of a book (translation by Aare Pilv, see Rubinstein 2003). In
Rubinstein’s work it becomes particularly clear how a text changes
depending on its publication in an ordinary book or on file cards,
the reading of which occurs as a spatial process, moving deeper
with each card. Rubinstein’s work follows a strict order (each

card has a specific location), which eludes the arbitrariness and
tortuous branching into different directions that is characteris-
tic of a cybertext.
Nevertheless, all the presented examples are random applica-

tions of cyberliterature. In the Estonian context, cyberliterature
is first and foremost an opportunity for independent online pub-
lication, ranging from high professional level (poetry magazine
Ninniku, 13 for example) to amateur verses. Some literature por-
tals (e.g. Kloaak,14 the portal of young authors, or Algernon 15 for
people interested in science fiction, and subsection on books in
Delfi women’s forum16 ; literature is also discussed in the webzine
Bahama Press17 ) are interactive. In Estonia, the virtual world
serves to solve problems caused by the limitations of the print
media and functions, with no major experiments with form, as
an addition to literature published on paper.
Peripheries of cyberliterature – fanfiction
The second half of this article deals with a specific and narrow
subcategory of cyberliterature. The article will observe fanfiction,
which is one of the most intriguing peripheral phenomena in
online literature. Based on the categorisation of cyberliterature
in the beginning of the article, this phenomenon covers texts
available in the Internet which cannot be considered literature
proper, but which incorporation in literary analysis would ex-
pand the boundaries of traditional literature. My approach would
therefore be based on as broad definition of cyberliterature as
possible, on a definition which would not limit the concept only
to the specifics of hypertext but covers the entire online litera-
ture available in the Internet.
Fanfiction (or fanfic) has remained in the periphery also because

it combines popular culture and literature in a unique symbiotic
relationship. The scope of fanfiction in the net is infinite, thus
the following discussion will be but a tip of the iceberg.
Fanfiction has been defined variously, but the general definition

could be as follows: fanfiction in the general sense are texts cre-
ated as a so-called pseudo-sequel to a book, comic book, anime,
television series or a movie, which is not created by professional

writers but amateur authors, i.e. fans. Fanfiction’s characters
are usually the same than in the book or film that they are based
on; also, the settings might be the same (although not necessar-
ily), and the fanfiction author usually adds new storylines. The
main reason behind creating fanfiction is the authors’ fascina-
tion with the fan objects and their wish to see favourite charac-
ters in scenes other than those proposed by the authors of the
original books and films. Another reason is entertainment and
communication with the fan community who all like the same
book, film, etc. A few articles have been written about fanfiction,
mostly authored by fanfiction authors themselves. Quite a number
of articles, mostly by Michela Ecks and Laura Hale (see Ecks,
Hale 2000-2004), have been made available at Writers University
website,18 but there are also other studies on fanfiction avail-
able in the Internet (e.g. Anciano 2000).
In print, the issues of fanfiction have been discussed for example

in Textual Poachers: Television Fans & Participatory Culture by
Henry Jenkins (1992), which focuses on the fanfiction of televi-
sion series. Also, fanfiction has been studied from the linguistic
aspect by Sirpa Leppänen from the University of Jyväskylä, who
has analysed the interference of the Finnish and English lan-
guage in Finnish fanfiction and the interlanguage that has
emerged as a result (Leppänen 2005).
History and typology of fanfiction
The history of fanfiction is actually quite difficult to determine,

as many materials have not been documented or preserved and
are based only on oral recollections or have disappeared in the
infinite virtual space. Regardless of that Michela Ecks has writ-
ten down the chronology of fanfiction history (see Ecks, Hale
2000-2004), and according to Ecks the beginning of fanfiction dates
back to the 19th century, when fans of Lewis Carroll wrote se-
quels to his stories, and the admirers of Jane Austen’s work wrote
tales featuring Austen’s characters in the 1920s and 1930s. The
1930s are considered a turning point in fanfiction history, witne-
sing the founding of the Sherlock Holmes Literary Society, which
started to publish Sherlock Holmes fanfiction. In those days,
fanfiction was usually published in special fan magazines, or

fanzines, and were targeted at admirers of a specific work. In
modern times, even major publishers have issued some fanfiction
collections (e.g. Bantam Books has published Star Trek, the New
Voyages, 1976). The year 1967 is considered another turning point
and the beginning of contemporary fanfiction, when the first
fanfiction fanzine Spockanalia of the science fiction television
series Star Trek was published. Star Trek remained the leading
source of inspiration in fanfiction for a long period of time; its
fanfiction was published in fanzines as well as in the form of a
Usenet (a predecessor of the Internet) group Net.startrek (1982).
Fanfiction flourished during 1989-1992 with the progress of the
World Wide Web. Fanfiction became available for everyone with
a network connection, which created the authors of fanfiction an
opportunity to spread their work all over the world. This, in
turn, inspired new authors to write fanfiction. Fanfiction was
originally spread through mailing lists and news groups, later
the fans of a television series or a book began to gather fanfiction
on separate web pages. Mailing lists were replaced by interac-
tive forums. In addition to television series the fanfiction of Japa-
nese anime (animated cartoons) and manga (comic books) began
to spread. In 1998 the website FanFiction.Net 19 was constructed
with an aim to gather and systematise fanfiction. The website is
active also today. But there is, of course, a multitude of other
webpages dedicated to fanfiction in the Internet.
Observation of the original texts that have inspired fanfiction

reveals that these are varied, too. FanFiction.Net attempts to
systematise the written texts into separate subcategories of
anime, comic books, films, books, television series, games, etc.
There is the total of tens of thousands of units of fanfiction avail-
able at FanFiction.Net. The leading position is currently occu-
pied by Harry Potter with ca 50,000 sequels registered in
FanFiction.Net, the second place is evidently occupied by The
Lord of the Rings with ca 13,000 fanfiction texts. Fanfiction has
been inspired by the most surprising books – for example, there
is fanfiction to the Bible or Bridget Jones’s Diary. The most popu-
lar television series according to FanFiction.Net is probably Buffy
the Vampire Slayer with 6,600 fanfics, other popular series next
to Star Trek are Xena: Warrior Princess, The X-Files, Stargate
SG-1, Sex and the City, etc.
In addition to categorisation by original texts, fanfiction is often

grouped according to traditional literary genres like novel, nar-
rative, short story, poem, move script. Fanfiction authors gener-
ally follow the established genre principles. Another, more spe-
cific criterion for categorising fanfiction is ‘tonality’ – the reader
is told in advance what the story will be like. For example,
fanfiction can be divided into WAFF (warm and fuzzy feeling) –
light and easy-to-read nice tales with a happy ending; Dark –
tales dealing with graver topics: death, violence, betrayal; Lemon
– erotic fanfiction, divided into subcategories of homoerotic
fanfiction (Slash/Yaoi and Yuri)(see Anciano 2000). To keep the
texts that are freely available in the net from stirring the minds
of young readers, a warning is sometimes attached to a fanfic,
specifying the age group that the text is targeted at. PG-13 rat-
ing advises persons under 13 against reading the texts, NC-17
stands for erotic contents and violence and is not recommended
to persons under 17. Generally speaking, the fanfiction commu-
nity has made serious efforts to work out the principles of pre-
senting the creation and specifications (e.g. a disclaimer, or in-
formation at the top of a fanfic to indicate that the author has no
rights to the characters, since the authorship rights are already
granted to the author of the original text, etc.). The issue of au-
thorship rights is a central problem in fanfic, even though most
authors of the original texts do not disapprove fanfic, but per-
ceive it as adding to their popularity. Some authors, however,
have forbidden the use of their works as a source of fanfiction
(e.g. Larry Nieven).
A separate category of fanfiction is visual fanfic. People elabo-

rate on their favourite comic books: the most popular are the
Japanese comic manga (the so-called doujinshi). These comics
are rarely published in the Internet and are issued in small print
numbers for groups of fans. There are also particularly refined
examples of visual fanfic, such as, for example, a short amateur
film on the themes of Matrix featuring amateur actors, but in
the original Matrix setting and with the original props.20
Quite a unique type of fanfiction is real person fic, or texts writ-

ten by fans of various pop or rock groups. These are fanfictions
depicting actual living persons. Depending on the author’s will,
pop and rock idols either act in a totally new environment or the
tales are sometimes associated with their musical activities. In

some cases favourite pop artists are depicted as acting in the
home place of a fanfiction author, or, for example, Britney Spears
is depicted as a flight attendant. The authors have let the imagi-
nation run free, but have preserved the personal image, appear-
ance and personality of the favourite artist so that the reader
would find it easier to identify with the setting. The central theme
in real person fics is love; the tales are often very romantic with
erotic scenes, which graphic contents depends on the author’s
sense of decency. Next to pop artists, real person fics may be
also about movie stars, sportsmen or politicians (e.g. there is
fanfic about George Bush, Donald Rumsfeld and Gondoleezza
Rice). The range of groups and musicians who have inspired
fanfiction is very wide, including The Beatles, Queen, Rammstein,
t.A.T.u., Britney Spears, Backstreet Boys, David Bowie, etc.21
Currently there is an ongoing discussion in the fanfiction com-

munity about how ethical it is to write fanfiction about actual
living persons. Arguments are widely different: some fanfiction
websites refuse to publish such texts, others agree that it is all
fantasy and entertainment, and thus writing about living celebri-
ties is justified.
Fanfiction: author and readers
As a peripheral phenomenon of cyberliterature, fanfiction is still

a literary phenomenon, which poses several problems. Firstly,
the traditional role of the author has changed. Already the na-
ture of fanfiction poses the question: who is the actual author? Is
it the author of the original text? Or the fanfiction author who
rewrites the work? Or is the fanfiction author a co-author? Or is
it just plain plagiarism? Fanfiction authors usually use aliases
and their real persons are not known. Like in any ordinary
cybercommunity, members interact only in written form, and the
actual person, name, sometimes also age, gender and nationality
remains hidden. The reader of fanfiction is thus in a situation
where he does not know the background of the author, and com-
municates only with pure creation, text. Fanfiction is almost the
most extreme manifestation of the Barthesian “death of the au-
thor”. Of course, the fanfiction community has its own star au-
thors, whose creation is highly recognised and waited for by eve-

ryone, as there are also authors in disgrace, particularly those
who tend to plagiarise the works of other fanfiction authors.
Secondly, the traditional role of a reader has also changed: in

fanfiction, readers directly interfere in the writing process with
their comments. Fanfiction is generally posted by chapters and
the responses of readers in fanfiction forums are truly interest-
ing to follow. Whilst most responses are approving, there are
also serious analyses and criticism. Sometimes an author takes
readers’ response into consideration, sometimes s/he does not.
Thus the dream of most writers comes true in fanfiction: the
authors immediately learn what their readers think of the work,
and do not have to wait until the end of the complicated printing
process and the painful waiting for reviews. Here, readers can
also suggest the possible development of the story and the char-
acter they would like to read more about. Returning to Espen
Aarseth’s definition, this almost presents a parallel to the “ac-
tive reader” characteristic of cyberliterature. While the tradi-
tional role of a reader is only interpretation, in cyberliterature
the reader is active, s/he navigates, configures and writes. Analo-
gously, the reader of fanfiction is active: instead of mere reading,
s/he actively interferes with the author’s creative process. A sepa-
rate type of cyberliterature is collective fanfiction novels, where
several authors are simultaneously writing the same story. Here,
too, the readers play a more important role, because a reader
may gradually join the group of authors and transform from a
reader into an author.
Fanfiction and simulacrum
The most intriguing and complicated type of fanfiction is real

person fiction, as it combines reality, fiction created by the au-
thors’ fantasy, as well as the symbolic images of pop stars cre-
ated by themselves. While analysing real person fic it would be
most productive to use the concepts of simulacrum and hyper-
reality proposed by Jean Baudrillard. According to Baudrillard, a
simulacrum is a copy for which there is no original, and fanfiction
characters are copies of the character images of pop stars cre-
ated for the general public, and may not exist in real life. Real
life fiction may therefore be seen as a form of hyperreality, where

fictitious characters are replaced by double coded simulacra of
the representations or images of real persons. One of the most
interesting examples here would be fanfiction inspired by the
Russian girl group t.A.T.u. The pop group t.A.T.u. was a post-
modernist phenomena and pure simulacrum in that it represented
an invented lesbian image, which had nothing to do with the ac-
tual personalities of the girls. Regardless of that, t.A.T.u. man-
aged to deceive a number of ardent fans, who perpetuated the
imaginary Lena Katina and Julia Volkova in various romantic or
even lesbian-erotic fanfiction tales. Thus it seems that fanfiction
about t.A.T.u. was the simulacrum of simulacrum – the elabora-
tion of an image which did not exist in reality by the imagination
of authors. Real person fiction becomes particularly refined when
the author includes his/her own person among his favourite group
or characters and merges his personal life and problems with his
idols. On the one hand this is a device known in postmodernist
literature as vicious circle, where a real person becomes a char-
acter interfering with the fictitious world. But while in fanfiction
the fictitious world is already bordering on reality/hyperreality,
the author’s own interference as a character makes the manipu-
lation with reality even more intense.
Fanfiction in Estonia
A search for fanfiction in the Estonian web has proved rather

complicated. Certainly, it is impossible to know how many Esto-
nians may be writing in various English-language forums under
aliases. Russians in Estonia have written pure genre anime
fanfiction in the Russian language; these authors are joined by
the Estonian Virtual Anime Club.22 Tolkien fanfiction has been
written by the society Kepsleva Poni Selts. Though this is in-
tended as a script for the role play A Walk through the Vastness
of Middle-Earth, 23 it shares all the characteristics of fanfiction –
characters and setting of The Lord of the Rings, new story lines
and collective authorship. It is possible, of course, that the vast
space of Internet contains other material that the author has
not come upon. But is it even possible to create Estonian-lan-
guage real person fic? One of the preconditions of fanfiction is
the distance and unattainability of the idol, but in Estonia it is
possible to meet your favourite pop group at the next street cor-
ner. At least the Estonian girl group Vanilla Ninja 24 has inspired
fanfiction in a German-language forum.
A completely authentic example of Estonian home-made fanfiction,

which was further fed by mysterious circumstances following its
publication, is perhaps a pseudo-sequel by Arnold Karu to the
tales written by the famous Estonian author Oskar Luts, the no-
torious Talve (‘Winter’, Luts 1994).
Speculatively, the novel Mõru maik [‘Bitter Taste’] by Hiram (1999)

could be considered the next level of fanfiction. Hiram’s creation
can be essentially considered fanfiction according to every genre
rule – it includes intense emotions, betrayal, photos of concerts
and backstages, characters of rock artists and real people sur-
rounding them. Considering Baudrillard’s concepts, however,
Hiram’s text is even more hyperrealistic than ordinary fanfiction,
where actual living musicians are perceived as symbols of certain
images, and are included in the events according to the author’s
imagination. Hiram also invents an imaginary rock group, the “next
level simulacrum”, imaginary interviews and imaginary music vid-
eos, which he then describes in his novel. Making a reference to
Baudrillard: “Signs are a reality and the imaginary and the real
have become confused” (see Watson 2002: 60).
Fanfiction metamorphoses
Hiram’s case introduces another stage in the adaptation of texts

and fanfiction. Namely, there are good and bad writers among
fanfiction authors, like there are among authors of traditional
literature. And some better fanfiction authors often reach a point
where they decide to start treading the thorny road of “litera-
ture proper”. The author of this article has corresponded with a
fanfiction author, Linna Wongwantanee from Thailand, who turned
her real person fanfiction about t.A.T.u. into an actual novel and
published it in print. For that she changed the names of charac-
ters, drew out stylistic exaggerations, had her manuscript thor-
oughly edited and the book was published in a respected publish-
ing house and is now available at several online book stores
(Wongwantanee 2004). As to the reasons for not being satisfied
with fanfiction, she mentioned:
Fanfiction has limitations. My characters are not mine, they

either belong to a television series or are actual living per-
sons, and I cannot write about actual living persons just any-
thing that comes to my head. In fanfiction I have no control
over my characters; I am not free as an author. When I started
to write fanfiction I sought entertainment, wished to express
my fascination with my favourite rock group and communi-
cate with other members of the fan community. But the more I
wrote, the more the writing became serious for me. And then
one moment I realised that I was no longer writing about my
pop idols, but about myself. I discovered feelings and thoughts
in myself that I did not know existed in me and that I was
then pouring in my writing. This moment I realised that I was
no longer writing fanfiction. Fanfiction is entertainment. Lit-
erature, the true art, is what touches you deeply and actually.
So I gave up fanfiction and turned my novel into literature.25
Fanfiction thus makes its way back to ‘literature proper’, adapt-

ing to new rules, and Linna Wongwantanee’s novel is no longer
posted chapter by chapter to an Internet forum, interrelated
with the readers’ comments, but is published as a respectable
hardcover by a proper publishing house.
Fanfiction as innocence refound
Fanfiction could be called “innocent literature”. I will attempt to

explain this metaphor as follows. Fanfiction is based on “rewrit-
ing”, “reconstructing” of earlier texts, even on intertextuality with
the original source text. Of course, rewriting of previously writ-
ten text is one of the main characteristics of postmodernist lit-
erature. But postmodernist rewriting is first and foremost ironic.
Umberto Eco has argued that postmodernist literature is char-
acterised by the loss of innocence, meaning that every word and
sentence has already been uttered by somebody else and the use
of these words and sentences alludes to all these previously ut-
tered meanings. Equipped with this knowledge, a postmodernist
author can thus write only in the ironic key. According to Eco, a
postmodernist author discovers that one cannot escape the past
but the past can be reconstructed and reused only in a corrupt,
ironic or parodic way (Eco 1985: 67).
As to fanfiction, however, the attitude of authors and fans to-

wards the source texts of or real persons in their creation is not
ironic but reverent. Even the first impulse of parodies in fanfiction
is admiration and respect towards the source object (book, film,
comic book, pop idol). In fanfiction irony is out of the question.
Thus, while Eco sees the loss of innocence in postmodernist writ-
ing, in fanfiction this innocence is as if refound – fanfiction is a
return to innocent and playful literature.
Fanfiction could therefore be regarded as the pure form, free of

experiments, knowledge and cultural layes, where the author as
a narrator tells a story or a fairytale about characters known
and loved by all, having thus a point of convergence with con-
temporary folklore. And listeners are sitting around the narra-
tor, with beaming eyes, occasionally interfering, “Tell us more!
Tell us more!”
Adaptation of texts in cyberspace: concluding remarks
As mentioned in the beginning of the article, cyberliterature con-

stitutes only a part of a wider set of problems in the context of
the general technological progress in the society and its turning
into a society of communication and information. Here we are
also dealing with the multitude of possibilities characteristic of
postmodernist cultural scene, the expansion of the concept of
literature and the emergence of new literary forms. Cyberlitera-
ture is a result of this postmodernist expansion, where the con-
cept of literature is broadened, incorporating former peripher-
ies. Cyberliterature has also added new forms to the usual books
in codex binding in the form of a multimedia artefact, which would
be a symbiosis of literature, visual arts, music. Computer as a
medium serves two functions here: firstly, it enables to present
complicated non-linear text structures or to program entirely
new works of art; secondly, the computer serves to democratise
literature. In the virtual space, modernist elitist literature is
replaced by literature for common people, ranging from ordi-
nary amateur literature to specific types like fanfiction. Here it
is possible to witness the blurring of boundaries between litera-
ture and folklore and perhaps their possible convergence.
As a concluding note, I would like to express my wish that

cyberliterature discourse will open up a discussion in the Esto-
nian literary theory and the adding of new original works of
cyberliterature. A promising approach in the study of cyberlite-
rature seems to be narratology, i.e. the analysing of cybertext in
the perspective of narrative flow and disruptions in the narra-
tion. This is closely related to the issues of temporality and these
may yield fascinating results in the analysis of cybertexts. An-
other possibility would be the application of Espen Aarseth’s gen-
eral concept of cybertext and not limiting the objects of analysis
only to computer technology.
Comments
1 The article was written with the support of Estonian Science Founda-
tion grant no. 5965 “The Problem of Media-Determinism and Temporal-
Spatial Relations of the Work of Art”.
2 http://www.gutenberg.org/
3 http://www.eki.ee/ninniku/
4 http://www.adisain.ee/kloaak/
5 http://www.eastgate.com On some more interesting examples of cyber-
literature, see e.g. Viires 2002: 1238.
6 http://www.eki.ee/kodud/krull/
7 http://califia.hispeed.com/Afterimage/
8 http://www.shadoof.net/in/
9 http://thepression.tfd.ee/
10 http://thepression.tfd.ee/ulme/index.html
11 http://www.bahamapress.org/
12 http://lemmit.kaplinski.com/prepare/
13 http://www.eki.ee/ninniku/
14 http://www.adisain.ee/kloaak/
15 http://www.obs.ee/cgi-bin/w3-msql/algernon/index.html
16 http://woman.delfi.ee/foorum/list.php?f=8
17 http://www.bahamapress.org/
18 http://www.writersu.com/WU/ (last accessed in April 10, 2004; currently

unavailable)
19 http://www.fanfiction.net/
20 See http://www.fanimatrix.net
21 See e.g. The Beatles Fan Fiction http://classicrock.about.com/cs/
fanfiction/
22 http://www.hot.ee/evanime/ (last accessed on April 10, 2004; currently
unavailable)
23 http://members.lycos.co.uk/rollimang/phpBB2/viewforum.php?f=
2&sid=69643d2e57aa446f595f2f64e775bc0c
24 See http://www.vnboard.de/forum/
25 Synopsis from personal e-mail correspondence with L.Wongwantanee
in Feb. 2, 2004; Feb. 24, 2004, March 1, 2004, April 22, 2004.
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ionichost.com/FanfictionThesis.htm.
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Module 9 Cyberliterature

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Module 9 Cyberliterature

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Contemporary,

A Modular Approach with

Prof. Marco D. Meduranda

At the end of the week, the pre- service

1. define and characterize cyberliterature;

This unit aims to deepen your understanding

Connect with your teacher via the learning

Your success to this course lies in your hands.

Create a comprehensive infographics or graphic organizer that completely presents the

Fill out the chart below

3 things I find 2 questions I like to ask the 1 idea that I will

Article in Folklore (Estonia) · August 2005

Digital literature View project

The user has requested enhancement of the downloaded file.

Global changes in the world form the general background of this

The interrelation of computer technology and literature consti-

Cyberliterature: definition and study

The most comprehensive definition of cyberliterature would pro-

Cyberliterature could therefore serve as an umbrella term which

(i) All literary texts available in the Internet (WWW). This

example of multimedia artefacts, merging literature, visual

One of the leading theoreticians of cyberliterature is George P.

In S/Z , Roland Barthes describes an ideal textuality that

Such an optimistic view has triggered scepticism from other au-

Thus, the entire conflict between hypertext and cybertext theory

Expanding the context and observation of the relation of cyber-

or are circular in that the end refers to the beginning; fragmenta-

Reader of cyberliterature and time

Yet another paradoxical view is the argument “a reader becomes

vide the reader much more freedom, as during reading a read-

Tim Parks therefore represents the other extremity in cyber-

Three theoretical approaches could be pointed out in the entire

Markku Eskelinen argues that the key to the study of cyber-

Raine Koskimaa has defended a comprehensive Ph.D. thesis Dig-

His approach is based on Espen Aarseth’s view that while gener-

Espen Aarseth and cybertext

Espen Aarseth has proposed the most complex theoretical frame-

from the traditional triple division author-text-reader “to the

It is true that discourse on the topic of cybertext has been heated

On the Possibility of Cyberliterature in Estonia

In Estonia, discourse on cyberliterature has remained fairly mod-

The most interesting works of cyberliterature in Estonia have

literature proper is Tambet Tamm’s project The Weather Station

Jaana Lepik’s collection of poetry Silmus või sõlm is available in

Considering Espen Aarseth’s definition of cybertext, the most

The best example of translated cybertext poetry is perhaps the

with each card. Rubinstein’s work follows a strict order (each

Nevertheless, all the presented examples are random applica-

Peripheries of cyberliterature – fanfiction

Fanfiction (or fanfic) has remained in the periphery also because

Fanfiction has been defined variously, but the general definition

television series or a movie, which is not created by professional

In print, the issues of fanfiction have been discussed for example

History and typology of fanfiction

The history of fanfiction is actually quite difficult to determine,

fanfiction was usually published in special fan magazines, or

Observation of the original texts that have inspired fanfiction

In addition to categorisation by original texts, fanfiction is often

A separate category of fanfiction is visual fanfic. People elabo-

Quite a unique type of fanfiction is real person fic, or texts writ-

tales are sometimes associated with their musical activities. In

Currently there is an ongoing discussion in the fanfiction com-

Fanfiction: author and readers

As a peripheral phenomenon of cyberliterature, fanfiction is still

thors, whose creation is highly recognised and waited for by eve-

Secondly, the traditional role of a reader has also changed: in

Fanfiction and simulacrum

The most intriguing and complicated type of fanfiction is real

life fiction may therefore be seen as a form of hyperreality, where

A search for fanfiction in the Estonian web has proved rather

A completely authentic example of Estonian home-made fanfiction,

Speculatively, the novel Mõru maik [‘Bitter Taste’] by Hiram (1999)

Hiram’s case introduces another stage in the adaptation of texts

Fanfiction has limitations. My characters are not mine, they

Fanfiction thus makes its way back to ‘literature proper’, adapt-

Fanfiction as innocence refound