1997
Marta Werner uncages Emily Dickinson's fragments.
Stephanie Strickland on the translation of poetry from print to screen.
A conversation with Pierre Joris and Jerome Rothenberg on the technology and politics of the millenial anthology.
From Zukofsky's "A" to Powers' Goldbug Variations, in search of a social ecology of the self-discursive text.
Millennial thoughts from Raymond Federman.
John Matthias reports on the state of British Poetry and its criticism.
The second ebr special to employ the concrete poems of Daniel Wenk, working typographical variations on the term, "electropoetics." Guest edited by Joel Felix, who in 1997 was an undergraduate Lit major at the University of Illinois at Chicago.
Alan Shaw on the poetics of composer Harry Partch and the musicality of greek prosody.
Artist Eduardo Kac writes on the attractions of the hologram as a malleable, fluid, and elastic medium for poetic expression.
Bringing the queston of 'textuality' into the cyberdebates, and refusing the conservative oppostion between contemplative reading and gaming, Daniel Punday argues that critics should embrace spinoff culture as a model for electronic writing.
Oulipo poetics and the art of translation.
on the ghost in the machine: the font as spiritual medium in CD-ROM poetry design
On the present and future of hypertext poetics (circa 1997).
A cyber (hyper) text reading through Copeland, Gibson, and Christopher Dewdney, with breaks for speculation on form and opacity. Is there a manifesto buried in here? You decide.
Steven Kellert on being "in favor of universals."
1996
Joseph McElroy shares field notes and reflections from Mount St. Helens.
An art installation as much as an "issue," the original site for ebr4, Critical Ecologies, used variations on a concrete poem by Daniel Wenk to guide readers through the "green" and "gray" essays. Another innovation was the introduction of the riposte section.