Further on Gertrude Stein, Carole Maso, and the avant garde in U.S. fiction from Lidia Yuknavitch.

Picking up Lance Olsen's theme of thinking as digestion, Michael Martone chews on what's Avant Garde about Baltimore.

A personal account by novelist Joseph McElroy of the WTC crash (that is: a structure of some outside and inside project encompassing one individual).

Against the conflation of Islamic and economic fundamentalisms (William S. Wilson responds to Nick Spenser).

The WTC attack considered as a conflict between open and closed systems, a one-system people and a many-system people.

To understand differences between Islamic and Western aesthetics, Nick Spencer argues, is not the way to understand the WTC attacks.

Lance Olsen tells the story of a creative writing professor who walked.

In the era of English Department Cultural Studies, does the study of literature belong to the poet-professors? Marjorie Perloff offers a view from the English Department of what CW can do.

David Radavich rethinks creative writing as an art of living - one of many.

Sukenick responds to Fleisher's feminist critique of "Narralogues" in the voice of his own fictional jeune-fille, Jane.

Reflections on Creative Writing as potentially part of the tradition of the avant garde.

Joe Amato and Kass Fleisher suggest that creative writing pedagogy, particularly as found in the typical workshop, might benefit from a major, theoretically-informed, re-visioning. Introduced by ebr managing editor (1999-2002), Kirsten Young.

Sandy Huss suggests that the reform envisioned by Amato and Fleisher is already underway.

Setting one scholar's legalistic solutions against texts by cyber-critics and posts by netizens and web artists, geniwate looks at the issue of copyright law online.

Dave Ciccoricco returns to Michael Joyce's 1997 novel so as to avoid bringing hypertext criticism to a premature closure.

Matt Kirschenbaum, a longtime ebr contributor who actually does some programming and much reading in electronic environments, sought to ground the discussion.

Daniel Wenk was living in Paris on a Fellowship during the initial discussions. He would eventually give the discussions their name, End Construction!, after treating a street sign in Chicago. Using black electrical tape the same width as the sign lettering, he formed an exclamation mark and so turned the statement into a command.

Eugene Thacker, who went on to help design the Alt-X e-book series, suggested some models for ebr designers to consider.

William S. Wilson, author of the story collection, Why I Don't Write Like Franz Kafka, audited the discussions on the new ebr Interface and posted a series of letters (backchannel), under the header, Why I Don't End Construction. His reasons have to do with audience building.

In response to Bill Wilson's provocation (about not "getting through" to a younger audience), Linda Brigham introduces a cognitive perspective and closes with a metaphor from music - eventually the design-governing metaphor for the site design.