“"Hypertext is a representation of the text which escapes and surprises by turns," I wrote. Given the pure unaccountability (it is literally impossible to read all the possible variations of a richly linked hypertext) a hyperfiction writer is always attuned to "how the reader will interpret the literature presented" since its presentation shifts and flows in its composition as well.”

— Michael Joyce

Interview with Michael Joyce in Pif (January 2000)

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Michael Joyce 5

American academic and writer 1945

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“A text is not a text unless it hides from the first comer, from the first glance, the law of its composition and the rules of its game. A text remains, moreover, forever imperceptible. Its law and its rules are not, however, harbored in the inaccessibility of a secret; it is simply that they can never be booked, in the present, into anything that could rigorously be called a perception.”

Jacques Derrida (1930–2004) French philosopher (1930-2004)

Plato's Pharmacy, intro
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“It is in the translation that the innocence lost after the first reading is restored under another guise, since the reader is once again faced with a new text and its attendant mystery. That is the inescapable paradox of translation, and also its wealth.”

Alberto Manguel (1948) writer

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“Persecution, then, gives rise to a peculiar technique of writing, and therewith to a peculiar type of literature, in which the truth about all crucial things is presented exclusively between the lines. That literature is addressed, not to all readers, but to trustworthy and intelligent readers only.”

Leo Strauss book Persecution and the Art of Writing

Source: Persecution and the Art of Writing (1952), Persecution and the Art of Writing, p. 25

“No tears in the writer, no tears in the reader. No surprise for the writer, no surprise for the reader.”

Robert Frost (1874–1963) American poet

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“No tears in the writer, no tears in the reader. No surprise for the writer, no surprise for the reader.”

Robert Frost book Collected Poems of Robert Frost

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Variant: The ear is the only true writer and the only true reader.
Source: Collected Poems of Robert Frost

“All cultural translation necessitates some interpretation and simplification. No sane reader would be able to make sense of a text which consisted exclusively of directly translated, unmediated quotations from informants. Compression and editing are therefore necessary elements of cultural translation. Moreover, no matter how outstanding an anthropologist is, as a fieldworker, as a writer and as an analyst, the text always represents a selection, and it will always to a greater or lesser extent be marked by the subjectivity of the translator.”

Thomas Hylland Eriksen (1962) Norwegian social anthropologist and professor

Source: What is Anthropology? (2nd ed., 2017), Ch. 2 : Key Concepts

“The vitality of language lies in its ability to limn the actual, imagined and possible lives of its speakers, readers, writers.”

Toni Morrison (1931–2019) American writer

Nobel Prize Lecture (1993)
Context: The vitality of language lies in its ability to limn the actual, imagined and possible lives of its speakers, readers, writers. Although its poise is sometimes in displacing experience it is not a substitute for it. It arcs toward the place where meaning may lie. When a President of the United States thought about the graveyard his country had become, and said, "The world will little note nor long remember what we say here. But it will never forget what they did here," his simple words are exhilarating in their life-sustaining properties because they refused to encapsulate the reality of 600, 000 dead men in a cataclysmic race war. Refusing to monumentalize, disdaining the "final word", the precise "summing up", acknowledging their "poor power to add or detract", his words signal deference to the uncapturability of the life it mourns.

“Every word, every line, every thought is prompted by the age we live in, with all its circumstances, its ties, its efforts, its past and present. It is impossible to act or think independently and arbitrarily. This is comforting in a way. To the individual, the collective experience of the age represents a bond – and also, in a sense, security; there will always be possibilities even in disaster.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“When, therefore, as will be clear to those who read, the passage as a connected whole is literally impossible, whereas the outstanding part of it is not impossible but even true, the reader must endeavor to grasp the entire meaning, connecting by an intellectual process the account of what is literally impossible with the parts that are not impossible but historically true, these being interpreted allegorically in common with the part which, so far as the letter goes, did not happen at all. For our contention with regard to the whole of divine scripture is that it all has a spiritual meaning, but not all a bodily meaning; for the bodily meaning is often proved to be an impossibility.”

Origen (185–254) Christian scholar in Alexandria

“How divine scripture should be interpreted,” On First Principles, book 4, chapter 2, Readings in World Christian History (2013), p. 75
On First Principles

“The unlimitedness of the sense of a text is due to the free combinations of its signifiers, which in that text are linked together as they are only accidentally but which could be combined differently.”

Umberto Eco book Semiotics and the Philosophy of Language

[4] Symbol, 4.4 : The symbolic mode, 4.4.4 : The Kabalistic drift
Semiotics and the Philosophy of Language (1984)
Context: Scholem … says that Jewish mystics have always tried to project their own thought into the biblical texts; as a matter of fact, every unexpressible reading of a symbolic machinery depends on such a projective attitude. In the reading of the Holy Text according to the symbolic mode, "letters and names are not conventional means of communication. They are far more. Each one of them represents a concentration of energy and expresses a wealth of meaning which cannot be translated, or not fully at least, into human language" [On the Kabbalah and Its Symbolism (1960); Eng. tr., p. 36]. For the Kabalist, the fact that God expresses Himself, even though His utterances are beyond any human insight, is more important than any specific and coded meaning His words can convey.
The Zohar says that "in any word shine a thousand lights" (3.202a). The unlimitedness of the sense of a text is due to the free combinations of its signifiers, which in that text are linked together as they are only accidentally but which could be combined differently.

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Michael Joyce 5

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