Simulating a state of mind induced either by ten to twelve hours on the net a day and/or by a vulnerability to "flesh time", the epic cyberpoem The Roar of Destiny combines "flooding" of memory flashbacks with a heightened awareness of background noises and an intertwining of significant and insignificant life details. The opening interface is unstable. To follow a semi-coherent path, you must immediately click.
The primary structural device is this dissolving and reassembling interface that was derived from information overload induced by too many hours on the net. Radiating from this primary interface, each lexia is then built from a "frozen interface" composed of relevant words that sometimes run rigidly, under control down the sides and across the bottom of the primary text and sometimes fragment or are merged with the primary text.
It is suggested that the reader follow the text in the story-bearing lexias by reading the bolded words -- while at the same time viewing the relevant words and links peripherally, as one does with the links in online newspapers.
The first person, the "I" of the narrative, is a way of connecting the reader to the narrator. It leads the reader into the details of the narrator's immediate environment -- the small things, the seemingly inconsequential events that trigger memories and thoughts. In the Roar of Destiny, the narrator's name is Gweneth. I am her when I am writing her words. However, she is not me. This is a work of fiction.
Five primary strains run through the work -- a series of flashbacks to the home of a modernist sculptor somewhere in Arizona; the cabin on the southside of the Colorado rockies that is Gwen and Gunter's home at the time of the telling of the story; elements of Gwen's virtual workplace; a series of yellow screens on the borderline between normal and abnormal; and disordered flashbacks to predominantly nonlucid periods. These flashbacks are characterized by a black "background", by schizophrenic language breakdown, and by an appropriately hypertextual paranoia. The sixth collection of lexias is a fragment of a story that the narrator Gwen is creating about another place and time.
Integrating visual components, The Roar of Destiny represents these strains (that diverge, combine, diverge) using a combination of color and screen design shifts.
The reader, like the narrator, is involved in a continual interior struggle between the "real" and the "virtual", between the murky, stark black-backgrounded paths and the bluegreen-backgrounded paths beside clear mountain streams.
Begun in December, 1995 this work of public literature was in flux for four years. New screens were slowly added and, with every addition, the links on other screens were changed so that a reader returning to the work may have found the paths by which he or she previously navigated the work to have disappeared, been diverted and/or augmented.
The Roar of Destiny Emanated from the Refrigerator. I got up to get a Beer was completed in 1999.
Set in a different time and place, it is a sequel to l0ve0ne.