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Then, as now, the celebration of the idea of interactive writing was founded more on a popular ideology of cultural emancipation than on a critical assessment of artistic expression. It reflected a yearning for a radical sort of cultural democratization, which required that “the author” be pulled down from his pedestal and revealed to be a historical accident, a now dispensable byproduct of the technology of the printing press, which had served to fix type, and hence stories, on the page. The author was the father who had to be slain before culture could be liberated from its elitist, patriarchal shackles.
