As the metatag above illustrates, the subject matter here is personal—confessional. One critic has gone so far as to suggest that eneri never intended it for anyone but herself (A List Apart). And, perhaps eneri's eventual removal of the site suggests a case of over-exposure. The power of the site, however, does not derive from its exposure of the hopes, dreams, and fears of its heroine, the eneriwoman (who is not, but could be, everywoman?). Rather, it resides in eneri's exposure of those sentiments through an ironic interrogation of them. While parody ridicules through imitation, irony functions through a process of masquerade: someone says one thing while actually meaning another, someone performs one way in order to expose something else beneath the surface. Eneri's exploration of religion and obsession in "The Eneri Prayer," for example, juxtaposes a series of devotional statements against clearly rebellious or ironic text. Yet, the work of this ironic performance is more complex than establishing an opposition between surface and depth. As I will demonstrate, the site continually undermines such oppositions, foregrounding instead the role of production and fragmentation.

Equally important are the metatag's references the technical along with the personal. Although references to "typography" and "flash" are certainly meant to attract those interested in graphic design to the site, we must also consider the extent to which technique and content are mutually implicated in the production of identity at work in the site. To what degree is the technology itself bound up in the confessional structures represented and interrogated on the surface of the text? In the analysis that follows, I attempt to take you through levels of readings—those that I characterize as mis[s]readings, flagging for your attention the gendered expectations that seem to inform them—and other readings where I attempt to outline strategies for approaching the Webtext that help to reveal the metonymic operations of the text. >>>