In recent discussions of the "technopoetical" at the 2000 and 2001 Computers and Writing conferences, presenters have begun to assert the significance of "making" or poesis to our understanding of Web composition. While Web compositions frequently draw attention to their open or non-narrative structure, they have provoked far less discussion about the interrelationship of the surface text to those meaning-laden layers that lie beneath, layers generated through code or text editors — layers inscribed through the rhetorical systems of other interfaces, other metaphors. H.D.'s dissection of the

Technopoetics at C&W At CW2K, Daniel Anderson and Erin Smith's presentation, "Toward a Web Poetics: From Creative Practice to Theory" opened a discussion about technopoetics, raising questions about the creative value of production and its relationship to our appreciation and understanding of the Webtext. This theme was taken up again at CW2001 by Michael Day, Susan Antlitz, Kathy Fitch, Bruce Leland, and Caryn Talty in their panel, "The Ties that Bind: The (Techno)Poetics of Connection (Tech(s) K(No)w Poetics: Reweaving Techne and Poesis)," as well as in the panel where this work on the eneriwomaninterface began, "Representations of Technology in Film and New Media" (with Joe Essid, Mike Keller, Sharon Cogdill).

palimpsest in The Walls Do Not Fall provides an apt metaphor for such a concern, both in its preoccupation with the process of in(script)ing, as well as in its depiction of this process in terms of a confessional structure.

This analysis of the autobiographical Website eneriwomaninterface (EWI) examines what can be gleaned not only from the visible Webtext, but from an exploration of its production as well. Looking at the Website through recent theories of feminist autobiography and gender performativity, I argue that the richness of EWI lies as much in what it conceals as in what it says. Moreover, I raise questions here about how confession functions within the eneriwomaninterface as a site for mis[s]reading (a gendered misinterpretation of the text) and as radical strategy through which the eneriwoman questions identity and its production. >>>