The total vision of Pandemonia, complete in its entirety, struck me in an instant while I was overseas. After recovering from my poleaxation, I started feverishly writing down as much as I could recall of its structure, its evolution, its themes and devices and wiles and cloying complexity. That was in 2004. We're about a third of the way there. There's still a very long way to go.

What is Pandemonia? That definition is going to change drastically as it recursively pupates. We're in the first stage right now, which means Pandemonia must be the name of the environment itself, the framework that records how the reader is interacting with my fictions. It makes it possible for me to write works that behave differently depending on what the reader has read, allowing for complex contextual constructions of narrative.

First and foremost Pandemonia is concerned with text--the movable, digitalized type. What interests me is interactive text, and dealing with how we use this our greatest tool, and how it in turns uses us.

You may be wondering more specifically about the pieces contained within Pandemonia. What makes them tick? Why constructed so?

If there is one thing I'm emphasizing with this work, it's continuous context. Therefore! In order to find the reason behind the work, the maps and diagrams, you will have to first wander the work. Specifically, you cartographers, locksmiths and clock repairmen will have to keep your eyes peeled to find the bald-faced truths and tools. They are waiting, game-like and playful, for you to uncover.