[49] Nestvold, R. Joe's Heartbeat in Budapest. <http://www.lit-arts.net/JHIB/> 2000. (aesthetic)

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This work is interesting as the anchors become the responses, the reader's portion of the conversation--and they are painfully limited. Throughout the entire "conversation" the single form of text anchors never change from "yes, no, maybe, bitch." Clicking on one of these anchors elicits a response from the story as if the reader had uttered these words to the author. The story, too, shows its frustration with the limited interaction: "Hey, is this a discussion or a monologue? If you want this to go anywhere, you have to do your part, you know. I'm slowly getting the feeling that I'm talking to myself. You have the same impression?"

The unchanging anchors here form a major function in the growing frustration of non interaction:

Part of the Budapest conversation
Screenshot used by permission. cut the crap! make up your mind it won't work you admit it

This may not be a hard question, but the strict limitations of the anchors make it difficult to answer. Like Same Day Test [25], the reader is constrained in what she can do or respond to. This sparse interaction narrows the reader's realm and places the control board in the author's hands.