This site is an archive. Its whole purpose is to preserve a piece of literary history: a maintained clone of the 1994 work, kept so that My Name is Scibe survives for future readers and scholars even if its original home—one directory on one aging host—does not.

This preservation edition was made on October 25, 2026, by spidering the work from its home on The WELL—people.well.com/user/jmalloy/scibe/—where it still lives. The spider took all 69 HTML pages and 3 images; every internal link in the original resolved, and nothing was missing.

The text is unaltered. Every lexia is the 1994 original—spelling, punctuation, posting headers and all—carried into a new frame (the amber terminal you are reading) one-to-one, with its links mapped to the same destinations inside this edition. The frame is modern so the work can be read on modern screens; the work inside it is not modernized. A few pieces of broken 1994 markup needed a rendering decision, and they are disclosed here: the original title page carries a closing link tag with no opening tag, which renders as the plain word it follows; its duplicate file story.html is byte-identical to the title page, so this edition keeps one front door; and the last lexia’s “home” link, which pointed at the WELL title page address, points here at this edition’s title page.

Dead links. One lexia (66) links out of the WELL to the ARTS WIRE mirror of this work at tmn.com. Those addresses are dead, and the Wayback Machine holds only the server’s error pages for them—no copy of the ARTS WIRE edition survives anywhere we can reach. The links are preserved exactly as written, as part of the text; the two lexias they pointed to (1 and 51) survive in full in this edition by way of the WELL.

The readings are new. Each page of this edition carries a recording, one voice per writer, cast in 2026. A short spoken header—title, lexia number, writer, date—precedes each reading; the body is then read verbatim, with only pronunciation respelled where type would defeat a voice (addresses and domain names spoken as they sound, ellipses taken as pauses). The printed text is untouched by any of this.

Copyright is the writers’, exactly as it was. The work is © 1994 Judy Malloy, Tom Igoe, Chris Abraham, Tim Collins, Anna Couey, Valerie Gardiner, Joseph Wilson, Doug Cohen—fully shared among the eight, and this edition changes nothing about that. It asserts no new rights of any kind in the work. It claims no ownership beyond each author’s own share in their own contributions, and no share at all in anyone else’s. The frame, the typesetting and the recordings in this edition are production work done in the work’s service; they are not a claim on the work, and they transfer nothing.

A word in good faith. This clone was made for one reason: to keep a fragile work of early electronic literature alive. Judy Malloy is the work’s main artist and its orchestrator; this edition presents her so, and presents every other writer as a contributor. The edition is published quietly and without announcement. If Judy Malloy, or any co-author or rights holder, objects to any part of it—any page, any recording, any word of framing—the site will be taken down promptly and without argument. The work belongs to its writers; this frame is only a binding, and a binding does not argue with its book.

cabraham@gmail.com