“Tired as they were, they almost ran up the last part of the stair, and found themselves in another cave; but it was completely different to the one with the snake in it. As far as they could see by the light of the box, it was crammed with old bric-a-brac: bits and pieces of every possible description, some of them valuable but most of them not, thrown together in a horrendous jumble, stacked up high above their heads, and covered in dust and cobwebs. There were walking-sticks, pith helmets, books, dolls, carpets, bottles, pens, games of Monopoly, stuffed animals, false teeth, family photographs, toy trucks, maps, birthday cards, pram wheels, diaries, screwdrivers, umbrellas, plugs, pianos, old coins, kettles, picture frames, odd shoes, Gladstone bags, wooden legs, rocking chairs, someone's PE kit, and so on and so on and so forth and so forth – like the contents of the biggest, dirtiest and most badly-organised second-hand shop in the world.”
The children encounter a shape-shifter called Ratatosk, who tells them about the snake they have seen, a tree called Yggdrasil, some owls, and the Queen of the Night. Dora rediscovers one of her old dolls, and Ratatosk explains how possessions get lost so easily, and why things don't always work when they ought to.
The sixth chapter of twelve.
"We are enjoying The Puzzle Box very much!" - William, www.artselector.com
Title: Fundamentals (http://www.deenalarsen.net/fundamentals/)
Description: From hypertext fiction author Deena Larsen, an introduction to the fundamentals of hyperliterature. This is intended as a teaching aid, and it's not just for students of the genre but for those who are interested in producing hyperliterature themselves. As such, it provides a relatively jargon-free approach with lots of practical exercises and examples of work from here and there around the Web. It seems a trifle oldfashioned in its assumption that hyperliterary texts should generally have mazeliks structures of multiple links and nodes, in the style popularised by Eastgate, but it remains a thoroughly useful primer all the same.
Description: From Tabor Robak. As described by Rhizome (www.rhizome.org), this is "like stumbling upon a scrambled memory bank of images captured sometime around 1993: a dream-arcade of faux vector graphics, neon color schemes, Uzi-blasting last action heroes and gratuitous drop-shadows". I'll go along with that. The same writeup goes on to attempt to ascribe some deeper meaning to the piece, which I'm not so sure about - but it's an absolute blast anyway.