There is striking and sustained engagement with vigorous movement throughout Wareham
Morris’ work demonstrated through her purposeful and meaningful play with form and structure,
places and spaces – on the page, the screen or physical such as bars, cafes, study spaces and,
ironically silent zones. She actively seeks to orientate, disorientate and reorientate readers, users
and audiences. At various locations throughout Viole(n)t Existence we are reminded that its
“existence” is elsewhere, prompting readers, users and audiences to continue their textual
investigations. Through the effective use of coding, hyperlinks and multimodality play is
encouraged and can lead to the (re)discovery of more textual fragments. In fact, the text itself
develops its own playful personality, as if surprising readers, users and audiences with yet more
ways to play: don’t just find me here, but here and there and there and there… This contributes to
the self-conscious metafictional element of Wareham Morris’ work and reinforces the complex
and sophisticated layering of motifs and metaphor amongst these iterations, across platforms and
spaces which are only discovered through physical and discernible movement, physical or
virtual. This movement ensures that readers, users and audiences not only discover signifiers, but
through their repetition can begin to make some sort of sense of them. Obviously: readers can
move between pages; users can click different hyperlinks and move their mouse; audiences can
move towards or away from an impromptu reading. Less obviously: networked bodies move
alongside, away from, haphazardly, collectively in their discoveries. At times this is known,
acknowledged and synchronous; at times it is not. Wareham Morris’ body of work is a confident
and convincing demonstration of vigorous movement where her play energies are transferred to
the energies and therefore moves of her readers, users and audiences.