Evidently Wareham Morris presents herself as many selves; the poetry confronts the pluralities
and contradictions of womanhood in the contemporary age; the repercussions of young women
in the 90s who were told they “could have it all” and now endure the associated traumas of that
mythology. Furthermore, the composition of the text reveals further personae coalescing within
this web of subjectivities, including videos of her as a performer. Users may find this version of
the “writer” more arresting, more affective and gravitate towards this performance of selfhood
because audio–visual content is more visually arresting (Fallis 2021) and after all, “seeing is
believing” (Goldberg et al 2019). Yet significantly, Wareham Morris also exists as a spectre
within the texts as website coder and designer, responsible for the (initial) production and
functionality of the text(s), therefore reminding users that they are more than a “writer”.