The following article aims to present a study on twitterature – an intersection of literature and Twitter and a variant of twitter fi ction. The latter has become increasingly popular since the advent of Twitter at the end of the fi rst decade of this century and has dwarfed longer and traditional narratives. The subject of analysis will be Twitterature. The World’s Greatest Books in Twenty Tweets or Less (2009) by Alexander Aciman and Emmett Rensin. The author of this article argues that parodic reworkings of 76 literary classics for the 21st century readers should be analysed as a variant or subgenre rather than a fully developed literary genre. Therefore the analytical tools have been appropriated from literary realm rather than new media studies. The author’s aim is not to present an outline of electronic literature or its typology, since that has been exhausted by other researchers. The main objective is rather to comment on one of the variants of electronic literature, which undertook a postmodernist dialogue with classic hypertexts (hypertexts in the Genettian sense of the word). Thus the most relevant aspects investigated here include generic boundaries, the role of the reader, inherent features as well as (Twitter) format and style respectively. 

The following article aims to present a study on twitterature – an intersection of literature and Twitter and a variant of twitter fi ction. The latter has become increasingly popular since the advent of Twitter at the end of the fi rst decade of this century and has dwarfed longer and traditional narratives. The subject of analysis will be Twitterature. The World’s Greatest Books in Twenty Tweets or Less (2009) by Alexander Aciman and Emmett Rensin. The author of this article argues that parodic reworkings of 76 literary classics for the 21st century readers should be analysed as a variant or subgenre rather than a fully developed literary genre. Therefore the analytical tools have been appropriated from literary realm rather than new media studies. The author’s aim is not to present an outline of electronic literature or its typology, since that has been exhausted by other researchers. The main objective is rather to comment on one of the variants of electronic literature, which undertook a postmodernist dialogue with classic hypertexts (hypertexts in the Genettian sense of the word). Thus the most relevant aspects investigated here include generic boundaries, the role of the reader, inherent features as well as (Twitter) format and style respectively.