A Cosmic Underleague Team

The CISCO GIANTS are comprised of interesting writers

1999 Cisco Giants


Rookies are in italics

Douglas Adams


The hero of the ancient Anglo-Saxon epic poem of the same name. The specific date of composition and the author are unknown. The epic as we know it today dates from the 8th century. But certainly its 8th century form was preceded by various twists and permutations as it was orally transmitted.

Each night the palace of King Hrothgar of Denmark is attacked by Grendel, who is half monster and half human. Grendel kills indiscriminately and has wreaked havoc inside the palace. The King enlists the help of the Great Beowulf who defeats the monster.

Orson Scott Card

Anton Chekov

Russian playwright and writer. Studied medicine but did not practice. Instead he wrote plays and short stories depicting Russian life without sentimentality.

Arthur Conan Doyle

British physician and writer. In 1887 he published his first Sherlock Holmes novel, A Study in Scarlet. Holmes was a detective of uncanny competence.

H. Rider Haggard

English novelist. His romantic novels were frequently set in South Africa.

Thomas Hardy

English novelist and poet. Early in life he studied architecture but from 1867 on he devoted himself to literature. His work is notable for its stoical and pessimistic point of view. A master at using regional dialect and local folklore.

Ben Jonson

English playwright and poet. After a brief apprenticeship as a bricklayer and after service in the army at Flanders he became involved with the theater as an actor and playwright.

Ursula LeGuin

U.S. writer. Recognized as creator of "anthropological science fiction" her novels deal with alternative societies and space colonization. Her novel The Word for the World Is Forest (1976) is about interplanetary exploration and has been widely read as a parable for the United States' involvement in Vietnam.

Ira Levin

Cotton Mather

W. Somerset Maugham

English novelist and playwright.

Herman Melville

A.A. Milne

English poet and playwright. Wrote a variety of work but is most well known for his juvenile stories including Winnie-the-Pooh (1926).

Mocha Latte

Philip Sidney

English soldier, politician and poet. Considered an ideal gentleman of his age and finest prose writer of his generation. In 1576 he was appointed cupbearer to Queen Elizabeth but later fell out of favor because of his disapproval of the Queen's proposed marriage to duc d'Alencon. Wrote impassioned sonnets to Penelope Devereux, later published as Astrophel and Stella (1591).

Edmund Spenser

English poet. Wrote The Faerie Queene (1590-1611).


H.P. Lovecraft
Field Manager

American writer born in Providence, Rhode Island. Wrote fantastic and macabre tales such as the "Cthulhu Mythos" stories.

Robert Heinlein

American science-fiction writer. Studied engineering at the U.S. Naval Academy but a physical disability cut short his naval career. Wrote pulp fiction and juvenile stories until he started writing science-fiction in the 1950s. His novel Stranger in a Strange Land (1965) became a counter-culture classic selling over 2 million copies.

J. D. Salinger
General Manager

Tom Clancy
Team Owner













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What Is Hypertext

Excerpts from a 1994 essay by Charles Deemer
On a winter day in 1985, I was sitting in front of my CPM Kaypro 2x computer, staring at the blinking green cursor, unable to begin writing. I was not a writer who had experienced "writer's block," and so this was a new experience for me - and yet it wasn't really writer's block that kept me from beginning. It was a nagging question that on the surface was embarrassingly ordinary. How could I be "stuck" over such a simple problem?

But on this wintry day, as the green cursor blinked on and on, the ordinary question sounded profound, baffling, strange: How was I going to number the pages of this new script I was about to begin?

I was eager to begin and already had my opening scene clearly in mind. I'd received a commission to write this play, which was scheduled to open in a year in Portland's magnificent and historic Pittock Mansion, the most luxurious setting a play of mine had ever called home. What an incredible space for which to write a play. What an incredible opportunity this was for me.

If only I could figure out how to number the pages of the script . . .

The foundation of my confusion was this: the action of the play was not going to be linear, one scene happening after another, but simultaneous, with many scenes occurring throughout the mansion at the same time. This was what made the commission so unusual, the dramatic form was modeled after a strange new kind of play that was selling out in Los Angeles, a play called "Tamara."

If many scenes occur at once, I was asking myself, what does it mean to have a "page whatever"? And how was my director going to read the script - how was I? - if two or three or - the number, at one point, would turn out to be eight! - many scenes were happening at once? How is a non-linear script read within the confining format of textual pages arranged in numerical order?

Without knowing it (I had never heard the term before), I was having my first experience with "hypertext."

Out of desperation, I finally settled on a methodology for numbering the pages of "Chateau de Mort," and several years would pass before I learned how cumbersome, awkward, and labor-intensive my solution was. I came to learn that "hypertext" was the form in which the dynamics of nonlinear writing came into focus and under control.

"Hyper"-text. The prefix means "over" or "above," and early in the century was used in physics to describe the strange new kind of "space" that was being defined by Einstein's relativity theory - "hyperspace." Einstein's space is space seen in a new way, a new kind of space - hyperspace.

So with text. Hypertext is text seen in a new way, a new kind of text.


Hypertext is about giving the reader options. "What do you want to read next?" is the question that hypertext asks again and again.

Different readers, of course, will respond to these repeated questions in different ways, each defining an individual path through the material. This is the sense in which hypertext is called "non-linear," because there is no one "linear" way to read the text, such as from beginning to end. Instead there are alternative "webs" that weave through the material according to the individual decisions each reader makes in answer to the question, "What do you want to read next?" Or, in the cast of multimedia where sound and graphics and video can be part of the sequence of information, "what do you want to hear or look at next?"


Hyper-text: text that is more than text, which is more than one word after another, from beginning to end, with no variation allowed. Hypertext is like the nation's system of highways and roads. There are many ways to get from the west coast to the east coast, depending on whether or not we are in a hurry, depending on what kind of scenery we want to look at, depending on what may intrigue us as a side trip from moment to moment.

Hypertext is a web of possibilities, a web of reading experiences. Hypertext is like life itself, full of choices and consequences, full of forks in the road.

Hypertext is the language of exploration and discovery - and therefore is the perfect language to become the mother tongue of the Information Age.

For writers and readers alike, hypertext may well define what it means to be literate in the 21st century.

For a complete version of this very interesting essay Click Here.

Also take a look at Deemer's essay "The New Hyperdrama".

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1999 Cisco Giants- Official Team Roster
Published: February 15, 1999
Updated: March 6, 2013
Copyright © 1999 by the Cosmic Baseball Association