It is an irony of our so-called digital age that the first digital medium to gain general currency - written text - constitutes not only the recent piratical pseudo-novelties of the net but also the established tradition of literature. The art of letters is still our preferred and privileged institution of cultural authority, and this 'art' and its criticism continues to be dominated by the integral, monologic 'voices' of master (sic) authors, to a much greater extent than is the case in, say, visual or even cinematic art. Text was always a medium perfectly adapted for the inherently (post)modernist experiments of collage, intercutting and creative plagiarism, ideal for the development of sampling (in the musical sense), framing and linking. All of these techniques might be demonstrated in, for example, the divinely authoritative field of Biblical criticism. However, these literacy-enabled rhetorical technologies remain marginal to literature-as-art, which we still expect to be 'authored' and 'original.' Following the extreme but indicative Biblical example, the Bible's radical collage is recast as revelation, direct from horse's mouth of the ultimate monologist. Meanwhile, on the other hand, would-be canonical authors have been less than marginally active in the reconfiguration of a delivery medium (the net) which is founded on their pretended compositional medium (text).