The virtual woman is three-dimensional because she is the vortex of the space of desire. One of her sentences is enough for each of Brossard's characters to be transformed:
i was confronted parallel
'moved out of death's way' in the oval of the mirror
'with successive women's arms' on the sill
on the soil women collecting my breath
down there my body ignited
found itself dis/placed right here (Picture Theory 58)As the site of metamorphosis, the virtual woman is an emotion, an idea, an origin, an event, a potentiality of renewal and re-visioning. She is the woman in all of us who is "a centre of attraction, concentrated like a neuron" (150), the very nexus where "thought and writing form a single body, if the body agrees to seek permanently for its space of integrity, the volume" (134). She is, therefore (in light of Kac's definition), the spatio-temporal event of holographic imagery made (virtual) flesh:
It is entirely fitting that the language and forms comprising Brossard's textual space reflect both the pulsing energy of inner space and her non-conventional view of outer space. It is a matter of opposing one language code to another. Brossard uses language aggressively in order to subvert existing texts, while simultaneously employing images whose many levels of meaning open out to the 'poetic' fields of vitality, energy, spiritual fulfillment: vertigo (Forsyth 339).This vertigo of inter-connectivity and sisterhood is a call to arms for linguistic combat, just as the battle with man's arrows is fought through the dictionary (88) by the five lesbians existing apart from the patriarchal world on the utopian island. Removed from the mainland, the women can imagine possible futures that would transform the existing world to allow woman to occupy space: "Donna lesbiana dome of knowledge and helix, already I'd have entered into a spiral and my being of air aerial urban would reproduce itself in the glass city like an origin" (149). Hope is embodied in the hologram and in the spiral of DNA, both of which contain "invisible words" (152), seeds for thought and writing to grow up intertwined, and to flower as "[a]ll the subjectivity in the world" (153). Born of this self-reflexive mirror of subjectivity, the holographic hypertextual woman possesses the potential to become both fictional and embodied in order to "occupy space in Utopia" (150). The future lies in this metamorphosis of the body of the page: "she conceives herself as one names what she is in a word dis/placing oblivion she is attentive to the braided letters then skin in relief she had felt it coming in her belly the word butterfly opening its wings she had said nothing about it" (173). With the birth of the word in the space of the text, the metamorphosis enacts a detonation of linear history and a reconfiguration of progress as process in the pattern of the spirals of memory. The swirl of the double helix allows the utopian woman to move forward into an unspeakable speech act, birthing a potential future which makes room for her and for hope.