Accessibility isn't always associated with the experimental art of any media. In fact, "experimental" writing is often a lazy code word for ostensibly "difficult" writing. Since the 1960s, much of what gets talked about as experimental literature looks and feels like old-fashioned modernism and the avant-garde, the tinkering with conventional realism and syntax practiced by James Joyce, Wyndham Lewis, Gertrude Stein, Tristan Tzara, Virginia Woolf, etc. Since then, many writers have been branded (or self-branded) with a variety of different schools, movements, and styles-Ouilipo, postmodernism, slipstream, flarf, nouveau roman, and so on-that in many ways continued modernism's/the avant-garde's playfulness. Hard-line literary critics may bridle at the idea of any one thing uniting the vast sea of 20th-century experimental writing, but refusing to be accessible might come close.