This article analyzes Steven Hall's The Raw Shark Texts (2007) and Robert Juan-Cantavella's Otro (2001) as examples of printed electronic literature, where the use of the codex book as inscription mechanism emphasizes a previous state of digital composition. Appearing in different parts of the globe and in different languages—United Kingdom/English and Spain/Spanish correspondingly—both novels take full advantage of the computer and the Web's contexts and capabilities in order to express the existing tension between both mechanisms of production and their treatment of memory. Their engagement with technology and the remaining digital traces that are present in their print pages are read as manifestations of a deeper historical mark, a trace that engages history and the possibility of talking about a past that permeates through our present inscription mechanisms—that is, digital texts. Thus, these traces are to be read not just as media traces, but also as the trace of a history that cuts through the medium of inscription. Finally, I propose that we read new digital techniques for writing as unveiling a literary ruin, and we think of them as building upon the decomposition of the novelistic form and its legendary ways of telling and recording memory and history.