Structurally, Jackson’s Body can be understood as having narrative “sinks” - places where, given every permutation of possible lineages through the text, readers are more likely to stop. These are pages which typically have more incoming hyperlinks than outgoing, or sequences of pages from which there is no escape. Ultimately, a reader has much more ability in navigating the pages than simply clicking on the links, but this is about as effective as skipping ahead in a traditional book to the end, or by page number or chapter title.
Mappings to many of the sinks are diodes: that is, one-way routes between the pages with the sink punctuating their chain. What this does mathematically is increase the frequency of entering these webpages later on in a story generated by the text.
There is a “trap” at the statistical end of the story. That is, there is one set of 3 webpages that cannot be escaped from by simply clicking links: hips → butt ↔ eyelid ↔ears. Jackson first talks about her growing-up desires for her body, and her drawing bodies, her reprieve, and seeing things, and bodily experiences of anxiety. Finally, she talks about drawing ears, and earwigs. It’s fitting how a story would end about the earwig story turning out to be false. This is the end of Jackson’s belief, a “dead end.”