ABSTRACT This article analyses Shelley Jackson’s 1995 hypertext novel Patchwork Girl (PG) through the lens of intersectional feminist digital humanities scholarship. PG is a fascinating electronic literature artifact because scholars pronounced hypertext dead almost a quarter century ago. Hypertext was confirmed dead by Nick Montfort in 2000, though Montfort stipulated that the hypertext corpus could be resurrected. This article argues that PG’s various resurrections qualify it to be considered an undead hypertext and re-centres hypertext’s strong ties to intersectional feminist digital humanities scholarship, taking up Roopika Risam’s call to resist the reinscription of the exclusionary universal subject so often defaulted to in contemporary scholarship and demonstrating how PG creates the antithesis to an exclusionary universal subject through the literal and metaphoric multiplicity of its titular protagonist. With a body made up of pieces of other women’s bodies—pieces which retain their original personalities—Patchwork Girl is, as Marie Mulvey-Roberts dubbed her, the Everywoman. And as the Everywoman, she is able to take on the role of inclusionary universal subject, thereby making her a prototype of the sort of character capable of dismantling the restrictive notions of the exclusionary universal subject that Risam so adeptly identified.