This article focuses on reading of digital literary works and on strategies to overcome the argumentative dead ends linked to the digital and interactive nature of the literary works. It defends the hypothesis that we can go beyond an immanent approach through the study of the materiality of the works, their manipulative dimension, as well as their manifestation (their performance). By taking into account the dynamics specific to the works and of the active reading required by them, these three elements allow both a better understanding of how literary works operate and identifies the reading strategies adapted to digital literary texts.