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    The Interstitial Arts Foundation is a not-for-profit organization dedicated to the study, support, and promotion of interstitial art: literature, music, visual and performance art found in between categories and genres – art that crosses borders. Find out more!

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    Thanks to 277 generous backers for our Interfictions Indiegogo Campaign, we raised $10,318 by the time our campaign ended at midnight, July 14th, 2014.  When we launched on June 3rd, we were staggered to find donations doubling almost daily, until after about 3 weeks we had reached our original target goal of $8,500, and were able to move on to our Stretch Goal of $10,000.

    Which means we not only get to publish Interfictions Online for another year, but we can pay our contributors at higher rates now, rates more in line with the effort and talent that innovation requires. Thank you, each and every one of the 277 generous donors who stepped forward to say that interstitial art is valued and valuable. The number of people is as important as the number of dollars raised. We are awed by your generosity.
    Now [...]

    INTERFICTIONS issue #3 is up online!

    The editors of Interfictions Online are happy to announce the birth of the journal’s latest issue, on May 22, 2014!

    The Spring 2014 issue’s non-fiction offerings include Mark Craddock’s poignant collage in Aerial Acrobatics and Gender Reassignment Surgery – A How-To Guide, while Inda Lauryn’s Parallels and Transitions splices analysis of contemporary female vocalists into a graduate school memoir. Isabel Yap’s Life Is Not a Shoujo Manga speaks for itself. And in an interview with Jeff VanderMeer and Jeremy Zerfoss, the two creators discuss their illustrated guide to writing, Wonderbook.

    The fiction offerings remix tropes from ghosts to automata, with new work by Richard Butner, Su-Yee Lin, Kat Howard, Tade Thompson and S. Craig Renfroe Jr.

    Several of the poems in this issue reimagine older narratives: Sridala Swami’s AI Winter draws on the Mahabharata, Sonya Taaffe’s Double Business on Hamlet, and Mary Alexandra Agner’s Hypothesis Between Your Ribs on the brief life of Charles Darwin’s daughter.


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  • ≡ Deborah Atherton
    Deborah Atherton
    Executive Board

    Deborah Atherton
    is a librettist, fiction writer, and arts administrator, with a lifelong passion for fantasy, science fiction, opera, jazz, and art that falls between the cracks. A graduate of Yale University, her work for music theater and opera has been presented by Lincoln Center Serious Fun, Opera Theater of St. Louis, CAP21, the Woman Becoming Festival of the Culture Project, Parabola Arts, the Leonard Nimoy Thalia Theater at Symphony Space, and National Public Radio. She received a commission for her first opera, Under the Double Moon, written with Anthony Davis, from Opera Theater of St. Louis and for her second, Mary Shelley, written with Allan Jaffe, from Parabola Arts. Under the Double Moon was published in book form by Opera Theater of St. Louis and G. Schirmer. She is currently working on a new music theater piece, Songs of the City, about the difficulties of finding love in New York, with Allan Jaffe.

    Deborah has been a fellow at the Eugene O’Neill Music Theater Conference and an Artist-in-Residence at Opera Theater of St. Louis and the Palenville Arts Colony. Her short stories have appeared in a number of literary magazines, including The Distillery, Paper Streets, Reflections: A Literary Journal, Westview, Empire, and others. She has given recent readings of her fiction for Serial Underground at the Cornelia Street Cafe in New York City, and, with her writing group, River Writers of Manhattan, at the Jazz Gallery and the Mercantile Library.

    Deborah has been Executive Director of the American Composers Alliance and Associate Director of the American Music Center. She is currently a senior development writer for Girl Scouts of the USA, where she recently oversaw fundraising for their national arts initiative, which was supported by the Annenberg Foundation. Since 2000, she has also maintained an arts consulting practice; clients have included the Center for Contemporary Opera, Ensemble Pi, the Brian Groder Ensemble, MEH Multimedia, RPI Acoustic Architecture, the American Composers Alliance, and New England Voices. She has also worked with a number of published authors and other professionals, helping them to bring their work to print.

    Deborah lives in Manhattan, and sometimes regrets that she didn’t open a bakery instead of becoming a writer. She makes up for this on weekends by finding ever new ways to combine flour, butter, sugar, and chocolate. She firmly believes that the best cookie, like the best art, is creatively interstitial.