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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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    Interfictions Zero
    Interfictions 0
    Interfictions Zero

    Interfictions Zero, edited by Delia Sherman and Helen Pilinovsky, is a rolling online anthology of interstitial criticism on interstitial texts. Every month, an original essay will go up on the Interstitial Arts Website, concerning some previously published piece of interstitial writing (hyperlinked where possible). The goal of Interfictions Zero is to begin to create a historical context for how interstitial writing affects the growth and development of various literary genres and to work towards a practical definition of Interstitiality.

    We are currently accepting submissions for additional essays in this anthology. For details, please see our submissions page. You can also download a flyer with additional details.


    Current Table of Contents

    Neil Gaiman's Neverwhere

    Jennifer Miller, Ph.D., March 2012
    "Neil Gaiman's Neverwhere highlights two additional features of interstitial art: namely its ability to create new meaning and its capacity to engage the reader in the issues of the novel, thus blurring the line between fiction and reality. As a result, even though interstitial literature is a category of literature with no fixed boundaries and few defining works, the effects of this category on both literature and society are long-lasting, even permanent."
    The Wu of Nazi Literature in the Americas

    S.J. Hirons, January 2012
    "2666, an unremitting examination of the inter-complexities of 'evil', is heralded as Bolaño's masterpiece but, for me, as a sometime writer of what might be called interstitial fiction, the more impactful and instructive work will always be Nazi Literature in the Americas."
    Interstitial International? Ibrahim al-Koni and the Question of Genre

    Sofia Samatar, September 2011
    " If magical realism and interstitial arts both mix fantasy with conventional reality, if they both encourage revolt against the traditional constraints of genre, and if writers like Angela Carter can be placed in both categories, then why do we need both terms? More importantly, by embracing the concept of the interstitial, do we risk damaging the position of magical realism, through which, especially since the 1982 Nobel Prize award of the grand old man of the genre, Gabriel Garca Mrquez, so many works from around the world have been read, critiqued and taught?"
    Don't Let It Be Forgot: The Once and Future Story

    Kat Howard, July 2011
    "King Arthur is quintessentially interstitial. He is both once and future. He is the Dux Bellorum of Rome, the Pendragon of the Welsh, the rightwise king, born of all England. The legitimate heir to the throne, but an illegitimate child whose kingship was proven by ordeal (or, at the least, magical selection)."
    Rebecca West's Extraordinary Reality

    Rachel Zakuta, June 2011
    "The fruits of West's quest, her copious writings, are naturally interstitial, spilling into the realms of politics, religion, culture, history, and art. Even West's fiction crosses traditional boundaries, ranging through genres in search of truth. The unfinished trilogy she called A Saga of the Century – The Fountain Overflows, This Real Night, and Cousin Rosamund – defies all attempts at conventional categorization."
    On Mosaic Novels illustration by Michael William Kaluta

    J M McDermott, May 2011
    "In this imaginary category, individual pieces of story, potentially disjointed from other pieces of story, are arranged into the shape of a narrative. This whole shape, comprised of and beyond the individual pieces, reveals more than the sum of the parts of each of its fictional segments or sections."

    Carlos Hernandez, April 2011
    "It wasn't until I remembered my two encounters with the prostitutes of Havana that I understood the nature of fuk in Junot Daz's The Brief Wondrous Life of Oscar Wao."

    About the Editors

    Delia Sherman was born in Tokyo, Japan, and brought up in New York City. She earned a PhD in Renaissance Studies at Brown University and taught at Boston University and Northeastern University. She is the author of the novels Through a Brazen Mirror, The Porcelain Dove, Changeling, and The Magic Mirror of the Mermaid Queen. A co-founder of the Interstitial Arts Foundation, she lives in New York City. More about Delia can be found on her profile page and at Her essay "An Introduction to Interstitial Arts: Life on the Border" can also be found on this website.

    Helen Pilinovsky recently received her Ph.D in English and Comparative Literature from Columbia University, where she worked on issues of translation and genre formation in the realm of the fairy tale. Her dissertation is titled "Fantastic Emigres: Translation and Acculturation of the Fairy Tale in a Literary Diaspora". She is now an assistant professor at California State University, San Bernardino. Helen's reviews have appeared in Marvels & Tales: the Journal of Fairy Tale Studies and the New York Review of Science Fiction, and she has been published at the Endicott Studio for the Mythic Arts, in Realms of Fantasy magazine, and in a selection of academic journals. She has guest-edited issues of the Journal of the Fantastic in the Arts and Extrapolations, and she is the Academic Editor of Cabinet des Fees. Her interests include fairy tales, folklore, and the fantastic, as well as teaching, arguing literary theory, and silversmithing.

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