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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.
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    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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  • Meet the IAF: Deborah Atherton
    by InterstitialArts | March 15th, 2010 |

    (Ed.: For the fifth profile in our Interstitial March project, please welcome longtime IAF Executive Board member Deborah Atherton. Deborah can also be found blogging about creativity at

    Deborah Atherton

    Who are you, and what do you do?

    A question I often ponder. Like most people drawn to the IAF, I wear a lot of hats. I’m an opera/music theatre librettist, a fiction writer, and am currently writing two nonfiction books as well, one on midlife creativity and the other on ghosts. By day, I work in nonprofit fund development. I have a deep and abiding passion for American music; I’ve been the Executive Director the American Composers Alliance and the Associate Director of the American Music Center, both founded by Aaron Copland, who broke a few barriers himself. I have a small coaching and consulting practice that includes work with a few music ensembles and writers. I give readings of my short fiction pretty regularly on the Serial Underground Series at the Cornelia Street Café (a very interstitial series, by the way, that features musicians, performance artists, and writers.) I spend a large percentage of my day writing, or talking to other people about writing.

    What first attracted you to the interstitial arts?

    The motto of the IAF – Artists Without Borders – speaks to the art I practice and the art I love. I’ve been a committed reader of science fiction, fantasies and mysteries since a very young age, which pulled me into the world of science fiction fandom in my teens, a world I’ve never quite left. I first met Ellen Kushner and Delia Sherman at Boskone, some years ago. My first actual encounter with IAF was my invitation to the now legendary salon at their home where I heard about the work of the foundation and met the rest of the IAF Board. I went home, got a copy of Interfictions, and I’ve been a part of the IAF ever since.

    As to being attracted to the interstitial arts themselves, I’m becoming increasingly convinced it’s almost an inclination you’re born with. Some people like Art by the Rules, whatever the rules may be at the moment. These people belong to the Academy. Some people like art that Defies the Rules (well, perhaps most artists have quite a bit of that in them, especially when young). And then there are the interstitially inclined, who like to play around and bend the rules and dance on the lines you aren’t supposed to cross. And if you’re interstitially inclined, making art while dancing on the lines is about the most fun you can have in life.

    How do you consider your work interstitial?

    My work as a librettist is interstitial in several ways – first, because it lives on the border of traditional opera and music theater, and second, because the music of the composers I work with lives on the borders of contemporary classical music, world music, and jazz and other American roots music. This matters most when trying to get pieces presented – presenters live and die by how their work is defined and marketed. As a fiction writer, much of my work is similarly undefined, with the odd fantasy or science fiction element that makes it sit uneasily in category. My stories in the last few years have been a little more realistic – these fits overtake us all sometimes, and I felt a strong impulse to write about the people I saw around me in New York City. No doubt coincidentally, these recent stories have found homes pretty easily. But lately, the speculative fiction element has started creeping back in, and the people turning corners in my city aren’t finding quite what they expected. Interstitiality, like murder, will eventually out.

    finish line

    2 Responses to “Meet the IAF: Deborah Atherton”

    1. Ellen Kushner Says:

      Deborah, thank you for pointing out that interstitial art is not to everyone’s taste. We get some strange rage from people who love borders, rules & hard definitions, as though we’re trying to threaten their very existence, deny their validity, or say everyone should hate them – whereas the truth is simply that it’s a matter of taste, and the dominant culture doesn’t do enough to support ours. As the movies tell us, snails and oysters . . . it’s all a matter of taste! ( )

    2. Interview with Deborah Atherton « The Intuitive Edge Says:

      [...] with Deborah Atherton March 17, 2010 at 1:46 am | In Uncategorized | Leave a Comment Tags: Deborah Atherton I was just interviewed by the IAF for their new blog!  You can find theprofile at Interstitial Arts Foundation.  They’re also featuring a short piece I wrote on the Center for Contemporary Opera,  if you want to know a little more about about our support for artists without borders. [...]

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