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    IAF INTERFICTIONS ONLINE INDIEGOGO CAMPAIGN ends above target goal

    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: Emily Wagner
    by Erin | March 22nd, 2011 |

    (Eds. note: Continuing our series of profiles of IAF people, Emily Wagner is a member of the IAF Working Group. Previous profiles in this series have included Ellen Denham, Cecil Castellucci, Matthew Kressel, Mike AllenChristopher BarzakLarissa N. NiecStephen H. SegalFelice KuanWendy EllertsonDeborah AthertonErin UnderwoodEllen KushnerDelia Sherman and Geoffrey Long.)

    Who are you, and what do you do?
    My name is Emily Wagner, and I’m a Young Adult Librarian in a public library North of Boston. I’m also a fiber artist in my spare time, and I spin and knit and am starting to get into dyeing as well. Sometimes I make yarn that is itself art.

    What first attracted you to the interstitial arts?
    Shira Lipkin! She’s pretty persuasive about things she’s into, and had been telling me for a long time that I should get involved with the IAF, and then her story “Valentines” was accepted for the Interfictions 2 anthology. I was a beta reader for that story, and love it with my whole heart. So I was super excited about it being published in the anthology, and then the call for art to go with the stories went out.

    Sometimes an idea will just smack you in the head and it all makes sense, right? That was sort of what happened with the yarn for the auction. I knew I wanted to do yarn, and I had some ideas for how it was all going to come together. I’d been reading up on various art yarn techniques and really wanted to try them. A few days after I first told Shira about my idea, the color scheme smacked me in the face, and I had a solid idea. Then someone had to convince me to actually submit this idea. At the time I didn’t consider myself an artist, and I thought it was really presumptuous to offer my piece, for some reason.

    Luckily, I met Ellen Kushner and Delia Sherman at Wiscon that year, and got the courage to tell them about it. They loved it, and were super encouraging and wonderful, so I did it. It was awesome! I loved making the yarn all the way through the process, and loved the reactions it got during the auction, so I was kinda hooked with the IAF after that. I organized an event in Boston that November for the Interfictions 2 launch, and helped out at the most recent Arisia with a working group pizza party.

    As a librarian I spend a lot of my time working with genre descriptions and helping kids find good things to read. It amazes me constantly how genre concepts can be so useful and so utterly useless all at once. Telling a kid “it’s science fiction, you’ll like it” is almost never going to work. I end up having to talk about genre tropes in more specific ways to find out which piece is going to appeal to the specific reader. So working with the IAF has gotten me even more interested in the places where genre conventions and markers can be useful, and also the places where they break down and shove against each other.

    Reading the two Interfictions anthologies and some of the related works, and seeing a live interstitial performance with readers and musicians, all of it gets very exciting for me. Categories are useful, definitely, and I’m not going to go through my library ripping the genre stickers off books, but I might hide them if they seem to be keeping a reader away from a book.

    How do you consider your work interstitial?
    I think the yarn is really obviously interstitial. It’s finished and complete as what it is, but at the same time the purpose is for it to get turned into something else. Shira won the auction for it, which makes me laugh since she’s the author of the story it’s based on and all, but also means I get to keep track of what happens to it. It’s a weird thing about making art and selling it to other people, most of the time you can’t keep track of it really.

    If I sell yarn I may never find out what it ended up being, and that strikes me as a slightly different thing than releasing a piece of jewelry into the world. The point of the yarn is that someone is going to make something from it, right? So I made this thing, and my part of it is finished. Now it’s up to the buyer to decide what it becomes next. Shira has plans to knit it into a shawl, and the thing is, the way I made this yarn, it’ll keep on evolving even after she knit it. Because I carded the bits of paper into the fiber that I spun (shredded copies of the story, which is thematically appropriate if you haven’t read “Valentines” yet), when Shira wears the shawl she’s constantly going to be dropping little bits of story here and there. Ok, maybe technically that’s littering, but also, dude! You’re walking through a con hotel and you see a little scrap of paper, and there’s a couple of story words on it. I think it’s cool!

    I also love the idea of Shira leaving little bits of her story everywhere. Again, it’s appropriate to the story, I think. So this is a piece that is going to be constantly changing even after it takes its final form. When I make other art yarns a lot of time I end up with an idea of what I would do with it, but I can’t control what the person who buys it is actually going to do with it.

    The other thing I do that I think is interstitial is a form of street art known as “yarnbombing” or “knit graffiti,” which I’ll have more to say about in another post.

    I have a lot of very muddled thoughts about fiber arts in general though, and how taking something that is traditionally thought to be a feminine activity and doing something unexpected with it can really have a strong emotional effect. There are a lot of fiber artists doing really wild things and I get so excited when I see things that other people are doing with it. Knitting, spinning, crochet, most fiber arts really, can be absolutely whatever you want them to be.

    My knitting is something easy to keep me from getting bored, it’s something complicated to challenge myself and keep learning new techniques, it’s a creative outlet, it’s whatever I want. It can be whatever I need it to be at that moment, which is probably why I have at least five projects going at any given time. It can be as technical or organic as I want it to be, or whatever the project calls for.

    I once made cabled wristbands to go with Catherynne M. Valente’s novel Palimpsest, and for those I designed the cables myself to pick up on elements of the story. This was a highly technical endeavor, and took a lot of graph paper and erasing before I got things settled the way I wanted them. I also knit hats for friends where I basically just start knitting and do whatever makes sense at the time. Sometimes my design choices are made out of expedience and a need to just get something done, but it’s all still the same craft!

    When I’m spinning, it doesn’t matter if I’m spinning traditional laceweight on a drop spindle or using my incredibly modern wheel to make something wild. It’s still spinning, and there’s a lot of history there! I love that. I love that fiber arts are what I need them to be for each moment and each project, and still connect with the history. So I wouldn’t say that all of my knitting is necessarily interstitial, but it’s all connected.

    -

    BIO:

    Emily is a young adult librarian and fiber artist in the Boston area. She likes comics, yarn, the internet, her spinning wheel, her fiance and cat, books, and yarn. If you tell her that knitting is for old ladies you will get laughed at and crossed off the hand-knit socks list. You can find her online most of the time at Twitter, Livejournal, Tumblr, and Ravelry all under the name emilytheslayer. She also podcasts in a very sporadic way at wehavethumbs.com and bookblogs equally sporadically at http://stackscene.wordpress.com/

    finish line

    5 Responses to “Meet the IAF: Emily Wagner”

    1. C.S.E. Cooney Says:

      A most enjoyable interview! It’s sort of like in theatre, how you hardly ever pay attention to the lights if they’re just functional, and then all of a sudden a lighting design wizard comes along, and the lights become as much a character as the actors on stage. Suddenly, YARN! Suddenly I see it as a thing that is both consummate YARNINESS and something else besides. I never thought of yarn like that before. Some speck of gray matter in my skull just sparked. I want to know more about yarn-bombing!!!

    2. Nicole Says:

      I’ve been fascinated by that yarn you made for Shira’s story since I first saw you (or maybe Shira?) mention it on Livejournal. You .. designed cables to pick up on elements of a novel? Well, that’s the coolest thing I expect to hear this week. I’d love to see those and/or hear more about the process. Preferably both. Because I’m needy.

    3. Ivan Ewert Says:

      Love, love, LOVE the shawl idea. Literal littershawls? Yes please …

    4. Ellen Kushner Says:

      I loved this interview, Emily! Having seen the Story Yarn, I know how fabulous it was, and look forward to your post on yarnbombing. Only now . . . now I also want you to write a whole Librarian Post on kids & genre! (I’ve actually been wanting librarians to talk about this issue for years. Will you pull the sword from the stone?)

      Thanks for joining the WG and writing up your thoughts. Clearly, we were meant to be together, you & IAF.

    5. March 23, 2011 Links and Plugs : Hobbies and Rides Says:

      [...] Erin Underwood interviews Emily Wagner. [...]

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