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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: Felice Kuan
    by Felice | March 23rd, 2010 |

    (Ed.: For the seventh profile in our Interstitial March project, please welcome IAF Executive Board member Felice Kuan. Previous profiles in this series have included Wendy Ellertson, Deborah Atherton, Erin Underwood, Ellen Kushner, Delia Sherman and Geoffrey Long.)

    Felice Kuan

    1. Who are you, and what do you do?

    I’m a lyricist, a bookwriter, a composer, and a classical pianist. I’ve written musicals, song cycles, movie soundtracks, orchestral works, short stories, fictional correspondences, and graphic novels. Right now I live in Manhattan, trying to collaborate with as many artists as I can handle. Before that, I was a high school math teacher for three years, and before that, I sat in my dorm all day and MUDded.

    2. What first attracted you to the interstitial arts?

    Like many people, especially my fellow Board-members and other Friends of the IAF, I work in multiple mediums and have knowledge in multiple fields, so just following what I’m interested in tends to result in interstitial work. What’s more, I really love artistic collaboration, which allows me to dabble in mediums I have no training in. I’m lucky that my primary means of expression — story — is blendable with basically everything, from dance to textbooks to carved furniture. Collaborative work is its own kind of interstitial in that it exists in the mental space between two people. You have to release collaborative projects from your psyche more than you would if working by yourself, until the project becomes like a third entity, an alien child. It’s extremely gratifying. I have a fervent belief in cultivating individual breadth and collaboration. Both have made my creative and personal lives perpetually interesting. The foremost reason I’m involved with the IAF is to perpetuate artistic collaboration, especially unusual pairings, through Salons and other initiatives.

    3. How do you consider your work interstitial?

    I’m mainly working as a lyricist/bookwriter at the moment, and although my current project is fairly mainstream, it’s an influential and experimental time to be writing musical theater. We’re long past the Golden Age of Oklahoma!, etc., and nearing the end of the Sondheim era. So everyone’s looking for new ways to use the musical form (musicals are a fundamentally optimistic art, and they tend to be more formulaic than other kinds of theater). I highly recommend Spike Lee’s film of the musical Passing Strange as an example of an Awesome Musical with a nebulous description.

    finish line

    4 Responses to “Meet the IAF: Felice Kuan”

    1. Ellen Kushner Says:

      I loved reading this, Felice! Thanks for pointing out the importance of collaboration and the spaces between – that’s been a huge factor in my life, too.

      Me, I’m still waiting for “Oklahoma!” to come back (and I’m working on a Ruritanean Jacobean Revenge Tragedy with some really good tunes w/Ben Moore)- but “Passing Strange” is my hands-down favorite current “musical” of the decade: I think I even blogged the NYTimes theatre review here a couple years ago – it was so clear the poor reviewer couldn’t describe what he loved seeing – too bad he couldn’t just say “It’s so *interstitial*!” and get on with it….

    2. Erin Says:

      We are past the Golden Age of “Oklahoma!” (sadly!!!). However, we’ve just entered the Golden Age of high speed communication, which has (as Thomas L. Friedman would say) flattened our world. So, hopefully, “Oklahoma!” and other musicals will find new life in our multimedia age that seems perfectly designed to promote and support interstitial art of all kinds.

    3. Deborah Atherton Says:

      Great to learn more about you, Felice! And you got me thinking – there’s probably something to be said about collaboration and interstitiality. Almost anybody who works in music theater has to be a born collaborator or lead a very miserable life -but now you have me wondering, is the interstitial spirit a collaborative spirit?

    4. Meet the IAF: Christopher Barzak ¦ The Interstitial Arts Foundation Says:

      [...] (Ed.: Continuing our series of profiles of IAF people, Christopher Barzak is both a member of the IAF Working Group and, with Delia Sherman, the co-editor of Interfictions 2, our 2009 anthology of interstitial fiction. Previous profiles in this series have included Larissa N. Niec, Stephen H. Segal, Felice Kuan, Wendy Ellertson, Deborah Atherton, Erin Underwood, Ellen Kushner, Delia Sherman and Geoffrey Long.) [...]

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