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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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  • Questioning and investigating form: an interview with artist Andrea Kleine
    by mallen | March 25th, 2011 |

    (Eds. note: Interstitial March continues as IAF member Cecil Castellucci interviews Andrea Kleine, writer and performance artist.)

    Please introduce yourself.
    My name is Andrea Kleine. I write literary novels and I create performance art.  I was born in Virginia in a hospital located on Gallows Road (I just learned this tidbit when I cleaned out my filing cabinet and found my birth certificate). I grew up in Washington, DC and Richmond, VA and I have lived all of my adult life in New York City.

    WORKTAPE 1999 – by Andrea Kleine [full piece] from Andrea Kleine on Vimeo.

    Please talk about your latest project.
    I recently completed a novel called Little Camper about actors and emotional authenticity and failure and death. Perhaps my attraction to this material comes from being born on Gallows Road. I am also working on two performance projects about replication and re-enactment: Worktape, based on a piece I did eleven years ago about Anne Frank, where the original actors try to replicate their roles via video web chat, and Rationality, a verbatim re-enactment of a live, call-in, cable-access philosophy TV show that aired in Arlington, Virginia in 1992. I wanted Rationality to be performed in a small, home-like environment, a place you might watch TV, so we turned my apartment it into a micro-theater and performed it the living room.

    Memoir Never Was (secret tales from the annex) PART 1 from Andrea Kleine on Vimeo.

    How has being interstitial (i.e. creating work that falls outside recognized easy genre or marketing categories) created difficulties for you?
    Hmmmm….I’m not entirely sure my work is interstitial in the way you are defining it. I work in different disciplines, sometimes separately, sometimes in combination, not necessarily at the interstices. I don’t really address genre in my work, but I am very interested in form. To me, genre is about an ongoing tradition and/or your relationship to it; form is more intrinsic, the shape of things. I am interested in the concept of form in both my fiction writing and my performance works. Anything that questions form, or often anything that even creatively investigates form, will be difficult to sell.

    Memoir Never Was (secret tales from the annex) PART 2 from Andrea Kleine on Vimeo.

    What strategies have you used to get around this? What advice would you give to another artist in a similar position?
    You don’t really have any control over what marketing people think of you or do with you, so it can be a waste of time to worry too much about it unless you yourself are a marketing genius (I am not a marketing genius). All you can do is do your work and hope that at some point it synchs up with the zeitgeist. This will undoubtedly cause you to live a life filled with poverty, squalor, headaches from cheap wine, frustration, unemployment, low self-esteem, and general ennui, but you will be happier than most people.

    “One Wish:” If you could change one thing about the situation, what would it be?
    I wish I was a marketing genius.

    For more about Andrea, visit

    finish line

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