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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: Christopher Barzak
    by Geoffrey | June 7th, 2010 |

    (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.)

    Christopher Barzak

    Who are you, and what do you do?

    I’m a writer of fiction, particularly weird fiction. Fiction that takes place in the ordinary world where extraordinary things exist and occur, like ghosts, curses, towns where time freezes. It could be called magical realism, or perhaps mundane surrealism, or domestic fantasy. My first novel, One for Sorrow, won the Crawford Award for Best First Fantasy, and was nominated for the Great Lakes Book Award as well as the Logo Channel’s NewNowNext Author on the Verge of Fame Award. It’s a sort of working class Catcher in the Rye, with ghosts on the side. My second book, a novel-in-stories, The Love We Share Without Knowing, takes place in Japan, and is about a number of characters, Japanese and American, who are influencing each others’ lives without realizing it. It was placed on the James Tiptree Jr. Award Honor List, and is a finalist for Best Novel in the 2010 Nebula Awards. At the moment I’m working on my third novel, Wonders of the Invisible World, which chronicles the life of one family in Northeastern Ohio over a hundred years, and the curses and miracles that befall them in that period of time.

    I also teach creative writing at Youngstown State University in the Northeastern Ohio MFA program.

    What first attracted you to the interstitial arts?

    I first heard the term “interstitial” from Terri Windling, at a writing conference called Wiscon. This was back in 2000, maybe. Terri talked about interstitial art in a way that made me start nodding. It was the sort of art (in any form) that I was attracted to, that blended genres of literature, or genres of story, or melded different types of art together, visual and literary, music and sculpture, the stage. After talking with her about this kind of art that I already loved, I had a name for it.

    How do you consider your work interstitial?

    My own work draws on a variety of different kinds of story genres (the ghost story, the mystery, the love story, the coming of age story, the fairy tale, legend), and I sometimes experiment, too, with blending fiction and non-fiction together, or prose and poetry on occasion. I like to write in response to visual art, too, a process called Ekphrasis, which is usually considered a poetic form but I use it as a prose narrative form particularly. I don’t like limitations, other than the ones I place on myself, and want to take and use whatever I want to, whenever appropriate, in the process of writing a story or or novel or a novel-in-stories. I think of literature as a vastly ranging ecosphere, in which many different kinds of story grow and flourish or wither. My favorite places in the ecosphere of literature are the ecotones, an ecological term, where varying kinds of territories – mountain and forest, grassland and wetland – cross into one another, displaying features of multiple kinds of territories for that period of transition between the two or more of them. They are fabulously unique places. Between and betwixt. I write in a similar manner, within those transitory spaces in the literary landscape.

    finish line

    One Response to “Meet the IAF: Christopher Barzak”

    1. Meet the IAF: Mike Allen ¦ The Interstitial Arts Foundation Says:

      [...] (Ed.: Continuing our series of profiles of IAF people, Mike Allen is a member of the IAF Working Group. Previous profiles in this series have included Christopher Barzak, 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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