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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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    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.
    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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  • Now in Interfictions 2 Interviews: Henry Jenkins & Colleen Mondor
    by Felice | December 9th, 2009 |

    This week, we have several treats to add to our series of interviews with Interfictions 2 contributors. The first is Colleen Mondor’s Q&A with editors Delia Sherman and Christopher Barzak. Colleen Mondor, author of the blog Chasing Ray, is a reviewer for Booklist, Bookslut, Eclectica Magazine, and the Voices of New Orleans. Her interview with Delia and Chris, distilled from the afterword to Interfictions 2, gets concrete about the meaning and usefulness of interstitial fiction and gives us a peek inside the selection process for the anthology. Read the interview here.

    We’ve also put up two thoughtful interviews by media scholar Henry Jenkins, who wrote the intriguing forward to Interfictions 2, available here. Henry Jenkins is the Provost’s Professor of Communication, Journalism, and Cinematic Arts at the University of Southern California and a co-founder of the Comparative Media Studies Program at MIT. Professor Jenkins sits down with Delia Sherman and authors Jeffrey Ford, Carlos Hernandez, Brian Francis Slattery, and Alaya Dawn Johnson for a series of interesting questions.

    Here’s an excerpt from Carlos Hernandez’s response to the question “Can we produce works which appeal to popular readers without falling into genre formulas?”

    I know people speak disparagingly of Oprah’s Book Club, but c’mon people! She got millions of folks to read Beloved, which is not only one of the greatest books of the 20th century, but as interstitial a work of art as we could ask for. What’s unfortunate is that it takes a decree from Oprah to give popular readers the confidence and motivation to try something outside of their comfort zone. So, solutions? 1) Get publishers and mega-bookstores to stop insisting on narrowly-defined genres (near-impossible); 2) Get Oprah to endorse a lot more interstitial art (not exactly a reliable method); 3) Get writers to keep trying to write innovative work that eschews pretension while at the same time challenges readers – and hope for the best.

    You’ll find a complete set of Interfictions interviews here.

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