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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 our work begins in earnest. We will […]

    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. With the publication […]

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  • ≡ Interfictions Zero
    interfictions0_cover_206x308Interfictions Zero, edited by Delia Sherman and Helen Pilinovsky, is an online anthology of seven works of interstitial criticism on interstitial texts, concerning previously published pieces of interstitial writing. The goal of Interfictions Zero is to begin to create a historical context for how interstitial writing affects the growth and development of various literary genres and to work towards a practical definition of Interstitiality.

    Featuring original art by M. W. Kaluta.

    Interfictions Zero was published online during 2011-2012. We invite you to submit new critical and interstitial work to our new journal, Interfictions Online.

    Current Table of Contents

    Neil Gaiman's Neverwhere

    Living Below and Between: Interstitiality and Neil Gaiman’s Neverwhere

    Jennifer Miller, Ph.D., March 2012

    “Neil Gaiman’s Neverwhere highlights two additional features of interstitial art: namely its ability to create new meaning and its capacity to engage the reader in the issues of the novel, thus blurring the line between fiction and reality. As a result, even though interstitial literature is a category of literature with no fixed boundaries and few defining works, the effects of this category on both literature and society are long-lasting, even permanent.”

    The Wu of Nazi Literature in the Americas

    The Wu of Nazi Literature in the Americas

    S.J. Hirons, January 2012

    “2666, an unremitting examination of the inter-complexities of ‘evil’, is heralded as Bolaño’s masterpiece but, for me, as a sometime writer of what might be called interstitial fiction, the more impactful and instructive work will always be Nazi Literature in the Americas.”

    Interstitial International? Ibrahim al-Koni and the Question of Genre

    Interstitial International? Ibrahim al-Koni and the Question of Genre

    Sofia Samatar, September 2011

    ” If magical realism and interstitial arts both mix fantasy with conventional reality, if they both encourage revolt against the traditional constraints of genre, and if writers like Angela Carter can be placed in both categories, then why do we need both terms? More importantly, by embracing the concept of the interstitial, do we risk damaging the position of magical realism, through which, especially since the 1982 Nobel Prize award of the grand old man of the genre, Gabriel García Márquez, so many works from around the world have been read, critiqued and taught?”

    Don't Let It Be Forgot: The Once and Future Story

    Don’t Let It Be Forgot: The Once and Future Story

    Kat Howard, July 2011

    “King Arthur is quintessentially interstitial. He is both once and future. He is the Dux Bellorum of Rome, the Pendragon of the Welsh, the rightwise king, born of all England. The legitimate heir to the throne, but an illegitimate child whose kingship was proven by ordeal (or, at the least, magical selection).”

    Rebecca West's Extraordinary Reality

    Rebecca West’s Extraordinary Reality

    Rachel Zakuta, June 2011

    “The fruits of West’s quest, her copious writings, are naturally interstitial, spilling into the realms of politics, religion, culture, history, and art. Even West’s fiction crosses traditional boundaries, ranging through genres in search of truth. The unfinished trilogy she called A Saga of the Century – The Fountain Overflows, This Real Night, and Cousin Rosamund – defies all attempts at conventional categorization.”

    On Mosaic Novels illustration by Michael William Kaluta

    On Mosaic Novels

    J M McDermott, May 2011

    “In this imaginary category, individual pieces of story, potentially disjointed from other pieces of story, are arranged into the shape of a narrative. This whole shape, comprised of and beyond the individual pieces, reveals more than the sum of the parts of each of its fictional segments or sections.”

    Oscar Wao: Murdering Machismo

    Carlos Hernandez, April 2011

    “It wasn’t until I remembered my two encounters with the prostitutes of Havana that I understood the nature of fukú in Junot Díaz’s The Brief Wondrous Life of Oscar Wao.