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Everything is Something Else: In Conversation with Billy-Ray Belcourt

Billy-Ray Belcourt is from the Driftpile Cree Nation and is a PhD student in the Department of English & Film Studies at the University of Alberta. His work has been widely published in magazines across Canada, and he has been named by Tracey Lindberg as one of six Indigenous writers to watch. In Billy-Ray Belcourt’s debut poetry collection with Frontenac House, This Wound is a World, love answers heartbreak, “history lays itself bare” (42) and a world glimmering with decolonial love and queer, Indigenous possibilities is split open. This is poetry at its brightest. It is electric, profound, necessary work. Belcourt bends genre, challenging the cage of colonialism through a poetics of intimacy. It is a collection unafraid to ask questions, exploring grief, desire, queer sexuality and Indigeneity with tender honesty. Belcourt asks us to consider the ways Indigenous bodies can be simultaneously unbound and “rendered again,” (40) how worlds can be made and unmade. These are poems to be returned to again and again with reverence. PRISM editors, Jessica Johns and Selina Boan were thrilled to be able to sit down with Billy-Ray during his Vancouver book launch and chat about Indian Time, queer Indigenous futures, and the armpit as heaven’s wormhole.

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Photo credit: Red Works, Nadya Kwandibens

I Have Been Learning Cree My Whole Life: An Interview with Artist Joi T. Arcand

Interview by Michelle Cyca. Photo by Red Works: Nadya Kwandibens

Joi T Arcand is a multidisciplinary artist from Saskatchewan, currently living in Ottawa. A nehiyaw iskwew from the Muskeg Lake Cree Nation, Joi’s body of work includes representations of the Cree language in photography and other mediums, and she has been exhibited across Canada, including at Vancouver’s grunt gallery. She co-created kimiwan, a quarterly publication for and by Indigenous visual artists and writers that published eight issues between 2012 and 2014. Her piece Northern Pawn, Southern Vietnam appeared on the Spring 2017 cover of PRISM international.

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