Ever wondered what happens after you hit “submit”? Most writers who send their work to literary magazines know how mysterious and exhausting the submission process can feel. You upload your pieces to different portals, add them to your tracker...
This fall marks the release of our final issue from volume 63 of PRISM, with our upcoming launch on Monday, October 20 (come say hi!). Featuring selections by our former Prose Editor, Sierra Louie, I wanted to share one...
As we begin to wrap up work on our FILTH issue, I am reminded of one of the pieces published by PRISM that tickled my brain about what kind of work could be teased out if we set a...
Review of The Lost Girls of Camp Forevermore by Kim Fu
Review by Katie Zdybel
In the opening pages of Kim Fu’s sophomore novel, The Lost Girls of Camp Forevermore, a newly-arrived flock of pre-teen girls gather ceremoniously on the dock to sing the camp anthem: “And I shall love my sisters/for-eve-er-more.” Continue reading “Like a chorus of girls singing a camp anthem across a deep, black lake”– A Review of Kim Fu’s The Lost Girls of Camp Forevermore
Review by Sara Mang
Photo by Tom Cochrane
What is it about Writers at Woody Point that brings people back every year to a remote village on an island in the middle of the Atlantic Ocean? Continue reading The Joy of Woody Point – PRISM reviews Writers at Woody Point
Review of There There by Tommy Orange
Review by Cody Caetano
No need to worry if you haven’t read the dust jacket, because I got the unblinking one sentence pitch of Cheyenne writer Tommy Orange’s There There to hitch the most disinterested readers: twelve exhausted Native folks reeling from one cross-cultural massacre come home to powwow at the Big Oakland Powwow, inside a big metal dome. Continue reading Power of the Powwow: A Review of Tommy Orange’s There There
Reviews of “Redemption” and “Big Sister”
Reviewed by Laura Anne Harris
Photos by Vancouver Fringe
“Redemption” by playwright James Walter Charleston is a solo show performed by Jim Sea. The piece focuses on three main characters: a prisoner who has been convicted of sexual assault, a southern lawyer who puts prisoners into reform therapy programs, and a therapist who works with prisoners to reform their behaviour. Continue reading “Shows so Fringe-y they deserve their own categories” – PRISM reviews the 2018 Vancouver Fringe
Review of “Ruby Rocket Returns!” and “Fake Ghost Tours”
Reviewed by Peter Takach
Photos by Vancouver Fringe
A rainy Sunday in Vancouver lends itself to noir. As we skulked under the steel girders of Granville Bridge, I found myself ascribing tropes to my fellow theatregoers as we walked past converted warehouses. Over there walks our hero alone, the private eye in her overcoat, lighting a covert cigarette. Here, a pair of femme fatales with their red umbrellas. Walking along by the docks, you can almost see the ghosts of longshoreman past. But what was once a foggy place of corrugated tin factories is now a cobblestoned island of upscale markets, touristy boutiques, and luckily for me, theatre venues, home this month to the Vancouver Fringe Festival, where I took in two comedic shows.
Continue reading “Gumshoes and ghosts” – PRISM reviews the 2018 Vancouver Fringe
Review of “Weirdo”
Review by Liam Siemens
Photo by Robbie T
How do you make a magic show for the twenty-first century? In the tenth century, it was about grifting small coin from a few unsuspecting traders. In the nineteenth century, Robert-Houdin formalized it, founding a magic theatre, and performing tricks that Louie Bonaparte would later contract for political ends. In the twentieth century, magic gained visibility and grew weirder: Harry Houdini would survive public burial, magicians would establish their own club (called The Magic Circle), Criss Angel would gothify it and take it to television. So what about now? Continue reading “Weirdo is magic for the twenty-first century”– PRISM reviews the 2018 Vancouver Fringe Festival