Even our finite world is brimming with choices, possibilities, transformations—this struck me as the main tenet in Klara du Plessis’ debut collection, Ekke. Her resonant poems, influenced by landscape, place, the body, and art, explore the exciting and multitudinous influences that act upon us in this seemingly concrete world. Continue reading Stones Skipping Across Water: On Klara du Plessis’ Ekke
PRISM international is proud to announce the winner of the 2017 Earle Birney Poetry Prize is Lydia Kwa for her poem “Letter to My Former Selves” published in PRISM 56.1: Liminal, available now!
Earle Birney established UBC’s MFA program in Creative Writing in 1965–the first university program in Canada. The Earle Birney Poetry Prize, awarded annually and worth $500, is PRISM‘s only in-house prize. A very special thanks to Mme. Justice Wailan Low for her generous and ongoing support.
Questions curated by Kyla Jamieson Photo credit Ming Kai Leung Doretta Lau is the author of the short story collection How Does a Single Blade of Grass Thank the Sun? (Nightwood Editions, 2014). The book was shortlisted for the City of...
Variations: – Write it in the form of a business email. Stick to a professional, clinical tone. Hash out the pros and cons of the relationship. Sign off appropriately. – Write a poem. Set it as your Tinder bio....
Our “BAD” themed issue will be on stands soon, and includes work by some of Canada’s most talented and thought-provoking emerging writers. This issue is an invitation to reconsider our biases and values, and to test the limits of...
Emerging writer Marc Perez’s story “Dog Food” appears in our “BAD” issue. Of his story, Perez says, “I once had a dog, and I named her Bruce. The story is a lament for her.” For this issue, we sought work that took us to true places along difficult or unexpected paths; “Dog Food” is one such story. In it, a boy witnesses violence he’s helpless against, and is denied understanding in the aftermath. His pain is real, but nobody sees or acknowledges it; where can it go but forwards, into his future?
Marc Perez immigrated to Canada from the Philippines and now lives on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh First Nations. Perez has been working in the nonprofit industry for the past five years; in addition to this work he is currently participating in Writing Lives, a project in which writers collaborate with Holocaust survivors to write their memoirs. Read on for Perez’s thoughts on identity and home, privilege and marginalization, and the best time to write—while asleep and dreaming.
Often when I’m reading memoir, I’ll remember a quote from a misguided Neil Genzlinger, who penned “The Problem With Memoirs” for The New York Times in 2011: “There was a time when you had to earn the right to draft a memoir… Sure, [Amazon] has authors who would be memoir-eligible under the old rules. But they are lost in a sea of people you’ve never heard of” (italics mine). It is important to note that marginalized memoirists, especially early-career Indigenous women, Two-Spirit, and queer folks, have fraught histories with Genzlinger-types, their “old rules” and antiquated tastes that mar the merit of writing, publishing, and participating in the predominantly white spaces of the literary world. And then along comes Terese Marie Mailhot, a Salish First Nation woman from Seabird Island Indian Reservation with the assertion that memoir “functions as something vulnerable in a sea of posturing” (137). And it is in vulnerability that Mailhot effectively rejects the moth-eaten straightjacket that would otherwise restrict the inventive, decolonial confession of Heart Berries.
As the heat fades and the fallen leaves start to stick to our shoes, it’s natural to start to wonder: where do we go from here? Our summer chapter has closed, and autumn has begun. How do you deal...
