The winner of the Montreal Prize 2024 is

“Portrait of Me Incensing the Mushrooms Channelling Demeter” by kizziah burton

About the author

Comments from A.E. Stallings, 2024 Prize Judge

Kizziah Burton is a graduate fellow of the University of Southern California, Los Angeles. Her poems have appeared in the Forward Book of Poetry (best single poem shortlist), Mslexia Magazine (third place Mslexia Poetry Prize), Oxford Poetry (finalist, Oxford Prize), the Bridport Prize Anthology, and the Aesthetica Creative Writing Award Anthology. She was awarded first place in the Tom Howard Prize and second place in the Ledbury Poetry Competition, and was highly commended in the National Poetry Competition and the Magma Poetry Competition. She has been awarded educational grants from the American Academy of Motion Pictures Arts & Sciences Foundation. 

“Portrait of Me Incensing the Mushrooms Channeling Demeter” – it’s a complicated title, but one that frames the poem, a sort of séance cum catabasis, in which the speaker, under the influence of mushrooms (or, “after Maria Sabina,” under the influence of Sabina, a poet and shaman), searches for her lost daughter, as Demeter walked the earth looking for Persephone … Phrases such as “the one walking behind the one lost from the one who looks” have the effect of a divided consciousness even as they refer to different persons in the tale … I read the second half of the poem as giving us further information on this mother and daughter. Perhaps the daughter has been lost, or might be lost, to a drug overdose—the tourniquet and the needle suggest this, and some of the contemporary details suggest a real-world counterpart to the mythological one: mascara and tattoos, grief squatting in a cellar. “Noiseless crime” and “unidentified body” is the language not of a Homeric hymn but a police report. Yet for the relatively plain language and the poem’s main rhetorical device of anaphora, the poem also has an ear for vowel music: “the silt of the river accepting everything that drifts” … There are also the rising cadences of threes throughout, such as “into a weapon says the wound the wounded and the one who wounds.” The lines unfurl and stretch confidently across the page and the ebb and flow of breath … This poem also escapes some pitfalls that it might well have fallen into—instead of slipping into abstraction, the poem becomes more and more grounded as it descends, with roots and scraping rocks and mud under foot, thus earning its last line, the soul in the realm of the dead and the disembodied but audible voice balanced with the mushrooms that have been ingested, or incensed. The poem also distances itself from sentimentality and from self-pity, while retaining its heart, the loss and longing at its centre. Is the poem in some way autobiographical, as “portrait” and the first person hint, or purely a thought experiment couched in the mythological, as indicated by “after”? The poem’s strength does not depend on its being one or the other. In a poem very much about the shadow of death, the poet’s voice itself, its searching and its singing, are a force of life.

2024 Competition Finalists

Agon

by Luisa A. Igloria

Coyote on My Shoulder

by Wesley Rothman

Passage

by Johann Sarna

Interlude

by Dominique Bernier-Cormier

let the world

by Zoe Dickinson

Placenta

by Ash Adams

Fields

by Bren Simmers

wooden men: on march

by Noah Sparrow

Hold On

by Lillian Nećakov

Writing Exercise

by Dominique Bernier-Cormier

Remembering Kapoho

by Angel Fujimoto-Meagh

The Language of Dirt

by Michelle Porter

Stations of the Crossed

by Adam O. Davis

Refugee Blues About Blue Butterfly

by Viktoriia Filonchuk

Sickbed

by Rebecca O'Connor

Argos

by Imogen Wade

The Door

by Emily Berry

With Lines from Virginia Woolf

by Jennifer Franklin

A Familiar Story

by Owen Torrey

After the Diagnosis

by Clare Labrador

Goodbye Beloved Mother

by Allan Lake

Postlingual

by Rachel Robb

Whaling

by James Lucas

Depth Sounding

by Ella Jeffery

The Tapestry

by Sami McKay

The Results

by Anthony Lawrence

Hibernation

by Ash Adams

Sustenance

by Trina Das

with what it sees –

by Roger Desy

Temenos

by Gregory Leadbetter

The Water Birth

K. Maya Kanazawa

Ziad and his Cats

by Rebecca O'Connor

Sublimation

by Dominique Bernier-Cormier

ayîkis refrain

by Mackenzie Ground

Love

by Christie Maurer

Can’t Be Far

by Jed Myers

albedo effect

by Jeremy Audet

In the Field

by Sarah Perkins

Suite No. 62

by Dorota Biedrzycki

Bane

by CLIVE McWILLIAM

Faith, or a Walking Palm

by Audrey Molloy

String Theory

by Wanda Campbell

Numbered Exercise in Eulogy

by Sheryl L. White

Poem in Praise of the Hinge

by Kelly M. Houle

Iowa, with Love

by Adedayo Agarau

Entropic

by Larry Flynn

Communio Sanctorum

by Matthew Platakos

Diagnosis

by Megan Merchant

2024 Prize Judge

A.E. Stallings, Oxford Professor of Poetry 2023–27, is known for her renewal of the poetic tradition through a disciplined attention to form. She studied classics at the University of Georgia and at Oxford University. Many of her poems, whether playful or tragic, refract contemporary experience through the prisms of ancient myth, with a classicist’s sense of the endurance of text. Her poems have appeared in The New Yorker, The Atlantic, The Times Literary Supplement, and Poetry. Her collections include Archaic Smile (1999), Hapax (2006), Olives (2012), and Like (2018). A selection of her oeuvre may be found in This Afterlife (2022). Her translations of Lucretius and Hesiod are acclaimed. She has received a MacArthur Foundation Fellowship (2011), a Guggenheim Fellowship (2011), the Willis Barnstone Translation Prize (2010), the Poets’ Prize (2008), the Richard Wilbur Award (1999), and has been a finalist for the Pulitzer Prize for Poetry and the National Book Critics Circle Award. aestallings.wixsite.com/aestallings@ae_stallings.

2024 Jury

Caroline Bird has seven poetry collections published by Carcanet. Her sixth collection, The Air Year, won the Forward Prize for Best Collection 2020 and was shortlisted for the Polari Prize and the Costa Prize. Her fifth collection, In These Days of Prohibition, was shortlisted for the 2017 T.S. Eliot Prize and the Ted Hughes Award. In 2023, she won a Cholmondeley Award for “sustained excellence across a body of work.” Her selected poems, Rookie, was published in 2022. 

Danielle Legros Georges  is a poet, translator, and editor whose work has been supported by the American Antiquarian Society, the PEN/Heim Translation Fund, the Massachusetts Museum of Contemporary Art, the Massachusetts Cultural Council, the  Black Metropolis Research Consortium, and  the Boston Foundation. Appointed Boston’s poet laureate in 2014, she served in the role through 2019. Her books include  Maroon,  The Dear Remote Nearness of You, and  Island Heart (translations of the Haitian-French poet Ida Faubert). She is editor, with Artress Bethany White, of the 2023 anthology  Wheatley at 250: Black Women Poets Re-imagine the Verse of Phillis Wheatley Peters.   daniellelegrosgeorges.com.  @daniellelegrosgeorges.

rob mclennan lives in Ottawa, where he is home full-time with the two wee girls he shares with Christine McNair. He is the author of more than thirty trade books of poetry, fiction, and non-fiction. His most recent titles include World’s End (ARP Books, 2023), essays in the face of uncertainties (Mansfield Press, 2022), On Beauty (University of Alberta Press, 2024), and the anthology groundworks: the best of the third decade of above/ground press 2013-2023 (Invisible Publishing, 2023). An editor and publisher, he spent the 2007-8 academic year in Edmonton as writer-in-residence at the University of Alberta. 

Damen O’Brien is a multi-award-winning Australian poet. His prizes include The Moth Poetry Prize, the Peter Porter Poetry Prize, the Newcastle Poetry Prize, the New Millennium Writings Awards, the Magma Judge’s Prize and the Welsh International Poetry Competition.  Damen's poems have been highly commended for the Forward Prize and nominated for the Pushcart Prize. Damen has been a judge of the Val Vallis Award.  He has been published in the journals of more than five countries, including Meanjin, Arc Poetry Magazine and New Ohio Review.  His collection, Animals With Human Voices, is available through Recent Work Press. www.dameno.org. @damen_o.

Sadiqa de Meijer has written the poetry collections Leaving Howe Island and The Outer Wards, and the language memoir alfabet/alphabet. Her work was awarded the CBC Poetry Prize, Arc's Poem of the Year award, and a Governor General's Literary Award, and has been published in Poetry Magazine, The Walrus, Brick Magazine, and Poetry London. She is currently poet laureate of Katarokwi/Kingston. www.sadiqademeijer.com. @sadiqademeijer. Photo credit: Max Montalvo. 

Kaie Kellough is a poet, sound performer, and fiction writer. His collection Magnetic Equator won the 2020 Griffin Poetry Prize. His short story collection Dominoes at the Crossroads was published to national acclaim. Kaie has written plays for television and librettos for large musical ensembles. His sound performances have been produced internationally. www.kaie.ca.  @kkaaiiee.

Andrew McMillan  was born in Barnsley in 1988. His debut collection of poetry,  physical, was  the only poetry book to ever win the  Guardian  First Book Award; it was also awarded a Somerset Maugham award, an Eric Gregory Award, the Aldeburgh First Collection Prize and in 2019 was voted as one of the Top 25 Poetry Books of the Past 25 Years by the Booksellers Association. His second collection,  playtime, won the inaugural Polari Prize. A third collection,  pandemonium, was published in 2021 and in 2022 he co-edited the acclaimed anthology  100 Queer Poems, which was shortlisted in the British Book Awards. He is professor of contemporary writing at Manchester Metropolitan University and a fellow of the Royal Society of Literature. 

Bianca Stone is the author of the poetry collections  What is Otherwise Infinite  (Tin House, 2022), winner of the 2023 Vermont Book Award;  The  Möbius  Strip Club of Grief  (Tin House, 2018); and  Someone Else’s Wedding Vows  (Octopus Books and Tin House, 2014). She collaborated with Anne Carson on the illuminated version of  Antigonick  (New Directions, 2012).  Her work has appeared in many magazines, including  The New Yorker,  The Atlantic,  and  The Nation.  She teaches classes on poetry and poetic study at the Ruth Stone House (501c3) where she is editor-at-large for  ITERANT  magazine and  host of  Ode & Psyche Podcast.  bianca-stone.com. @biancastone.

Mai Der Vang is the author of  Yellow Rain  (Graywolf Press, 2021), winner of the Lenore Marshall Poetry Prize from the Academy of American Poets, an American Book Award, and a finalist for the 2022 Pulitzer Prize in Poetry, along with  Afterland  (Graywolf Press, 2017), winner of the First Book Award from the Academy of American Poets. She is the recipient of a Lannan Literary Fellowship. Her poetry has appeared in  Tin House, the  American Poetry Review, and  Poetry. She teaches in the  MFA Program in Creative Writing at Fresno Statemaidervang.com. @maider_vang.  

Randy Lundy is Cree, Irish, and Norwegian, and is a member of the Barren Lands First Nation, Brochet, MB. He is the author of four books of poetry, most recently Field Notes for the Self (2020) and Blackbird Song (2018), as well as the chapbook In the Dark Times (2022). Randy teaches at University of Toronto, Scarborough, and serves as series editor for the Oskana Series, University of Regina Press.

Vivek Narayanan’s books are After (New York Review Books / HarperCollins India, 2022), Life and Times of Mr S, and Universal Beach. He has been a Fellow at the Radcliffe Institute, Harvard University (2013-14), and a Cullman Fellow at the New York Public Library (2015-16).  His poems, stories, translations and critical essays have appeared in journals like PoetryThe Paris ReviewChimurenga ChronicPoetry at Sangam, and Granta, as well as in anthologies like The Penguin Book of the Prose Poem and The Bloodaxe Book of Contemporary Indian Poetry.  He currently teaches poetry in the MFA program at George Mason University, where he also sits on the boards of the Cheuse International Writers Center and Poetry Daily.

Sarah Wolfson is the author of A Common Name for Everything, which won the A.M. Klein Prize for Poetry from the Quebec Writers’ Federation. Her poems have appeared The Yale Review, The Walrus, The Fiddlehead, Geist, AGNI, TriQuarterly, and PRISM International. Her work has also been anthologized in Rewilding: Poems for the Environment and The Wonder of Small Things: Poems of Peace and Renewal. Originally from Vermont, she now lives in Tiohtià:ke/Montreal, where she teaches creative writing at McGill University.

Fees (CAD)

$20

Regular Entry

From competition opening to 1 May.

$25

Late Entry

From 2 to 15 May.

$17

Additional/Sponsored Entry

From competition opening to 15 May, for each entry after the first, for oneself or for a fellow poet.

Judging Process

The Finalists

After the final deadline, entries are randomly allocated to jury members. The entries are distributed anonymously – the jurors do not see the author’s name or any other information about the author. Each entry is assessed by one juror only in order to preserve editorial independence. Each juror selects a handful of poems to advance to the next stage. Together, the jurors’ selections constitute the final list of approximately sixty poems. All poems on the final list are published in the Montreal Poetry Prize Anthology.


The Winner

The prize judge reads the final list of poems and selects the winner of the prize. As with the anthology selection process, the prize judge does not see the names of the authors or any other information about them.

How do I enter the competition?

The competition is open from mid-January to 15 May in even-numbered years. Click the button at the top of this page during the entry period.

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