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
We Are Most Ourselves When We Are in Transit
by Aurora Bones
Passage
by Johann Sarna
Interlude
by Dominique Bernier-Cormier
Portrait of Me Incensing the Mushrooms Channelling Demeter
by kizziah burton
let the world
by Zoe Dickinson
Are You Still Happy with Your Home?
by Medrie Purdham
You Say You’ve Never Left Home?
by Kelly Rowe
Placenta
by Ash Adams
Fields
by Bren Simmers
tottenham marshes on the night of the solar eclipse
by Shazia Hafiz Ramji
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
Your Libido May Suffer Postpartum
by Maria Ferguson
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
Ostrovsky in the Rainforest, 1974
by Rebekah Curry
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
A Microdosing, Unemployed Millennial Considers a Termite Colony
by Catriona Wright
Goodbye Beloved Mother
by Allan Lake
Postlingual
by Rachel Robb
Juneteenth Mortgage Montage in Blue
by Marcus Wicker
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
In Front of Lucy, Our First Mother, My Son Has a Lavish Nosebleed
by Medrie Purdham
with what it sees –
by Roger Desy
Temenos
by Gregory Leadbetter
The Water Birth
K. Maya Kanazawa
Wildfire as a Psychological Survey
by Savannah Tate
Ziad and his Cats
by Rebecca O'Connor
Sublimation
by Dominique Bernier-Cormier
ayîkis refrain
by Mackenzie Ground
Love
by Christie Maurer
[TRAILER] mission: [masculine] impossible
by Tim Loveday
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
Elegy with TV Repairman & the Black Moth of Light
by Marcus Wicker
Poem in Praise of the Hinge
by Kelly M. Houle
Iowa, with Love
by Adedayo Agarau
Instructions for Listening to Dead Sister
by Stephanie Heit
Entropic
by Larry Flynn
Communio Sanctorum
by Matthew Platakos
On Sleeping Under the Stars in an Untethered Canoe
by Karen Massey
An Elegy for the Pompeii Woman the Internet Wants to Fuck
by Darah Schillinger
You Tell Me I Don’t Look Autistic
by Johanna Magin
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 State. maidervang.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 Poetry, The Paris Review, Chimurenga Chronic, Poetry 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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