The Ontario Poetry Society Presents
The Ted Plantos Memorial Award
2026 Winner: Mary Anne Griffiths
About the Poet
Mary Anne Griffiths of Ingersoll, Ontario explores the interconnectedness of our everyday lives to nature and the deeper truths within.
Judge's Remarks
"I have chosen Mary Anne Griffiths as this year's winner of the Ted Plantos Memorial Award. Her work is assured and accomplished in both style and content. Her attention to content is a necessary component of people's poetry because what she writes about is sufficiently storied to give narrative its due, but at the same time the language is apt and lyrical. Every poem is something of a delight, in variety of experience and in freshness of cognition. Mary Anne's poetry with freshness of the imagery and lovely phrasing won the grant."
— John B. Lee,
Selector of the recipient of The Ted Plantos Memorial Award.
This prestigious award is presented annually to a poet whose work embodies the spirit and craftsmanship of Ted Plantos.
Prize: $100 & Commemorative CertificateSelected Works
Bat Roost in the Old Barn
There is a presence in the rafters waiting
curled up in scaly blacks for the sun's
last glance over the horizon, their shadows
blind clones perfecting stillness,
casting a dark insistence above me.
The eternal longing flickers warmly in the blood.
Wings thrum, unwrapping to the coolness.
It is a miracle, this awareness of the night falling,
an ache trilling over the riddle of their bones,
a root-deep signal sinking in the skin.
Standing in a sudden, pitch-dark whirlwind
untouched but for the soft pulse of their
staccato song reverberating off me,
I return their questions as coordinates
a strange satellite answering
with the language of the night.
Appearing in Prairie Fire
To be hung out on the line
She snaps me unravelling
wrinkles, pinning me in place
with pegs her teeth clinch.
Her hands, a tired thinness
smooth over me while
a breeze lifts the curl
at her temple bringing
far away flowers, old
bouquets, their blooms
petalled memories.
he loves me, he loves me not
When thunder begins
to speak in low rolls
her head lifts from her hands
drowning in the sink
to look at me out the window
waving to her.
I am the shirt, the husk
of a working man who sleeps
beside her, not knowing
how the moon falling over
her long legs could mean so much.
Appearing in South Florida Poetry Journal
In the Clearing
If the moon had not walked out of the clouds
and I not into the clearing, we would not have met.
But here we are:
caught in the blue, frozen light
our steps locked on the path.
She has forgotten the eye of the coyote
the haunting of the bullet
crush of her hooves in lean winters
and I, the sting of failures, loss
of loved ones and the scars that
live in the shadow
we all carry. I have dropped chaos
into the pools of her black eyes,
will leave mad—a head full
of snowy fields, naked trees scratching
the insides of my heart
but walk back into the forest
with the taste of stillness on my tongue.
Appearing in Prairie Fire
What You Don't See Coming (The Hermit Tarot IX)
At the tarot reading the reversed
hermit is pulled. He cannot see
more than a few steps of his
journey and must go by feel.
My father is in the grease pit
inspecting the belly of our '68
'Cuda. I have to tell myself
he extends below the belt,
below the sweating concrete where
at his feet lie all the tools he needs.
Light falling along his forearm
pulls his face into view like a
lured moth. He is like this
in my dreams: subterranean,
crawling out of the earth
the caged bulb glowing in his
hand, alone, trying to fix things,
reassemble his marriage.
Appearing in RockPaper Poem
Seamless Fusion (The Philtrum)
The Philtrum is an evolutionary remnant: The structure is an "accident of our origins" and a marker of how our face evolved from early jawed vertebrates—a remnant of a process found in our early fish ancestors.
Milk of ocean, swell of tide,
we are fish of amniotic seas.
A wet incubation dreaming
of the shoreline crawling over
wet sand, grit sticking thickly
under (fin)gernails. Random
collisions of atoms fathoms
deep repeat in sonar ripples
of sound, a vestigial cry with
the craving to return.
The precision of submergence
then the receding symmetrical
rhythm depends on two halves
fusing within the current of time.
The miracle of your face surfacing
sets me adrift as I sink a kiss
upon the ridge above your lips
tasting the ocean singing
in the sweat lingering there.
the jealous balance
all night we attempt to wind
the dark evidence of this beach
around the spools of our fingers
but find the space dissolved
and wide as a psychosis
while the moon without effort
pulls the water back to its home
you say we could lose our hands
to become the lack of insight
the jealous balance of magnetic tide
dragging our space about us
as we make room for the dark
yet my grip remains curled
around the ropes of daylight
lowering down its braids
to whiten the sand
Appearing in Queen's Quarterly
So Simple, So Good
I want to make you a pie.
The kind you would eat right
out of the dish, fork tearing
away chunks with no regard
for slices. I'll bake it after
the lover leaves you or when
you are feeling sick. And in time,
I will bring one after the funeral
that will eventually come.
The house will be quiet while
outside the rain falls. You will
lean your tired body outlined
by the blue glow of the microwave's
clock against the kitchen counter
and keep eating, scooping it in,
raw and bewildered by your
hunger, unable to understand how
something so simple could be so
good and how quickly it is gone.
Stillness
Silence of summer lynx
asks you with eyes locked
to hold his gaze, to hold breath.
Fragments of light through
forest's canopy rustle over
fur of bronze and rust.
Yet he is still.
As if hewn from rock,
carved from tree, I am
something in the shadows
rich in scent, tense-nerved
and watched. He is an insistence,
a suspension of belief.
What is hidden in plain sight:
Fear
moving over tongue, pupils
dilating. A heart beat and
the stillness after.
Faith
and the waiting is holy,
a moment in worship until
he turns to merge into wood
as the psalms of birds return.
Jaded (Yu Yi)
In ancient Chinese Yu yi would mean “I remember” whereas in Mandarin, “jade suit”. Corpses of the Han dynasty royals were clothed in ceremonial garments made of jade.
Come to a full stop and drift
when a small mouth bass rips
open a seam in the flat lake.
Down inside, the tear holds
water once cleanly cold with
an awareness of its first time
flowing.
Later, this will not weigh what
I expect it to. Upon reflecting
there will only be a calmness
with something shifting deep
between the hornwort.
Like an artist, I will return
to this as if it is a canvas
over and over again attempting
to capture the light, but will
stand naked and aching
in my sheer incompetence.
So, bury me in a suit made of jade
enclose this yearning in its green
cold skin and like an empress
I will walk among the living to
remember the depth and burden
of each moment as if it were new.
Dukkha-dukkha (The Two Arrows of Buddhism)
"Pain is inevitable. Suffering is optional."
--Haruki Murakani
My lawnmower has arranged
the snake's bones in sharp angles.
A painful trigonometry.
He bends into his oncoming death.
The mercy of a rock not soon enough.
I am counting the seconds until
he ceases to kink in unnatural twists,
finally unfurling in soft curls
to transcend the grip of life.
He leaves behind the lesson
of the two arrows in the quiver.
The first an inevitable shooting along
neural pathways. The second
never to be aimed or raised
to an open, peaceful sky.
Shortlisted for RockPaper Poem Prize
Interested in applying for the next Ted Plantos Award?
Applications for the 2027 cycle are open to poets residing in Ontario.
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