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House of Anansi Press

Back in the Land of the Living

Seven Heavens Away: A Novel by Ashraf Zaghal. The title and author name appear in bold red, green, and cream letters to evoke the colours of the Palestinian flag. The background features stylized clouds, stars, a crescent moon, and the Jerusalem skyline.

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Seven Heavens Away

House of Anansi Press

Dog Park

Book cover for “Every Space Between” by Naseem Hrab and John Martz. The cover is split in three sections: day, blank white space and night. On the left, a child with medium skin tone and straight black hair runs in daylight under a pale yellow sun. On the right, a white dog with black and brown spots and a red collar runs happily under a night sky filled with stars and a crescent moon. The large orange title text “EVERY SPACE BETWEEN” fills the space in the centre with the creator names below in light blue.

House of Anansi Press

Every Space Between

On Wholeness: Anishinaabe Pathways to Embodiment and Collective Liberation by Quill Christie-Peters. The cover features abstract, colourful artwork against a brown background. Organic shapes, some humanlike, and swirling lines reminiscent of waterways and galaxies flow out of a dark hole with red blood dripping from its bottom edge. The hole is flanked by two bears and two thunderbirds on either side.

House of Anansi Press

On Wholeness

Cover: Ultra Blue by Graeme Bezanson. The text appears in thick yellow brush strokes over a red background, with "poems" appearing in white. In the center, a wolf springs forward, its head tilted toward the reader with a somewhat feral smile.

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Ultra Blue

House of Anansi Press

The Rayburn Affair

House of Anansi Press

Kamouraska

House of Anansi Press

Ancient Thunder

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Who Will Bury You?

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Atonement

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February

House of Anansi Press

The Syrian Ladies Benevolent Society

House of Anansi Press

A Sweet Meeting on Mimouna Night

Cover: House of Anansi presents Xanax Cowboy, poems, written and directed by Hannah Green. The cover is yellow, monochrome. The title text is large and black, and the font appears as though stamped with ink.

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Xanax Cowboy

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Broughtupsy

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I Am Ariel Sharon

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The Sisters Brothers

House of Anansi Press

Winter Moon Song

Cover: Inheritance, a novel, by Jane Park. A silver eunjangdo (Korean ornamental knife in a sheath) with a blue tassel and a yellow crysanthemum over a background illustration of a prairie grassland. The title Inheritance is set in the top third of the cover and the author's name at the bottom.

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Inheritance

House of Anansi Press

Life Is About Losing Everything

Cover: Tauhou by Kōtuku Titihuia Nuttall. A blue background. Two greyscale oolichan fish are parallel, with the head of each adjacent to the other’s tail. The left fish has a Māori-inspired ancestor figure, made up of swirls and a beak-like mouth. Around her are small and simple weaving and carving patterns. The right fish is covered in similar markings. The ancestor figure on this side wears a cedar hat and skirt. Her hands are lifted. Between the fish, the title splits vertically down in white text.

House of Anansi Press

Tauhou

A graphic pattern is in shades of blue and green shapes with grey lines in between. Some grey lines cross over and through the letters of the title and the authorÕs name. Text: Dual Citizens. Alix Ohlin. Scotiabank Giller Prize Finalist. Author of Inside. ÒTouchingÉ Dual Citizens has a lot in common with Zadie SmithÕs Swing Time and Claire MessudÕs The Burning Girl.ÓÑWall Street Journal.

House of Anansi Press

Dual Citizens

The Quiet Hunt: A Poem for Young Foragers. By Jean E. Pendziwol and Risa Hugo. A young girl lays on a hill with her head in her hands, her wicker basket next to her. She has medium-light skin tone, short brown hair, brown eyes and her nails painted red. She wears a white baseball t-shirt with red sleeves, red high-top sneakers and a pink baseball cap with a smiling sun. She gazes at a cluster of mushrooms with brown rounded tops and white stems.

House of Anansi Press

The Quiet Hunt

Cover: Chrysalis: Stories by Anuja Varghese. The title is centred with the author's name below it. A faint paisley pattern fills the black background. The image is an 18th C painting of a thin reddish branch with heart-shaped leaves and a pale peach flower and two buds. In the bottom left is a pinkish-brown Antheraea polyphemus moth with a brown thorax and two large black spots ringed in white on the lower wings, and two smaller black and white spots on both the upper and lower wings.

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Chrysalis

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river woman

House of Anansi Press

The Break

Cover: John Candy: A Life in Comedy, by Paul Myers. Foreword by Dan Aykroyd. A black and white photograph of the comedian and actor John Candy, shown from the chest up, wearing a tuxedo, and looking directly into the camera, with just the hint of a smile. The main title and author’s name appear in large, pink block letters. The sub-title appears in a white, handwritten typeface. The foreword attribution appears in the same block letters as the title, but smaller and in white.

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John Candy

House of Anansi Press

Me enoja / Angry Me

Cover: In Exile: Rupture, Reunion, and my Grandmother's Secret Life by Sadiya Ansari. Behind a layer of mustard yellow, a black-and-white photograph of the right two-thirds of a woman’s face is framed within a silhouette of a woman wearing a shalwar and kameez. The woman has dark hair and eyebrows and her expression is neutral. The title is centred in the middle of the cover and the author’s name is centered at the bottom.

House of Anansi Press

In Exile

Cover: Abstract painting featuring three indistinct female figures in vibrant colors against a light background. The figures are rendered with broad, expressive brushstrokes, blending hues of orange, red, brown, purple, and yellow. The title The Creation of Half-Broken People is centred on the cover in large letters with the words “a novel” in smaller type below it. The author’s name, Siphiwe Gloria Ndlovu, appears at the bottom of the cover.

House of Anansi Press

The Creation of Half-Broken People

Cover: procession by katherena vermette. The title and author's name all appear in white text, stylized in lower case. The backdrop is a close-up image of a beaded quilt, vibrant and detailed, with flowers, paisley, and more designs appearing. The edge of the quilt is beaded in red, and a yellow surface beneath the quilt appears at the bottom-left corner.

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Procession

House of Anansi Press

This Is How We Love

Cover: West Coast Wild Baby Animals. By Deborah Hodge. Pictures by Karen Reczuch. A mama otter embraces a baby otter on her stomach. Both otters have their eyes closed, with the baby's head resting against the mother's mouth. Green seaweed surrounds them. The illustrations are created in watercolor paints color pencil.

House of Anansi Press

West Coast Wild Baby Animals

Cover: However Far Away by Rajinderpal S. Pal. A face and shoulders in purple with features obscured in shadow. The figure is wearing orange over-the-ear headphones and a green shirt. The words A Novel appear in white type across the green shirt. Text: A beautiful debut novel about the calamitous aftereffects of decisions made and unmade, secrets kept and spilled. Omar El Akkad.

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However Far Away

House of Anansi Press

Soft as Bones

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Cover: The All + Flesh, poems by Brandi Bird. A vibrant, impressionist-style painting of a golden sunset over a red horizon. The sky blends from teal at the top to a bright yellow around the white sun, which reflects like a flaming spotlight on the ground. The brush strokes are cross-hatched in the sky, giving the appearance of downward motion, while the ground appears sponged.

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The All + Flesh

House of Anansi Press

Ninan

Cover: A girl with green skin tone looks at a yellow envelope that she holds in her hands. The letters “R.S.V.P.” are written on the envelope’s flap. The girl has leafy hair and skirts that trail off the edge of the image. Text: The Invitation. Stacey May Fowles and Marie Lafrance.

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The Invitation

House of Anansi Press

Layaway Child

Cover: The Wren by A. F. Moritz. An illustration of a wren perches on a branch, leaning forward and looking upward, over a beige background. The text appears in a serif font, with the title in a medium brown and the author's name in black.

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The Wren

House of Anansi Press

Subway Stations of the Cross

House of Anansi Press

Dodge City

One Goal: How Soccer Can Help Save the Planet. Heather Camlot and Drew Shannon. A boy with medium-dark skin tone, wearing a red soccer kit with black shorts, stands on a large green soccer field and winds up to kick the ball. Ahead of him, a girl with light skin tone and red hair in a ponytail, wearing the same uniform, runs toward the net where a goalkeeper in yellow stands. A crowd of people watch from the stands, andn image of the Earth, focused on North America and South America, hangs above them.

House of Anansi Press

One Goal

Cover: A Horse at the Window by Spencer Gordon. A painting of a person with fire coming out of their head. They are wearing a black suit jacket. and holding a flaming flower.

House of Anansi Press

A Horse at the Window

Cover: I Make My Own Fun: A Novel by Hannah Beer. A martini glass filled with blood has a single barbie arm sticking out of the blood and is set on a bright pink background. The title appears in bold gold lettering above the glass.

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I Make My Own Fun

House of Anansi Press

Letters to Kafka

Sharing the Light: Stories and Reflections by Monique Gray Smith, featuring a colourful, beaded floral pattern with a hummingbird at the centre and a glowing yellow and orange background.

House of Anansi Press

Sharing the Light

Fly Away Home. Written by Betty Quan and illustrated by Akin Duzakin. A young girl and a woman with their backs to us hold hands and carry backpacks. The girl has medium-light skin tone and straight black hair. The woman has medium-light skin tone and black hair tied back in a ponytail. They each clutch a full bag their arms and look out across a hilly green field with a blue sky above. A group of people also carrying bags walk in the distance. Above them a flock of white birds fly through the sky.

House of Anansi Press

Fly Away Home

Cover: A Love Affair with the Unknown: Leaning into the Uncertainty of Modern Life by Gill Deacon. A painting by the author of a woman in a black bathing suit jumping off a green cliff into the water below against a cloudy sky. The title is stacked over this background with the author's name below it.

House of Anansi Press

A Love Affair with the Unknown

Cover: A Daughter's Place by Martha Bátiz. Artwork of two young women in seventeenth-century clothing. One leans on a window ledge, resting her chin on her hand and smiling, while the other peeks out from behind a curtain, holding a cloth to her face. The title and author’s name appear in large, white brush script.

House of Anansi Press

A Daughter's Place

Cover: Her First Palestinian and Other Stories by Saeed Teebi. 'Intelligent, original and bursting with vitality' - Ayelet Tsabari, Author of The Art of Leaving. A soft yellow background with an small orange, unpeeled with the peel spiraling to its right.

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Her First Palestinian

House of Anansi Press

Sheep's Vigil by a Fervent Person

Grandma, Cho Cho and Me. By Morgan Christie and Paulica Santos. A young girl with dark skin tone and curly black hair in two buns wears a pink long-sleeve shirt with yellow dots under a blue apron. She looks up at her grandmother, who has her greying hair in a braided updo and wears a green collared long-sleeve shirt under a blue apron. Green chayote fruit and leaves fill the top of the page. The girl and her grandma have flowers in their hair and wrap hold several chayote fruit in their hands.

House of Anansi Press

Grandma, Cho Cho and Me

House of Anansi Press

Manikanetish

Cover: Wellwater, poems by Karen Solie. Over an off-white background, the cover featured an illustration of a flowering lilac tree with a thin stem and visible roots.

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Wellwater

House of Anansi Press

The Honeyman Festival

This image is a series of scenes. The scene above is a yellow photograph of a strip mall and a stoplight. Signs read, ÒDonuts, Muffins, CakesÓ and ÒGrocery StoreÓ. Two sections, one red and one yellow, with black polka dots, show the title. The scene below is a black and green image of the Toronto skyline on a red background. Text: Frying Plantain. Zalika Reid-Benta. Scotiabank Giller Prize Longlist. ÒAn unforgettable debut.Ó Ð Paul Beaty, Booker Prize-winning author of The Sellout.

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Frying Plantain

House of Anansi Press

Taking Turns with Turtles

Cover: Kukum by Michel Jean, translated by Susan Ouriou. A black-and-white ink illustration of a woman crouching. Her knees are drawn up to her chest and her arm is tucked up. She has dark hair and her face is partially tucked against her shoulder. The woman’s body is covered in various patterns. A ragged blue shape reminiscent of a flowing river runs in front of her lower half; through the blue, her body is still visible, but smudged. Around her are small black line drawings of various spruce trees.

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Kukum

House of Anansi Press

Together by the Sea

Cover: Lantern, poems by Sanna Wani. Above a cream-coloured background, a forest green border is stamped. Inside the border are three ginko leaves stamped in various directions, as though falling. The text appears in cursive lettering.

House of Anansi Press

Lantern

A photograph shows a close-up of a woman’s face. We see the bottom right corner of her face showing the side of her mouth, her cheek, and a part of her nose. She has light skin tone and short, curly, dark hair. She wears a pink lip colour and blush. Around her neck is a short, yellow pearl necklace and she is wearing a fine-knit, teal sweater. Text: Marie-Renée Lavoie. Autopsy of a Boring Wife. “True to life and wildly entertaining.” – Huffington Post.

House of Anansi Press

Autopsy of a Boring Wife

Monster Mender. Written by Christine Baldacchino and illustrated by Ilona Iske. A woman reaches up to gently hold the snout of a large green sea serpent. The woman has long grey hair with bangs, blue eyes and light skin tone. She wears a green dress underneath a burgundy smock, with burgundy tights and black shoes. The sea serpent’s long tail is wrapped in a circle, framing the title.

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Monster Mender

House of Anansi Press

No Pain Like This Body

House of Anansi Press

Griffin Poetry Prize Anthology 2026

Cover: Valid, Dystopian Autofiction, by Chris Bergeron, translated by Natalia Hero. Hot-pink type against a black background fills the entire cover.

House of Anansi Press

Valid

Cover: The Two Roberts, by Damian Barr. A black-and-white upper-body photo of two men, both with light skin tone. One man lies sideways, his head on his arm and his hand draped over his head; the second man sits more upright behind the first, only the lower half of his face visible, both smile slightly.The image is partially obscured by diagonal semi-opaque coloured stripes at the top of the frame and the title, and similar stripes at the bottom of the frame and the author's name.

House of Anansi Press

The Two Roberts

A man with medium dark skin tone stands in a doorway and holds the two doors open. Inside the space are large machines with gears. Text: Explosion at the Poem Factory. Kyle Lukoff and Mark Hoffmann.

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Explosion at the Poem Factory

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All Our Relations

House of Anansi Press

Endings

House of Anansi Press

This Accident of Being Lost

Cover: In a Land Without Dogs the Cats Learn to Bark by Jonathan Garfinkel. Black and white text of the title is set in a Soviet-era propaganda font. A small black illustration of a cat walking is in the middle-right of the page. The background is red.

House of Anansi Press

In a Land without Dogs the Cats Learn to Bark

My Mom Is Like a Kite. Written by Lisl H. Detlefsen and illustrated by Nathalie Dion. A young child with light brown skin and straight black hair leans forward on a table with her arms crossed, looking up and to the right. She wears a tan sweater. To her right, Winkie, a white cat, stands on her hind legs and paws at four kite tails that have pink, yellow, red and teal bows on them.

House of Anansi Press

My Mom Is Like a Kite

House of Anansi Press

Based on a True Story

House of Anansi Press

The Riveter

Cover: Definitely Thriving, a novel, by Kerry Clare. An illustration of an upside-down green clawfoot bathtub full of bubbles is at the top of the frame, with a multicoloured stack of books at each end of the tub. A woman with light skin tone and dark hair in a messy top-knot reclines in the tub, reading. The title and author’s name are in dark blue brushstroke font set slanted on a yellow background with a few scattered open books and bubbles falling to the bottom of the frame.

House of Anansi Press

Definitely Thriving

Cover: Pitiful by Brandi Bird. The text is white over a back backgound, with "poems" appearing in red. In the center, an illustration in red shows a hand reaching up from the ocean, through waves that also look like hands. At the bottom, a blurb reads, "Far from a whimper, Pitiful is a vital battle cry and a song." —Marya Hornbacher

House of Anansi Press

Pitiful

A Friend Is a Friend Is a Friend. Written by Sara O’Leary and illustrated by Qin Leng. A group of fifteen children of various skin tones perch and swing playfully from the branches of a tree.

House of Anansi Press

A Friend Is a Friend Is a Friend

Cover: Temporary Palaces, a novel, by Jeff Miller. Photograph of an abandoned two-storey house sitting on a vacant lot. The ground floor windows are covered by boards, which have been spraypainted with graffiti, while the upper floor windows have been smashed out. The title and author’s name appear in large, black letters inside a white frame around the photograph. The words “A Novel” appear beside the title in large, pink letters.

House of Anansi Press

Temporary Palaces

Cover: Innie Shadows by Olivia M. Coetzee. “Groundbreaking and unique, character-driven crime fiction." —Deon Meyer. A stylized illustration of a mountain beneath a bright moon and clouds. The background is purple, and the typography and mountain are in vibrant green and yellow. Eyes are scattered at the bottom.

House of Anansi Press

Innie Shadows

House of Anansi Press

The Butcher's Hook

Cover: The Seven Skins of Esther Wilding by Holly Ringland, international bestselling author of The Lost Flowers of Alice Hart. An illustrated border of light pink and yellow flowers with thin green leaves, brown moths with blue markings, conical seashells, ribbons of water, seaweed, and light peach and pink sea anemone surrounds a background of dark blue night sky with stars. At the bottom of the border is a dark bird with a long curved neck, outstretched wings, and an orange beak.

House of Anansi Press

The Seven Skins of Esther Wilding

Skating Wild on an Inland Sea. Written by Jean E. Pendziwol, illustrated by Todd Stewart. Two children skate on the blue-green ice of a large lake. Their skate marks form the curves and loops of the white letters in the title. Tree-covered islands appear in the background, beneath a bright blue sky.

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Skating Wild on an Inland Sea

House of Anansi Press

I Am Because We Are

House of Anansi Press

Winter

House of Anansi Press

Noopiming

Cover: An Ordinary Violence, a novel by Adriana Chartrand. A black-and-white image of a rabbit against a black background spans the cover diagonally. The rabbit appears from the side with its eyes open. Its legs are bunched under its body, and its ears are laid flat against its back, with its nose pointed into the upper left corner. Red blood droplets spatter the cover.

House of Anansi Press

An Ordinary Violence

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An open garbage bin sits on the corner of a neighbourhood street. Behind it is a house and around are trees and bushes with flowers. A woman and a girl with light skin tone stand by the bin and pull things out of it. The woman has a shopping cart beside her that is overflowing with things. The girl holds a small robot doll. Text: Aunt Pearl. Monica Kulling. Irene Luxbacher.

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Aunt Pearl

House of Anansi Press

My Grief, the Sun