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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.

House of Anansi Press

Inheritance

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: 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.

House of Anansi Press

The All + Flesh

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.

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Fly Away Home

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Cockroach

Cover: Our Voice of Fire: A Memoir of a Warrior Rising by Brandi Morin. A painted portrait shows a woman with medium-dark skin tone and black hair beating a drum. She wears a cream-coloured dress and stands before a red circle.

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Our Voice of Fire

House of Anansi Press

Pigeon

Cover: Shadow Price by Farah Ghafoor. Over a bright yellow background, the cover features an illustrated pair of hands making casting a shadow puppet in the shape of a dog.

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Shadow Price

House of Anansi Press

Ancient Thunder

This image is in shades of black and white. A statue on a cliff looks out over the ruins of an old city. The statue resembles a man with short curly hair. It has one arm out and is has a draped cloak around it. The ruins of the city are mainly rubble and stone walls with window openings. The buildings are densely packed together. Text: Erín Moure. The Elements. (Nam:Loz).

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The Elements

Cover: Midway, poems by Kayla Czaga. Most of the cover is taken up by the sky at dusk. The bottom edge of a steep hill leads into a still body of water. Near the shoreline is a lit-up Ferris wheel surrounded by a few RVs and strings of colourful lights.

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Midway

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The Road In Is Not the Same Road Out

House of Anansi Press

Thrifty

Go, stories by Deborah Ellis. The background is pale green. Clockwise from the top are six illustrations: A purple basket of various home items, two floor cushions around a wood Go game board covered in black and white pieces; an upside-down dog bowl surrounded by dog kibble and broken glass; an orange shirt, white towel, bar of soap and a toothbrush; a shovel in front of a gravestone; a white chair and a pink purse by a potted tree; and a pair of shoes, red cup and a race bib with the number forty-four.

House of Anansi Press

Go

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: 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.

House of Anansi Press

Ultra Blue

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.

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Lantern

House of Anansi Press

Together by the Sea

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.

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My Mom Is Like a Kite

House of Anansi Press

The Lost Spells

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The Outside Circle

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

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All Our Relations

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Two White Rabbits

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The Best Kind of People

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

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The Immortal Woman

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February

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Read Me a Story, Stella

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Blood

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

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.

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Sharing the Light

Cover: Interregnum: Inside the Gruelling and Glamorous Two-Year Battle to become the Next King of Chess by Jordan Himelfarb. Chess pieces on a green checkered board against a light background and two illustrated hands reaching toward the pieces. The title is set in the top third of the cover and the author’s name at the bottom.

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Interregnum

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.

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A Friend Is a Friend Is a Friend

House of Anansi Press

Griffin Poetry Prize Anthology 2026

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.

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In a Land without Dogs the Cats Learn to Bark

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Little Dogs

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Ideas to Postpone the End of the World

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Sometimes I Feel Like a Fox

House of Anansi Press

Swimming Lessons

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

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The Last Wave

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McMafia

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Sometimes I Feel Like a River

Small glittering, gold shapes are against a light blue background. The shapes appear to drop from the top of the cover, where they fall into place to form mandala-like patterns at the bottom of the cover. Text: Breaking the Ocean. A Memoir of Race, Rebellion, and Reconciliation. Annahid Dashtgard. “A profound and candid reflection on the realities of race today.” – Waubgeshig Rice, author of Moon of the Crusted Snow.

House of Anansi Press

Breaking the Ocean

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

Soft as Bones

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Scientific Marvel

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Me enoja

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.

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A Love Affair with the Unknown

House of Anansi Press

Seven Fallen Feathers

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The Exiles' Gallery

House of Anansi Press

Big Lonely Doug

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.

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One Goal

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The Björkan Sagas

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A Small Madness

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Silken Gazelles

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Dodge City

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

House of Anansi Press

De Niro's Game

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.

House of Anansi Press

Procession

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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House of Anansi Press

This Accident of Being Lost

House of Anansi Press

Stella and Sam ABC

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: Great Silent Ballad: poems by A. F. Moritz. A Renaissance-style painting primarily features two figures, one playing a violin and the other playing a lute. The face of a third figure looks down and to the right at the bottom-left of the page, and the body of a fourth appears on the upper right section.

House of Anansi Press

Great Silent Ballad

House of Anansi Press

Sequence

Cover: Bury the Lead: a Quill and Packet mystery by Kate Hilton and Elizabeth Renzetti. The cover illustration shows a woman with dark hair and stark features peeking out from behind a red curtain, as if looking out from backstage. There is a blurb at the top which reads, “A whodunit that had me turning pages as fast as I could … an absolute delight!” —Marissa Stapley, New York Times bestselling author of Lucky

House of Anansi Press

Bury the Lead

Cover: Community Snowman. Story by Deborah Kerbel. Illustrated by Tine Modeweg-Hansen. This book is wordless and laid out in a graphic novel style. There are three snowy scenes stacked on top of each other against a blue background of people of various ages and skin tones pushing large balls of snow alone or together in colourful winter clothing.

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Community Snowman

House of Anansi Press

Back in the Land of the Living

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Testament

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Winter

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Mai at the Predators' Ball

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A Pond, a Poet, and Three Pests

House of Anansi Press

The Syrian Ladies Benevolent Society

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

Safekeeping, a Writer's Guided Journal for Launching a Book with Love by Chelene Knight, foreword by Ivan Coyote. The title, subtitle, and author name appear in black type in a white box against an indigo background that is lightly textured to look like handmade paper.

House of Anansi Press

Safekeeping

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

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

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river woman

House of Anansi Press

The Lost Words

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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.

House of Anansi Press

John Candy

Cover: The Last Last. Written by Wendy J. Whittingham and illustrated by Brianna McCarthy. A young girl floats in bright blue water, smiling with her arms spread wide. Four small, brightly colored fish swim around her. She has dark skin tone with black tight-curly hair parted into twisted pigtails on either side of her head and secured by pink bobbled hair ties. Her eyes are closed as she floats, and her cheeks are a deep rosy color. She wears a pink one-piece swimsuit that has light purple polka-dots.

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The Last Last

House of Anansi Press

Layaway Child

House of Anansi Press

Manikanetish

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Shrewed

House of Anansi Press

Carnival

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

Cover: Home For Margaret. Written by Denise Davy. Illustrated by Bérengère Delaporte. A young girl sits with a woman in the snow in front of a blue tent surrounded by bare trees. The girl has medium light skin tone and curly black hair in two buns, and the woman has light skin tone; medium length gray hair and both their cheeks and nose are rosy. The woman’s hands are tucked into her jacket pocket, while the girl raises her arm as she is talking. Beside the young girl in the snow is a white grocery bag.

House of Anansi Press

Home for Margaret

Cover: Genocide: Revised and Expanded Edition. By Jane Springer. Quote from Horn Book: “An impossible overview of a timely topic.” A stylized drawing shows a man with white skin tone, wearing red, looking down from where he stands on top of a mountain of human skulls. The background is black, and the title lettering is red.

House of Anansi Press

Genocide