Anvil Press

Contemporary Canadian Literature with a Distinctly Urban Twist

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Cover for I, Dr. Greenblatt

I, Dr. Greenblatt, Orthodontist, 251-1457

By Gary Barwin

Ranging from short story to postcard fiction, Barwin’s stories are luminous, hilarious, and surprising. A billionaire falls in love with a kitchen appliance, a couple share a pair of legs, a pipeline-size hair is given the Nobel Prize only so that it can be taken away, a father remembers with tenderness the radiant happiness of his teenage child, trapped inside his body. As the Utne Reader said of his last collection, “what makes them so compelling is Barwin’s balance of melancholy with wide-eyed wonder.”

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The Inanimate World by Robert Strandquist

The Inanimate World

By Robert Strandquist

The Inanimate World is an affecting suite of stories, with a novella-length piece at its core. These are sincere, germane, and tender tales of longing—for love, understanding, acceptance, and peace.

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Cover for The Incomparables

The Incomparables

By Alexandra Leggat

The Incomparables is a novel about ambition, betrayal, “failure,” love, family dynamics, how we deal with societal, family, and personal expectations, and how we come to accept who we are.

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Cover for Jettison


By Nathaniel G. Moore

Nathaniel G. Moore follows up his 2014 ReLit Award win for Savage with a diverse collection of short fiction, his first — Jettison, featuring stories which dangle somewhere between horror and romance.

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Cover of Kaspoit!


By Dennis E. Bolen

“…Reminds me of Burgess’ A Clockwork Orange in its inventive language and insular
world of violence; also Beckett and Mamet in the lowlife characterizations, back-andforth dialogue, and the sheer absurdity.”
—Myna Wallin, A Thousand Profane Pieces

“…compelling, sickening, and, ultimately, hits what is most likely closest to the truth about what happened there than anything else that’ll get out in the world. Kaspoit! puts me in mind of A Clockwork Orange (the book), for its neologisms and violence/bleakness, and Pulp Fiction (the movie) for the unrelenting violence, so
much so that we become inured to it.”
—Janis Harper, Body Breakdowns

“…there is a well-executed gloom that maybe owes a tip of the hat to Harry Crews or
Flannery O’Connor, or maybe a drunken Hawthorne. The dialogue never grinds or
presents an obstacle—it runs smooth, which is a must considering its importance
to the story. In many ways it is the story.”
—Phillip D. Alexander, The Next Rainy Day

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