Delible. Toronto: Insomniac Press, 2007.
Hush. Toronto: Insomniac Press, 1999.
jacks: a gothic gospel. Montreal: DC Books, 1998.
Special Issue, Co-Editor
Murakami, Sachiko, and Anne Stone, eds. “The New Vancouver Dossier.” Matrix 84 (2009).
Dean, Amber, and Anne Stone, eds. West Coast Line: Representations of Murdered and Missing Women 53 (2007).
Selected Magazine / Anthology publications:
“What Will Not Bury.” The Heart Does Break: Essays on Grief and Mourning by Canadian Writers. Eds. Jean Baird & George Bowering. Toronto: Randomhouse, 2009.
“Bearing Partial Witness: Representations of Missing Women.” Review of Education, Pedagogy and Cultural Studies. 31:2, 221-236.
Excerpt from Delible (in translation) MEET. 2008.
“Featured Studio Visit with Betsy Warland.” Matrix 79 (2008).
“The Road Last Taken.” Matrix 76 (2007).
Excerpt from Delible. Capilano Review. (2007).
Excerpt from Delible. West Coast Line. 52 (2007).
“On Anthony Schrag’s Our Body is in the World / It has All Gone Terribly Wrong.” Helen Pitt Gallery Catalogue. (2006).
“On Peter Baren’s ARK” Helen Pitt Gallery Catalogue. (2006).
“Chronicles” (A series curated by Aaron Peck) Terminal City. 20 Jan. 2005 to 10 Feb. 2005.
“Objective Hazard.” Biting the Error. Ed. Gail Scott et al. Toronto: Coach House Press, 2004.
“Sweet Dick All.” Groundswell: The Best of Above/Ground Press. Ed. rob mclennan. Fredericton: Broken Jaw, 2003.
“Writing the Eye” and “The Tourniquet Vanish.” Side/lines: A New Canadian Poetics. Insomniac Press, 2002.
from “Ransacked,” You and Your Bright Ideas. Eds. Andy Brown and Rob McLennan. Montreal: Vehicule Press, 2001.
from “Ransacked,” Fourteen Hills 6.2 (2000).
“Rule of Nines,” Carnal Nation. Eds. Carellin Brooks and Josef Grubisic. Vancouver: Arsenal Pulp, 2000.
On Delible & Representations of the Missing: A talk-through / reading of computer-projected images. In this 15 to 60 minute presentation, I discuss artworks and found images, and look to the ways in which, for example, age simulations on missing posters, the work of Doris Salcedo, and the weatherworn photos of impromptu memorials offered up sites of exploration for narrative form in Delible.