Walker’s collection flows easily through a variety of formal and not-so-formal constructions (prose poems, emails, individual lyrics, and lyric suites), tied together by a powerful rhythmic sensibility reminiscent of a jazz drummer … tight and edgy language … Walker’s cadence … is elegant and sure. She is not trying to do—she simply does. Her linguistic drum solos both serve the poem and elevate it.  — Sarah Bonet, The Danforth Review

[The Exit Show] was like a cross between e.e. cummings (the lyricism, parenthesizing, and word-blends, some of the punctuation) and Anne Carson’s The Beauty of the Husband (the narrative thrust, sometimes the tone), with a dash of The Love Poems of Elizabeth Sergeant (the eroticism) … toward pure music and dance … The verbs and adjectives (“skuttered”, “glam-glossed”), the way [Walker] snaps off the final lines of poems, so different … Most prose-poems are just decorative prose, but [Walker’s] really are poems. It strikes me as a very feminine poetry with its long flowing lines and hip but varied cadences — Fraser Sutherland

[Walker’s] are wonderful books as well.  Her writing is of particular interest in that it has always been contextualized by Anne’s involvement (sometimes professional, sometimes volunteer) with community-oriented work. She is an astute observer of social sites, social spaces — Lyn Hejinian

On first impression, it takes hold through its astonishing lyric beauties and wit … The Exit Show is full of this liveliness of language and bodies that can do anything  … There are snatches of overheard (or underheard – always tantalising absences and unfinished sentences) conversation, glimpsed gestures and spaces – mostly houses, apartments, cars, the street, familiar spaces.  But if the spaces are familiar, the energies that charge them are dynamic and original in their expression.  — Sophie Levy, Shebyches.com