In her debut collection of fifteen short stories, Amina Cain makes ordinary worlds strange and spare and beautiful. A woman carves invisible images onto ice, a pair of black wings appears in front of a house, and a restless teacher sits in a gallery of miniature rooms.
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[Cain] is much like a fast expressionist painter who employs color and texture, letting the viewer decide what the painting reveals. Ultimately these stories highlight the distance that occurs in any relationship and how, within quiet moments, people can transcend this coldness, finding the sublime within an awkward state. --The Pedestal Magazine
the dominant mood is this sense of wonder, shot through with nervousness. Amina Cain s travelers view their surroundings with a curious emptiness, other times ecstasy, while adrift either abroad or in a distinctly American terrain: bodies of water, fields, or forests, the banality of a heated pool or the aisles of Home Depot. --The Believer
the dominant mood is this sense of wonder, shot through with nervousness. Amina Cain s travelers view their surroundings with a curious emptiness, other times ecstasy, while adrift either abroad or in a distinctly American terrain: bodies of water, fields, or forests, the banality of a heated pool or the aisles of Home Depot. --The Believer
About the Author
Amina Cain is the author of I Go To Some Hollow (2009), a collection of stories that revolve quietly around human relationality, landscape, and emptiness. She is also a curator (most recently for When Does It or You Begin? Memory as Innovation, a month long festival of writing, performance, and video) and a teacher of writing/literature. Her work has appeared or is forthcoming in publications such as 3rd Bed, Action Yes, Denver Quarterly, Dewclaw, The Encyclopedia Project, La Petite Zine, and Sidebrow, and was recently translated into Polish on MINIMALBOOKS. She lives in Los Angeles.
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