FINALIST FOR THE CENTER FOR FICTION'S FIRST NOVEL PRIZE "Cain’s small but mighty novel reads like a ghost story and packs the punch of a feminist classic." —The New York Times Book Review A haunted feminist fable, Amina Cain’s Indelicacy is the story of a woman navigating between gender and class roles to empower herself and fulfill her dreams. In "a strangely ageless world somewhere between Emily Dickinson and David Lynch" (Blake Butler), a cleaning woman at a museum of art nurtures aspirations to do more than simply dust the paintings around her. She dreams of having the liberty to explore them in writing, and so must find a way to win herself the time and security to use her mind. She escapes her lot by marrying a rich man, but having gained a husband, a house, high society, and a maid, she finds that her new life of privilege is no less constrained. Not only has she taken up different forms of time-consuming labor—social and erotic—but she is now, however passively, forcing other women to clean up after her. Perhaps another and more drastic solution is necessary? Reminiscent of a lost Victorian classic in miniature, yet taking equal inspiration from such modern authors as Jean Rhys, Octavia Butler, Clarice Lispector, and Jean Genet, Amina Cain's Indelicacy is at once a ghost story without a ghost, a fable without a moral, and a down-to-earth investigation of the barriers faced by women in both life and literature. It is a novel about seeing, class, desire, anxiety, pleasure, friendship, and the battle to find one’s true calling.

Fiction. 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. As Miranda Mellis describes, "The revelatory pleasure and hope [in these stories] emanate from an artistry driven by ethical desire." "I highly recommend reading I Go To Some Hollow", says Bhanu Kapil, "because of what it teaches you about love, and the relationship between love and writing." I GO TO SOME HOLLOW is published as part of the TrenchArt: Tracer Series, with an Introduction by Bhanu Kapil and collaborative visual art by Ken Erhlich and Susan Simpson.

“A Horse at Night is like light from a candle in the evening: intimate, pleasurable, full of wonder. It asks us to consider fiction as life and life as fiction. Amina Cain is our generous, gentle guide through an exquisite library. A truly beautiful book.” —Ayşegül Savaş “I adore her work, and sensibility,” writes Claire-Louise Bennett of Amina Cain; and Jenny Offill: “Cain writes beautiful precise sentences about what it means to wander through this luminous world.” Cain’s unique wandering sensibility, her attention to the small and the surprising, finds a profound new expression in her first nonfiction book, a sustained meditation on writers and their work. Driven by primary questions of authenticity and freedom in the shadow of ecological and social collapse, Cain moves associatively through a personal canon of authors— including Marguerite Duras, Elena Ferrante, Renee Gladman, and Virginia Woolf— and topics as timely and various as female friendships, zazen meditation, neighborhood coyotes, landscape painting, book titles, and the politics of excess. A Horse at Night: On Writing is an intimate reckoning with the contemporary moment, and a quietly brilliant contribution to the lineage of Woolf’s A Room of One’s Own or Gass’s On Being Blue, books that are virtuosic arguments for—and beautiful demonstrations of—the essential unity of writing and life.

"[A] firecracker of a debut . . . Abreu's novel, in Julia Sanches's sparkling translation, is a revelation, perfectly capturing a festering summer of meltdowns and shrinking horizons." —The New York Times My Brilliant Friend meets Blue is the Warmest Color in this lyrical debut novel set in a working-class neighborhood of the Canary Islands—a story about two girls coming of age in the early aughts and a friendship that simmers into erotic desire over the course of one hot summer. High near the volcano of northern Tenerife, an endless ceiling of cloud cover traps the working class in an abject, oppressive heat. Far away from the island’s posh resorts, two girls dream of hitching a ride down to the beach and escaping their horizonless town. It’s summer, 2005, and our ten-year-old narrator is consumed by thoughts of her best friend Isora. Isora is rude and bossy, but she’s also vivacious and brave; grownups prefer her, and boys do, too. That's why sometimes she gets jealous of Isora, who already has hair on her vagina and soft, round breasts. But she's definitely not jealous that Isora’s mother is dead, nor that Isora's fat, foul-mouthed grandmother has her on a diet, so that she is constantly sticking her fingers down her throat. Besides, she would do anything for Isora: gorge herself on cakes when her friend wants to watch, follow her to the bathroom when she takes a shit, log into chat rooms to swap dirty instant messages with strangers. But increasingly, our narrator finds it hard to keep up with Isora, who seems to be growing up at full tilt without her—and as her submissiveness veers into a painful sexual awakening, desire grows indistinguishable from intimate violence. Braiding prose poetry with bachata lyrics and the gritty humor of Canary dialect, Dogs of Summer is a story of exquisite yearning, a brutal picture of girlhood and a love song written for the vital community it portrays.

The Hudson River Valley, 1769: A man mysteriously disappears without a trace, abandoning his wife and children on their farm at the foot of the Catskill Mountains. At first many believe that his wife, who has the reputation of being a scold, has driven her husband away, but as the strange circumstances of his disappearance circulate, a darker story unfolds. And as the lines between myth and reality fade in the wilderness, and an American nation struggles to emerge, the lost man’s wife embarks on a desperate journey to find the means to ensure her family’s survival . . .

Dark Passages is a coming-of-age story encapsulating the romance and innocence of JFK's Camelot era and the tumultuous "dark passages" of Meg Harrison, a vampire raised by her mother to resist the temptation of human blood. Meg arrives in New York determined not to use her vampiric gifts to fulfill her dream of becoming an actress. She joins the cast of the cult hit Dark Passages, only to face her nemesis, a beautiful 300-year-old witch bent on destroying her. Their rivalry leads to afinal confrontation as the telekinetic vampire and spell-weaving sorceress engage in a spectacular battle for supremacy. It takes all of Meg's wit and tenacity to defeat the witch and win the affections of a handsome young mortal with a secret life of his own. In the end, Meg realizes that the powers she always denied within herself are not a curse, but a blessing.