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Amina Cain

Photo credit: Alex Branch
In addition to I Go To Some Hollow, Amina Cain is the author of Creature (Dorothy, a publishing project, 2013). Writing has appeared in BOMB, n+1, Denver Quarterly, Two Serious Ladies, and other places. A few...

I Go To Some Hollow

Amina Cain

Introduction by Bhanu Kapil
Cover Art by Ken Ehrlich and Susan Simpson
Book 4 of 5, TrenchArt Tracer Series
Fiction | $15.00
ISBN 13: 978-1-934254-09-7
Size: 9.25 X 4.25
Pages: 114
Binding: Softcover, Perfect

Note: We have sold out of I Go To Some Hollow. Copies are still available at Small Press Distribution.

Question: “If you had to think of a motion you’ve made more than any other in your whole life, what would it be?” Response: “I don’t want to be a motion.”

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.”

Praise for I Go To Some Hollow

Read an excerpt from Bhanu Kapil’s Introduction to I GO TO SOME HOLLOW

Read a review by Jacquelyn Davis in Bookslut

Read more in issue 8 of ACTION YES

“I Go To Some Hollow floats and tilts, as balanced as a mobile; rather than narrative arcs we get laps, tides, and circuit, currents of clear observation and the occasional stunning insight.”

-Miranda Mellis

“I feel transported to an uncanny, almost surreal-seeming world, yet all the events feel deeply recognizable to me, as though I myself have lived them in a former life.”

 -Supernumerary Blog

“From [Cain’s voice] we gain insight into the experience…where place matters less than feeling and connecting to others is all about disconnecting from others. There is distance here, which is Cain’s point.”

-The Brooklyn Rail,  Read Renée E. D’Aoust’s full review

“Cain’s stories…include occasional bright flashes of beautiful phrasing, her prose…offers a chilly, plainlyspoken elegance…”

-Pop Matters,  Read Ryan Michael Williams’ full review


“…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,  Read Kate Zambreno’s full review

“[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,  Read Alice Osborn’s full review

“Cain’s fictions mix in the seemingly unremarkable, and yet they are clearly remarkable.”

-Esther Press,  Read James Wagner’s full review