Amina Cain's guest appearances

Amina Cain

KQED's Forum

Otherppl with Brad Listi

Skylight Books Podcast Series

Nine To Noon

The Full Stop Podcast

Maggie Nelson

Carmen Maria Machado

George Saunders

Vanessa Hua

Ingrid Rojas Contreras

Greg Gerke

Sam Cohen

Merritt Tierce

Matthew Specktor

Diana Wagman

Miles Klee

Lee Johnson

Adam Novy

Noah Hawley

Janice Lee

OwlTail

Kiran Dass reviews A Horse at Night - On Writing by Amina Cain, published by Daunt

Book review: A Horse at Night On Writing by Amina Cain

Anna Moschovakis

In the latest novel from Anna Moschovakis, two reading groups, unofficially called Love and Anti-Love, falter amidst political friction and signs of environmental collapse. Participation offers a prescient look at communication in a time of rupture: anonymous participants exchange fantasies and ruminations, and relationships develop and unravel. As the groups consider--or neglect--their syllabi, and connections between members deepen, a mentor disappears, a translator questions his role, a colleague known as "the capitalist" becomes a point of fixation, and "the news reports" filter through in fragments. With incisive prose and surprising structural shifts, Participation forms an alluring vision of community, and a love story like no other.  Join us for a conversation between Moschovakis and Amina Cain, moderated by Skylight's Halley Parry. Produced by Nat Freeman &amp; Michael Kowaleski. Theme: "I Love All My Friends," an unreleased demo by Fragile Gang.

In the latest novel from Anna Moschovakis, two reading groups, unofficially called Love and Anti-Love, falter amidst political friction and signs of environmental collapse. <a href="https://www.skylightbooks.com/book/9781566896573" rel="nofollow" target="_blank">Participation</a> offers a prescient look at communication in a time of rupture: anonymous participants exchange fantasies and ruminations, and relationships develop and unravel. As the groups consider--or neglect--their syllabi, and connections between members deepen, a mentor disappears, a translator questions his role, a colleague known as "the capitalist" becomes a point of fixation, and "the news reports" filter through in fragments. With incisive prose and surprising structural shifts, Participation forms an alluring vision of community, and a love story like no other. Join us for a conversation between Moschovakis and Amina Cain, moderated by Skylight's Halley Parry. Produced by Nat Freeman &amp; Michael Kowaleski. Theme: "I Love All My Friends," an unreleased demo by Fragile Gang.

SKYLIT: Anna Moschovakis, ”PARTICIPATION” w/ Amina Cain

In the film “The Lost Daughter” directed by Maggie Gyllenhaal, actor Olivia Colman plays Leda, a middle-aged college professor who encounters a young mother and her daughter while on vacation, prompting memories from Leda’s past, when she left her husband and two young daughters for three years. This story, adapted from Elena Ferrante’s 2006 novel of the same name, conjured feelings of relief for Los Angeles-based author Amina Cain – not because the main character once abandoned her children, but because a different kind of story about motherhood was being told. In an op-ed for the Los Angeles Times, Cain, who has never wanted children, writes: “It’s rare to see a film or read a novel that depicts ambivalence around motherhood, even rarer one that rejects that life completely, which I deeply appreciate about ‘The Lost Daughter.’ I’m hungry for these stories.” We talk to Cain about why ambivalence towards motherhood still feels socially taboo.

In the film <a href="https://www.youtube.com/watch?v=xNq9YOfL0Zs" rel="nofollow" target="_blank">“The Lost Daughter”</a> directed by Maggie Gyllenhaal, actor Olivia Colman plays Leda, a middle-aged college professor who encounters a young mother and her daughter while on vacation, prompting memories from Leda’s past, when she left her husband and two young daughters for three years. This story, adapted from Elena Ferrante’s 2006 novel of the same name, conjured feelings of relief for Los Angeles-based author Amina Cain – not because the main character once abandoned her children, but because a different kind of story about motherhood was being told. In an <a href="https://www.latimes.com/opinion/story/2022-01-23/lost-daughter-elena-ferrante-motherhood" rel="nofollow" target="_blank">op-ed for the Los Angeles Times</a>, Cain, who has never wanted children, writes: “It’s rare to see a film or read a novel that depicts ambivalence around motherhood, even rarer one that rejects that life completely, which I deeply appreciate about ‘The Lost Daughter.’ I’m hungry for these stories.” We talk to Cain about why ambivalence towards motherhood still feels socially taboo.

Author Amina Cain on Desiring More Stories About the 'Ambivalence of Motherhood'

Jessi Jezewska Stevens

Percy is pregnant. She hasn’t told a soul. Probably she should tell her husband—certainly she means to—but one night she wakes up to find she no longer recognizes him. Now, instead of sleeping, Percy is spending her nights taking walks through her neighborhood, all the while fretting over her marriage, her impending motherhood, and the sinister ways the city is changing. Amid this alienation—from her husband, home, and rapidly changing body—a package arrives. In it: an exhibition catalog for a photography show. The photographs consist of a series of digitally manipulated images of a woman lying on a bed in a red room. It takes a moment for even Percy to notice that the woman is herself . . . but no one else sees the resemblance. Percy must now come to grips with the fundamental question of identity in the digital age: To what extent do we own our own image, and to what extent is that image shaped by the eyes of others? Capturing perfectly the haunted atmosphere of Manhattan immediately after 9/11—and the simmering insanity of America ever since—Jessi Jezewska Stevens's The Exhibition of Persephone Q is a darkly witty satire about how easy it is to lose ownership of our own selves. Stevens is in conversation with Amina Cain, the author of two collections of short fiction, Creature and I Go to Some Hollow. _______________________________________________ Produced by Maddie Gobbo &amp; Michael Kowaleski Theme: "I Love All My Friends," a new, unreleased demo by Fragile Gang.

Percy is pregnant. She hasn’t told a soul. Probably she should tell her husband—certainly she means to—but one night she wakes up to find she no longer recognizes him. Now, instead of sleeping, Percy is spending her nights taking walks through her neighborhood, all the while fretting over her marriage, her impending motherhood, and the sinister ways the city is changing. Amid this alienation—from her husband, home, and rapidly changing body—a package arrives. In it: an exhibition catalog for a photography show. The photographs consist of a series of digitally manipulated images of a woman lying on a bed in a red room. It takes a moment for even Percy to notice that the woman is herself . . . but no one else sees the resemblance. Percy must now come to grips with the fundamental question of identity in the digital age: To what extent do we own our own image, and to what extent is that image shaped by the eyes of others? Capturing perfectly the haunted atmosphere of Manhattan immediately after 9/11—and the simmering insanity of America ever since—<a href="https://www.skylightbooks.com/book/9780374150921" rel="nofollow" target="_blank">Jessi Jezewska Stevens's The Exhibition of Persephone Q </a>is a darkly witty satire about how easy it is to lose ownership of our own selves. Stevens is in conversation with Amina Cain, the author of two collections of short fiction, Creature and I Go to Some Hollow. _______________________________________________ Produced by Maddie Gobbo &amp; Michael Kowaleski Theme: "I Love All My Friends," a new, unreleased demo by Fragile Gang.

Jessi Jezewska Stevens, "THE EXHIBITION OF PERSEPHONE Q" w/ Amina Cain

Caren Beilin

Author Amina Cain talks with editor Caren Beilin about illness, health, medical gas-lighting, slowly unraveling, and more!

Podcast #6: Amina Cain & Caren Beilin

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. Cain is in conversation with Adam Novy, author of The Avian Gospels came out in 2010.

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. Cain is in conversation with Adam Novy, author of The Avian Gospels came out in 2010.

Amina Cain, "INDELICACY" w/ Adam Novy

Amina Cain is the guest. Her new novel, Indelicacy, is available from Farrar, Straus, &amp; Giroux.This is Amina's second time on the program. She first appeared in Episode 390 on November 25, 2015.She is also the author of the short story collection Creature, out with Dorothy, a publishing project, and her writing has appeared in Granta, n+1, The Paris Review Daily, BOMB, Full Stop, Vice, the Believer Logger, and elsewhere.She lives in Los Angeles and is a literature contributing editor at BOMB. Today’s episode is sponsored by BetterHelp. Go to Betterhelp.com/Otherppl to get 10% off your first month with discount code OTHERPPL.***Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers.Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Life. Death. Etc.Support the show on PatreonMerchwww.otherppl.com@otherpplInstagram Email the show: letters [at] otherppl [dot] comThe podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

<a href="http://www.aminacain.com" rel="nofollow" target="_blank">Amina Cain</a> is the guest. Her new novel, <a href="https://bookshop.org/a/20530/9780374148379" rel="nofollow" target="_blank">Indelicacy</a>, is available from Farrar, Straus, &amp; Giroux.This is Amina's second time on the program. She first appeared in <a href="https://otherppl.com/amina-cain-interview/" rel="nofollow" target="_blank">Episode 390</a> on November 25, 2015.She is also the author of the short story collection <a href="https://bookshop.org/a/20530/9780984469383" rel="nofollow" target="_blank">Creature</a>, out with <a href="http://dorothyproject.com/" rel="nofollow" target="_blank">Dorothy</a>, a publishing project, and her writing has appeared in Granta, n+1, The Paris Review Daily, BOMB, Full Stop, Vice, the Believer Logger, and elsewhere.She lives in Los Angeles and is a literature contributing editor at <a href="http://bombmagazine.org/" rel="nofollow" target="_blank">BOMB</a>. Today’s episode is sponsored by BetterHelp. Go to <a href="https://betterhelp.com/Otherppl" rel="nofollow" target="_blank">Betterhelp.com/Otherppl</a> to get 10% off your first month with discount code OTHERPPL.***<a href="http://www.otherppl.com/" rel="nofollow" target="_blank">Otherppl with Brad Listi</a> is a weekly literary podcast featuring in-depth interviews with today's leading writers.Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Life. Death. Etc.<a href="http://www.patreon.com/otherpplpod" rel="nofollow" target="_blank">Support the show on Patreon</a><a href="https://cottonbureau.com/products/otherppl-podcast-official-t-shirt" rel="nofollow" target="_blank">Merch</a><a href="http://www.otherppl.com/" rel="nofollow" target="_blank">www.otherppl.com</a><a href="http://www.twitter.com/otherppl" rel="nofollow" target="_blank">@otherppl</a><a href="http://www.instagram.com/otherppl.podcast" rel="nofollow" target="_blank">Instagram</a> Email the show: letters [at] otherppl [dot] comThe podcast is a <a href="https://bookshop.org/shop/otherppl" rel="nofollow" target="_blank">proud affiliate partner of Bookshop</a>, working to support local, independent bookstores. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

623. Amina Cain

Kathryn Scanlan

Fifteen years ago, Kathryn Scanlan found a stranger’s five-year diary at an estate auction in a small town in Illinois. The owner of the diary was eighty-six years old when she began recording the details of her life in the small book, a gift from her daughter and son-in-law. The diary was falling apart―water-stained and illegible in places―but magnetic to Scanlan nonetheless.  After reading and rereading the diary, studying and dissecting it, for the next fifteen years she played with the sentences that caught her attention, cutting, editing, arranging, and rearranging them into the composition that became Aug 9―Fog (she chose the title from a note that was tucked into the diary). “Sure grand out,” the diarist writes. “That puzzle a humdinger,” she says, followed by, “A letter from Lloyd saying John died the 16th.” An entire state of mourning reveals itself in “2 canned hams.” The result of Scanlan’s collaging is an utterly compelling, deeply moving meditation on life and death.  In Aug 9―Fog, Scanlan’s spare, minimalist approach has a maximal emotional effect, remaining with the reader long after the book ends. It is an unclassifiable work from a visionary young writer and artist—a singular portrait of a life revealed by revision and restraint. Scanlan is in conversation with Amina Cain,  the author most recently of the short story collection Creature, out with Dorothy.

Fifteen years ago, Kathryn Scanlan found a stranger’s five-year diary at an estate auction in a small town in Illinois. The owner of the diary was eighty-six years old when she began recording the details of her life in the small book, a gift from her daughter and son-in-law. The diary was falling apart―water-stained and illegible in places―but magnetic to Scanlan nonetheless.  After reading and rereading the diary, studying and dissecting it, for the next fifteen years she played with the sentences that caught her attention, cutting, editing, arranging, and rearranging them into the composition that became Aug 9―Fog (she chose the title from a note that was tucked into the diary). “Sure grand out,” the diarist writes. “That puzzle a humdinger,” she says, followed by, “A letter from Lloyd saying John died the 16th.” An entire state of mourning reveals itself in “2 canned hams.” The result of Scanlan’s collaging is an utterly compelling, deeply moving meditation on life and death.  In Aug 9―Fog, Scanlan’s spare, minimalist approach has a maximal emotional effect, remaining with the reader long after the book ends. It is an unclassifiable work from a visionary young writer and artist—a singular portrait of a life revealed by revision and restraint. Scanlan is in conversation with Amina Cain,  the author most recently of the short story collection Creature, out with Dorothy.

Kathryn Scanlan, "AUG 9--FOG" w/ Amina Cain

Lucy Ives

(Podcast editor's note: The Q&amp;A segment for this event took place off-mic for the most part and, despite our best efforts, the audio is difficult to hear at times.) A witty, urbane, and sometimes shocking debut novel, set in a hallowed New York museum, in which a co-worker’s disappearance and a mysterious map change a life forever Stella Krakus, a curator at Manhattan’s renowned Central Museum of Art, is having the roughest week in approximately ever. Her soon-to-be ex-husband (the perfectly awful Whit Ghiscolmbe) is stalking her, a workplace romance with “a fascinating, hyper-rational narcissist” is in freefall, and a beloved colleague, Paul, has gone missing. Strange things are afoot: CeMArt’s current exhibit is sponsored by a Belgian multinational that wants to take over the world’s water supply, she unwittingly stars in a viral video that’s making the rounds, and her mother–the imperious, impossibly glamorous Caro–wants to have lunch. It’s almost more than she can overanalyze.  But the appearance of a mysterious map, depicting a 19th-century utopian settlement, sends Stella–a dogged expert in American graphics and fluidomanie (don’t ask)–on an all-consuming research mission. As she teases out the links between a haunting poem, several unusual novels, a counterfeiting scheme, and one of the museum’s colorful early benefactors, she discovers the unbearable secret that Paul’s been keeping, and charts a course out of the chaos of her own life. Pulsing with neurotic humor and dagger-sharp prose, Impossible Views of the World is a dazzling debut novel about how to make it through your early thirties with your brain and heart intact. Praise for Impossible Views of the World “An art historical mystery that will interest fans of Donna Tartt’s The Goldfinch, with a narrator equal parts intellectual, ironic, and cool…Scintillating…A diversion and a pleasure, this novel leaves you feeling smarter and hipper than you were before.” — Kirkus Reviews (starred) “Stella is like Hannah Horvath from Girls—smart, with an equal tendency toward snark and introspection—living in From the Mixed-Up Files of Mrs. Basil E. Frankweiler. The novel sends up the museum world, with pretentious art folks courting corporate dollars and the usual office politics, but maintains a sense of something larger, even magical, working in the background.”—Booklist “The charm and energy of Impossible Views of the World rest in Ives’s uncanny eye for the subtle tells of romance, the idiosyncrasies of the NYC young, and the details of 19th-century furniture and art…A clever curatorial mystery, a love-gone-wrong rom-com or a sharp-witted story of a young New York woman, Impossible Views of the World is way more fun than a rainy afternoon in the American Objects wing of a cavernous museum.” —Shelf Awareness “[A] smart and singular debut novel…Ives maximizes her story’s humor with subtlety; a line here and there is enough to call attention to the absurdity of, for instance, the museum’s corporate benefactor’s attempt to secure the world’s water rights. She also isn’t afraid to make her heroine unlikable, which works in the novel’s favor…odd and thoroughly satisfying.” — Publishers Weekly  “I first knew Lucy Ives’s work as a poet, and to have her prose is a gift, too. The detailed novel she’s built with such authenticity, wit, and feeling is remarkable for its vitality, insights, and lyrical view of a changing world.” — Hilton Als, Pulitzer Prize-winning author of White Girls “This book was written by a rampaging, mirthful genius. It stands before me like a runestone, magical, mysterious—an esoteric juggernaut masquerading as a ‘debut novel.’ During the days I spent reading it, I said goodbye to all else.” — Elizabeth McKenzie, author of The Portable Veblen “There are abundant pleasures to be found in Lucy Ives’s debut novel about art curation, corporate control, and utopia (among many other subjects and digressions), but the best is the poetic, elegant intelligence of its narration, vocalized by Stella Krakus, whose every sentence wryly climbs from the ridiculous to the sublime.”  — Teddy Wayne, author of Loner and The Love Song of Jonny Valentine “Lucy Ives, a deeply smart and painstakingly elegant writer, wins the prize with this intricate, droll, stylish book—at once a mystery novel, a romantic comedy, a tricky essay on aesthetics, an exposé of art-world foibles, and a diary of emotional distress.  With sharp phrases, uncanny plot-turns, and mise-en-abymes galore, this mesmerizing tale radiates the haute irreality of Last Year at Marienbad and the dreamy claustrophobia of The Mixed-Up Files of Mrs. Basil E. Frankweiler, this time for adults only.” —Wayne Koestenbaum, author of My 1980s and Other Essays Lucy Ives is the author of several books of poetry and short prose, including The Hermit and the novella nineties. Her writing has appeared in Artforum, Lapham’s Quarterly, and at newyorker.com. For five years she was an editor with the online magazine Triple Canopy. A graduate of Harvard and the Iowa Writers’ Workshop, she holds a Ph.D. in comparative literature from New York University. She teaches at the Pratt Institute and is currently editing a collection of writings by the artist Madeline Gins. Amina Cain is the author of the short story collection Creature, out with Dorothy, a Publishing Project. Her stories and essays have appeared in BOMB, n+1, The Paris Review Daily, and Full Stop, among other places. She lives in Los AngelesEvent date: Wednesday, August 30, 2017 - 7:30pm

(Podcast editor's note: The Q&amp;A segment for this event took place off-mic for the most part and, despite our best efforts, the audio is difficult to hear at times.) A witty, urbane, and sometimes shocking debut novel, set in a hallowed New York museum, in which a co-worker’s disappearance and a mysterious map change a life forever Stella Krakus, a curator at Manhattan’s renowned Central Museum of Art, is having the roughest week in approximately ever. Her soon-to-be ex-husband (the perfectly awful Whit Ghiscolmbe) is stalking her, a workplace romance with “a fascinating, hyper-rational narcissist” is in freefall, and a beloved colleague, Paul, has gone missing. Strange things are afoot: CeMArt’s current exhibit is sponsored by a Belgian multinational that wants to take over the world’s water supply, she unwittingly stars in a viral video that’s making the rounds, and her mother–the imperious, impossibly glamorous Caro–wants to have lunch. It’s almost more than she can overanalyze.  But the appearance of a mysterious map, depicting a 19th-century utopian settlement, sends Stella–a dogged expert in American graphics and fluidomanie (don’t ask)–on an all-consuming research mission. As she teases out the links between a haunting poem, several unusual novels, a counterfeiting scheme, and one of the museum’s colorful early benefactors, she discovers the unbearable secret that Paul’s been keeping, and charts a course out of the chaos of her own life. Pulsing with neurotic humor and dagger-sharp prose, Impossible Views of the World is a dazzling debut novel about how to make it through your early thirties with your brain and heart intact. Praise for Impossible Views of the World “An art historical mystery that will interest fans of Donna Tartt’s The Goldfinch, with a narrator equal parts intellectual, ironic, and cool…Scintillating…A diversion and a pleasure, this novel leaves you feeling smarter and hipper than you were before.” — Kirkus Reviews (starred) “Stella is like Hannah Horvath from Girls—smart, with an equal tendency toward snark and introspection—living in From the Mixed-Up Files of Mrs. Basil E. Frankweiler. The novel sends up the museum world, with pretentious art folks courting corporate dollars and the usual office politics, but maintains a sense of something larger, even magical, working in the background.”—Booklist “The charm and energy of Impossible Views of the World rest in Ives’s uncanny eye for the subtle tells of romance, the idiosyncrasies of the NYC young, and the details of 19th-century furniture and art…A clever curatorial mystery, a love-gone-wrong rom-com or a sharp-witted story of a young New York woman, Impossible Views of the World is way more fun than a rainy afternoon in the American Objects wing of a cavernous museum.” —Shelf Awareness “[A] smart and singular debut novel…Ives maximizes her story’s humor with subtlety; a line here and there is enough to call attention to the absurdity of, for instance, the museum’s corporate benefactor’s attempt to secure the world’s water rights. She also isn’t afraid to make her heroine unlikable, which works in the novel’s favor…odd and thoroughly satisfying.” — Publishers Weekly  “I first knew Lucy Ives’s work as a poet, and to have her prose is a gift, too. The detailed novel she’s built with such authenticity, wit, and feeling is remarkable for its vitality, insights, and lyrical view of a changing world.” — Hilton Als, Pulitzer Prize-winning author of White Girls “This book was written by a rampaging, mirthful genius. It stands before me like a runestone, magical, mysterious—an esoteric juggernaut masquerading as a ‘debut novel.’ During the days I spent reading it, I said goodbye to all else.” — Elizabeth McKenzie, author of The Portable Veblen “There are abundant pleasures to be found in Lucy Ives’s debut novel about art curation, corporate control, and utopia (among many other subjects and digressions), but the best is the poetic, elegant intelligence of its narration, vocalized by Stella Krakus, whose every sentence wryly climbs from the ridiculous to the sublime.”  — Teddy Wayne, author of Loner and The Love Song of Jonny Valentine “Lucy Ives, a deeply smart and painstakingly elegant writer, wins the prize with this intricate, droll, stylish book—at once a mystery novel, a romantic comedy, a tricky essay on aesthetics, an exposé of art-world foibles, and a diary of emotional distress.  With sharp phrases, uncanny plot-turns, and mise-en-abymes galore, this mesmerizing tale radiates the haute irreality of Last Year at Marienbad and the dreamy claustrophobia of The Mixed-Up Files of Mrs. Basil E. Frankweiler, this time for adults only.” —Wayne Koestenbaum, author of My 1980s and Other Essays Lucy Ives is the author of several books of poetry and short prose, including The Hermit and the novella nineties. Her writing has appeared in Artforum, Lapham’s Quarterly, and at <a href="http://newyorker.com" rel="nofollow" target="_blank">newyorker.com</a>. For five years she was an editor with the online magazine Triple Canopy. A graduate of Harvard and the Iowa Writers’ Workshop, she holds a Ph.D. in comparative literature from New York University. She teaches at the Pratt Institute and is currently editing a collection of writings by the artist Madeline Gins. Amina Cain is the author of the short story collection Creature, out with Dorothy, a Publishing Project. Her stories and essays have appeared in BOMB, n+1, The Paris Review Daily, and Full Stop, among other places. She lives in Los AngelesEvent date:  Wednesday, August 30, 2017 - 7:30pm

LUCY IVES READS FROM HER NOVEL IMPOSSIBLE VIEWS OF THE WORLD WITH AMINA CAIN

Amina Cain is the guest. Her latest story collection, Creature, is available now from Dorothy Books.I was unusually tired on the day that Amina came over to do the show. I'm almost always tired these days because of the newborn, but on this particular day it was especially so. The comparison I often make is drunk driving. It can feel like you're driving drunk, talking into a microphone on three hours of sleep. That's probably not the best comparison but you know what I mean. Anyway, my point is that, as tired as I was, talking to Amina was easy and it gave me energy and made me feel better. She has that kind of effect. I imagine I'm not the only person who feels this way. Just a very thoughtful, kind, sincere person, and a very good writer. Hers is a point of view that feels valuable to me, and I'm glad she's writing books and making art. In today's monologue, I read some mail and then talk about money and class anxiety and having low-level panic attacks at parties and try to make sense of what seems to be a growing caste system in America. And so on. Learn more about your ad choices. Visit megaphone.fm/adchoices

Amina Cain is the guest. Her latest story collection, Creature, is available now from Dorothy Books. I was unusually tired on the day that Amina came over to do the show. I'm almost always tired these days because of the newborn, but on this particular day it was especially so. The comparison I often make is drunk driving. It can feel like you're driving drunk, talking into a microphone on three hours of sleep. That's probably not the best comparison but you know what I mean. Anyway, my point is that, as tired as I was, talking to Amina was easy and it gave me energy and made me feel better. She has that kind of effect. I imagine I'm not the only person who feels this way. Just a very thoughtful, kind, sincere person, and a very good writer. Hers is a point of view that feels valuable to me, and I'm glad she's writing books and making art.  In today's monologue, I read some mail and then talk about money and class anxiety and having low-level panic attacks at parties and try to make sense of what seems to be a growing caste system in America. And so on. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>