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An intimate, elegant, and deceptively sinister story of what a woman will do to take control of her life. A woman aspiring to a contemplative life faces innumerable obstacles--cultural, financial, sexual, and metaphysical -- that stand between her and the freedom to live as she desires. 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 that surround her. She dreams of having the liberty to explore them in writing, and so must find a way to win herself the security and time to use her mind. She escapes her lot by marrying a rich man sympathetic to her "hobby," 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, 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.
A ghostly 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.
Twelve year old Billy is an average kid who, like his friends, is being haunted by a creature in his closet. Billy and his friends embark on a journey to stop this creature and are led into an adventure far beyond what they could have imagined. Along the way, Billy discovers what real labor is and learns to appreciate his previous life that has already slipped away. Labor isn't the biggest challenge Billy must face though, he must accept great responsibility. He must save the world that he is trapped in if he is going to save his own. To restore life as it should be he faces these challenges, but will he overcome all that is against him?
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.
Named a Best Debut Novel of 2020 by Library Journal “Seen through keen eyes and full of deep feeling, Ordinary Hazards delves into the psyche of a woman grappling with grief, loss, and the burdens of inheritance. Anna Bruno vividly renders the messiness of a single human life in all its joy and heartbreak.” —Claire Lombardo, New York Times bestseller For fans of Celeste Ng and Claire Messud comes an impeccably paced and transfixing debut novel about finding hope in the dark. It’s 5pm on a Wednesday when Emma settles into her hometown bar with a motley crew of locals, all unaware that a series of decisions over the course of a single night is about to change their lives forever. As the evening unfolds, key details about Emma’s history emerge, and the past comes bearing down on her like a freight train. Why has Emma, a powerhouse in the business world, ended up here? What is she running away from? And what is she willing to give up to recapture the love she once cherished? An exploration of contemporary love, guilt, and the place we call home, and in the tradition of Ask Again, Yes and Little Fires Everywhere, Ordinary Hazards follows one woman’s epic journey back to a life worth living.
'Outside the sun shines. Buses rumble towards Ealing Broadway and I'm expected to do battle with the powers of darkness. It all seems a little unfair...' You could say it all started with the red-eyed tramp with the slimy fingers who put the wind up Neville, the part-time barman, something rotten. Or when Archroy's wife swapped his trusty Morris Minor for five magic beans while he was out at the rubber factory. On the other hand, you could say it all started a lot earlier. Like 450 years ago, when Borgias walked the earth. Pooley and Omally, stars of the Brentford Laboiur Exchange and the Flying Swan, want nothing to do with it, especially if there's a Yankee and a pint of Large in the offing. Pope Alexander VI, last of the Borgias, has other ideas...
“A sharp, funny, and eccentric debut … Pond makes the case for Bennett as an innovative writer of real talent. … [It]reminds us that small things have great depths.”–New York Times Book Review "Dazzling…exquisitely written and daring ." –O, the Oprah Magazine Immediately upon its publication in Ireland, Claire-Louise Bennett’s debut began to attract attention well beyond the expectations of the tiny Irish press that published it. A deceptively slender volume, it captures with utterly mesmerizing virtuosity the interior reality of its unnamed protagonist, a young woman living a singular and mostly solitary existence on the outskirts of a small coastal village. Sidestepping the usual conventions of narrative, it focuses on the details of her daily experience—from the best way to eat porridge or bananas to an encounter with cows—rendered sometimes in story-length, story-like stretches of narrative, sometimes in fragments no longer than a page, but always suffused with the hypersaturated, almost synesthetic intensity of the physical world that we remember from childhood. The effect is of character refracted and ventriloquized by environment, catching as it bounces her longings, frustrations, and disappointments—the ending of an affair, or the ambivalent beginning with a new lover. As the narrator’s persona emerges in all its eccentricity, sometimes painfully and often hilariously, we cannot help but see mirrored there our own fraught desires and limitations, and our own fugitive desire, despite everything, to be known. Shimmering and unusual, Pond demands to be devoured in a single sitting that will linger long after the last page.