![]() Cain spoke with me on a warm Saturday morning about her evolving relationship to art, unanswered questions, and what it’s like working with two editors at once. By no means a craft book, one could still learn some things from A Horse at Night, namely, how a person might create a meaningful artistic life for themselves, forming and re-forming one’s aesthetics over time. In A Horse at Night, Cain meditates on art and literature-what she most desires from the work of others and her own-and also wanders into ancillary subjects like authenticity and solitude. ![]() “Mostly I want to go too far, but with a light touch,” she writes in A Horse at Night: On Writing (Dorothy), her second book with Danielle Dutton and Martin Riker’s vaunted independent press, and first work of nonfiction after two collections of short stories and the 2020 novel Indelicacy. Cain approaches writing as a space of “pure possibility and pure freedom,” she says, while remaining a scrupulous self-editor, a sculptor of spare and often surprising sentences. ![]() The gardens, not far from her home in the El Sereno neighborhood of Los Angeles and where she sometimes comes to write, are sprawling yet carefully maintained. When Amina Cain tells me she thinks of writing as an open field, we’re sitting beneath the dense canopy of a tall, shady tree in San Marino’s Huntington Gardens. ![]()
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