A Horse at Night
On Writing
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4.0 • 1 Rating
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- $14.99
Publisher Description
Essayistic inquiries come together into a sustained meditation on writers and their works, on the spaces of reading and writing fiction, and how these spaces take shape inside a life.
In A Horse at Night, Amina Cain contemplates how to be honest, open and free, as a person and a writer, even (and perhaps especially) during a time of great change. She moves elegantly through a personal canon of authors – including Marguerite Duras, Elena Ferrante and Annie Ernaux – and topics as timely and various as female friendships, neighbourhood coyotes, landscape painting and the politics of excess, to profound and joyous effect.
An individual reckoning with the contemporary moment and a quietly brilliant contribution to the lineage of Virginia Woolf's A Room of One's Own or William H. Gass's On Being Blue, A Horse at Night is a virtuosic argument for – and beautiful demonstration of – the essential unity of writing and life.
'An exceptional book, a work of depth and elegance, with Amina Cain's bright intelligence threaded into its very seams. An exquisite creation.' Doireann Ni Ghriofa
PUBLISHERS WEEKLY
Novelist Cain (Indelicacy) offers a rewarding collection of literary musings, combining personal reflections, criticism, and thoughts on the act of writing. Cain writes that "interiority is one of my favorite things to read in fiction—to abide in a narrator's mind if that narrator, that mind, compels me—and when you read a diary you have that, ten fold." Indeed, readers will enjoy abiding in Cain's mind as she moves gracefully from topics as disparate as solitude ("it's hard for us to see our own selves if we're not ever alone"), darkness ("maybe we get closer to something in the dark, or maybe it's the opposite"), pets ("We are both neurotic," she writes of her cat, Trout), and art ("How strange and sometimes demonic the faces of babies and children in early portrait paintings"). Books, films, and other artworks serve as signposts along the way—reflections on the work of Virginia Woolf, Italo Calvino, and Elena Ferrante appear frequently, plus she considers paintings by Paul Delvaux and Marie NDiaye. Readers will relish following Cain's winding prose and carefully considered conclusions. Fans of her work—and of literary criticism more generally—won't want to miss this.
