But in her new marriage Vitória breaks their connection and they are estranged for a long time afterwards. Antoinette, a fellow cleaner at the museum, was a good friend of hers and driven by materialistic daydreams. Her connections with other women also provides an interesting contrast to her own experiences. Becoming financially secure through her marriage gives her more time and freedom to write, but it also creates new anxieties and problems for the narrator. Yet this novel does also say something striking about class and privilege. It also allows a more concentrated focus on her inner life and thought process as larger societal issues aren't involved. The time and place of the story is never specified which gives the narrator's tale a kind of timeless quality. This novel is also a fascinating character study of an abrasive personality who sometimes struggles or fails to connect with women and men in enticingly dramatic ways. It also shows how the impulse to create can be a motivation that both sustains and debilitates us as it can supersede every other form of human desire.
In doing so, this story builds to a fascinating meditation about the creative process and the way the imagination interacts with our subjective reality. She jots down striking observations and interpretations about the paintings she sees in the museum and many of these are reproduced in the text of Cain's novel. The form of her writing changes over time. Throughout her life she's been driven by a passionate desire to write. It's a retrospective tale narrated by Vitória who worked as a cleaner in a museum before marrying a wealthy man.
But Amina Cain's “Indelicacy” does something very different with this well trodden subject matter. So much so that it's almost become an eye-rolling cliché and could be considered the ultimate form of navel-gazing. There have been many novels about writers grappling with the process of writing.
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