![]() ![]() “I wanted to go inside the wooden buildings meant to conjure the street of a village,” she says, of a ballet performance. Her bone-clean prose creates a sense of immersion in a story that feels both mythic and true. You get the sense that our author, as well as our heroine, is aware of the limits of words the visual is conjured as much by what is absent. ![]() Cain's bone-clean prose creates a sense of immersion in a story that feels both mythic and trueĪs for the paintings themselves, Indelicacy is ekphrastic, but sparingly so. She stands in front of a painting for a long time and refuses to move when a man clears his throat. She goes to the ballet and experiences the “calm sense that I belonged there”. It is only when she marries a wealthy man that she is – at least initially – liberated. At the museum she is rendered invisible by her class: she scrubs the floor while seeking to understand the works on the walls. Especially when they are so much older, when they are nearly dead themselves,” she says). Men looking at women like that are truly horrible. To men she is only to be gazed on as an object (“He looked at me. Vitória’s understanding of “gaze” is in a state of flux. Her characters are doing either one or the other. ![]() Cain is interested in the act of looking versus being looked at. ![]()
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