Franklin embodies the archetype of the misunderstood artist, a figure who surrenders his own well-being at the altar of his art and its profound purpose. Although he initially seems a clichéd character, he transcends this stereotype through his boundless imagination and his acknowledged obligations to his wife and child, which burden him with guilt. He emerges as a character deserving of empathy, showing patience and understanding toward both his villainous boss and Cora, who stands in stark opposition to his creative vision. Cora, rather, symbolizes the oppressive mindset of those who dismiss "lower" forms of art—like cartoons, television, and advertisements—as trivial pursuits unworthy of serious attention. Her eventual decision to leave for Rex is unsurprising, as she constantly undermines Franklin’s ambitions. While not entirely unsympathetic, Franklin's enduring love for her highlights the necessity of her absence for the sake of his artistic journey.

In Cora's absence, Stella, another stifled genius, blossoms. She steps out from behind her shell to pursue her own artistic endeavors, creating a comic and aspiring to learn the piano. As she strives to harmonize the disparate influences in her life, she creatively blends her parents' arts—drawing and music—into an expression of her connection to both. For Franklin, she evolves into the supportive partner he had longed for, championing his art while providing the space he needs, yet remaining attentive and present. While her motherly actions sometimes irritate Franklin, it is likely a reflection of his disapproval of the circumstances, shaped by both his and Cora's choices, that have placed Stella in this role.

The Allure of Familial Bonds

This intense familial closeness is a recurring theme in "Catalogue of the Exhibition." The story's narrator repeatedly denies any unnaturalness in the profound bond between Edmund and Elizabeth, evident in their refusal to separate and their near-telepathic connection. Yet, the emotional landscape depicted hints at a relationship that exceeds typical sibling affection. Such insinuations are not uncommon, with historical examples like the reputed bond between sisters Virginia Woolf and Vanessa Bell. Here, the relationship between Edmund and Elizabeth isolates them from society, echoing the physical retreat each artist undertakes—Franklin to his tower, and Edmund to his secluded cottage.

Elizabeth, though not an artist, mirrors Franklin's unwavering dedication to art, drawn to what unsettles her and provokes a visceral response. Her loyalty to Edmund makes her a vital source of insight into his work, yet ultimately undermines her own well-being, leading to her demise. Similarly, the princess of the second novella is led astray by devotion, her loyalty to an unworthy partner setting off a chain of despair and destruction, akin to Elizabeth's rejection of William's marriage proposal.

A Twist on Classic Archetypes

The princess in the second novella presents a fresh take on the traditional fairy tale princess—a paragon of purity and devotion, yet she delves into an emotional abyss rare among her kind. The prince, too, is endowed with atypical traits for a fairy tale character. This narrative choice shifts the focus to the emotional dynamics and inner lives of the characters, a layer often absent in childhood fairy tales. It seems Millhauser has set these archetypal figures loose to navigate "real life" challenges, not merely to fulfill a "happily ever after" destiny.

Edmund: The Tortured Artist

Edmund, the protagonist of the third novella, epitomizes the tortured artist, enslaved by the quest for artistic perfection. His paintings emerge from his anguished soul, offering Millhauser another avenue to explore the artist-art relationship. The narrative complexity is heightened by the distant perspective of the narrator, removed from Edmund’s immediate world. Through this lens, Millhauser elevates the paintings to character status, inviting readers to delve into Edmund's life through the impressions they convey. Viewed as shadowy reflections within the story, the exhibition—crafted from the writings of those around Edmund—captures the essence of his paintings, revealing elusive images beneath layers of paint, often leaving them cryptic and sometimes completely enigmatic.