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Willa Cather Quote the Land Breathing in the People and Back Out Again

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American writer (1873–1947)

Willa Cather
White woman looking straight ahead with a black hat

Cather in 1936
Built-in Wilella Sibert Cather
(1873-12-07)December seven, 1873
Gore, Virginia, U.S.
Died April 24, 1947(1947-04-24) (aged 73)
Manhattan, New York, U.S.
Resting identify Jaffrey, New Hampshire
Occupation Novelist
Period 1905–1947
Partner Edith Lewis (c. 1908–1947)
Signature

Willa Sibert Cather (;[1] born Wilella Sibert Cather; December 7, 1873[A] – Apr 24, 1947) was an American writer known for her novels of life on the Great Plains, including O Pioneers!, The Song of the Lark, and My Ántonia. In 1923, she was awarded the Pulitzer Prize for One of Ours, a novel set during World War I.

Willa Cather and her family moved from Virginia to Webster County, Nebraska, when she was nine years old. The family after settled in the town of Red Deject. Shortly later on graduating from the University of Nebraska–Lincoln, Cather moved to Pittsburgh for ten years, supporting herself equally a magazine editor and high school English teacher. At the age of 33, she moved to New York City, her primary home for the rest of her life, though she also traveled widely and spent considerable time at her summer residence on Grand Manan Island, New Brunswick. She spent the final 39 years of her life with her domestic partner, Edith Lewis, before being diagnosed with breast cancer and dying of a cognitive hemorrhage. She is buried alongside Lewis in a Jaffrey, New Hampshire, plot.

Cather achieved recognition as a novelist of the frontier and pioneer feel. She wrote of the spirit of those settlers moving into the western states, many of them European immigrants in the nineteenth century. Common themes in her work include nostalgia and exile. A sense of place is an of import chemical element in Cather'southward fiction: physical landscapes and domestic spaces are for Cather dynamic presences confronting which her characters struggle and detect community.

Early life and educational activity [edit]

One-and-a-half-story house with gable roof and small front porch; surrounded by picket fence

Cather was born in 1873 on her maternal grandmother'southward farm in the Back Creek Valley near Winchester, Virginia.[17] [18] Her male parent was Charles Fectigue Cather.[19] The Cather family unit originated in Wales,[20] the proper noun deriving from Cadair Idris, a Gwynedd mountain.[21] : three Her mother was Mary Virginia Boak, a former schoolhouse teacher.[22] Past the time Cather turned twelve months former, the family had moved to Willow Shade, a Greek Revival-way habitation on 130 acres given to them by her paternal grandparents.[23]

Mary Cather had six more children afterward Willa: Roscoe, Douglass,[B] Jessica, James, John, and Elsie.[26] : 5–7 Cather was closer to her brothers than to her sisters whom, according to biographer Hermione Lee, she "seems non to accept liked very much."[27] : 36

At the urging of Charles Cather's parents, the family moved to Nebraska in 1883 when Willa was 9 years old. The farmland appealed to Charles' father, and the family wished to escape the tuberculosis outbreaks that were rampant in Virginia.[27] : 30 Willa'due south father tried his manus at farming for xviii months, then moved the family unit into the town of Red Cloud, where he opened a real estate and insurance business, and the children attended schoolhouse for the first time.[28] : 43 Some of Cather's primeval work was showtime published in the Red Cloud Chief, the metropolis's local paper,[29] and Cather read widely, having made friends with a Jewish couple, the Wieners, who offered her free access to their all-encompassing library in Red Cloud.[30] At the same time, she made house calls with the local md and decided to go a surgeon.[31] [32] For a short while, she signed her name as William,[33] simply this was rapidly abandoned for Willa instead.[17]

In 1890, at the historic period of xvi, Cather graduated from Red Cloud Loftier School.[34] She moved to Lincoln, Nebraska to enroll at the University of Nebraska–Lincoln. In her first year, her essay on Thomas Carlyle was published in the Nebraska State Journal without her noesis.[35] [36] After this, she published columns for $1 apiece, saying that seeing her words printed on the folio had "a kind of hypnotic effect", pushing her to keep writing.[36] [37] After this experience, she became a regular contributor to the Journal. In addition to her work with the local paper, Cather served equally the main editor of The Hesperian, the university's pupil paper, and became a writer for the Lincoln Courier.[38] While at the university, she learned mathematics from and was befriended by John J. Pershing, who later became Full general of the Armies and, similar Cather, earned a Pulitzer Prize for his writing.[39] [twoscore] She inverse her plans from studying science to become a physician, instead graduating with a Bachelor of Arts in English in 1895.[28] : 71

Cather's time in Nebraska, still considered a frontier state, was a formative experience for her: She was moved past the dramatic surround and weather, the vastness of the prairie, and the various cultures of the immigrant[41] and Native American families in the surface area.[42] [43]

Life and career [edit]

In 1896, Cather was hired to write for a women'southward magazine, Dwelling house Monthly, and moved to Pittsburgh.[10] [44] There, she wrote journalistic pieces, short stories, and poetry.[37] A year later, after the mag was sold,[45] she became a telegraph editor and critic for the Pittsburgh Leader and frequently contributed poetry and short fiction to The Library, another local publication.[46] In Pittsburgh, she taught Latin, algebra, and English composition at Key High School for one twelvemonth;[47] she and so taught English language and Latin at Allegheny High School, where she came to head the English department.[48] [49]

Presently after moving to Pittsburgh, Cather wrote short stories, including publishing "Tommy, the Unsentimental" in the Domicile Monthly,[l] about a Nebraskan girl with a masculine name who looks like a boy and saves her begetter'due south depository financial institution business organisation. Janis P. Stout calls this story 1 of several Cather works that "demonstrate the speciousness of rigid gender roles and give favorable treatment to characters who undermine conventions."[51] Her first volume, a drove of poesy called April Twilights, was published in 1903.[C] Soon after this, in 1905, Cather'due south first collection of brusque stories, The Troll Garden, was published. It contained some of her near famous stories, including "A Wagner Matinee", "The Sculptor's Funeral", and "Paul'due south Case".[sixty]

After Cather was offered an editorial position at McClure's Mag in 1906, she moved to New York City.[61] During her first yr at McClure's, she ghostwrote a critical biography of the religious leader Mary Baker Boil, crediting freelance researcher Georgine Milmine instead. While Milmine had performed copious amounts of enquiry, she did non have the resource to produce a manuscript independently, instead employing Cather.[62] This biography was serialized in McClure's over the adjacent xviii months and and then published in book grade. McClure'southward also serialized Cather'southward get-go novel, Alexander's Span (1912). While most reviews were favorable,[63] [64] such as The Atlantic calling the writing "deft and skillful",[65] Cather herself soon saw the novel as weak and shallow.[66]

Cather followed Alexander's Bridge with her iii novels set in the Peachy Plains, which somewhen became both pop and critical successes: O Pioneers! (1913),[67] The Song of the Distraction (1915),[68] and My Ántonia (1918),[69] which are—taken together—sometimes referred to as her "Prairie Trilogy".[lxx] [71] Information technology is this succession of plains-based novels for which Cather was historic for her utilise of plainspoken language about ordinary people.[72] [73] Sinclair Lewis, for example, praised her piece of work for making Nebraska bachelor to the wider world for the first time.[74] After writing The Great Gatsby, F. Scott Fitzgerald lamented that it was a failure in comparison to My Ántonia.[75]

1920s [edit]

As belatedly every bit 1920, Cather became dissatisfied with the performance of her publisher, Houghton Mifflin, which devoted an advertising budget of only $300 to My Ántonia,[76] and refused to pay for all the illustrations she commissioned for the book from Władysław T. Benda.[69] What's more, the physical quality of the books was poor.[77] That year, she turned to the immature publishing business firm, Alfred A. Knopf, which had a reputation for supporting its authors through advertizing campaigns.[76] She also liked the expect of its books and had been impressed with its edition of Dark-green Mansions past William Henry Hudson.[76] She so enjoyed their style that all her Knopf books of the 1920s—relieve for i printing of her short story collection Youth and the Brilliant Medusa—matched in design on their second and subsequent printings.[78]

By this time, Cather was firmly established every bit a major American writer, receiving the Pulitzer Prize in 1923 for her World State of war I-based novel, One of Ours.[76] She followed this up with the popular Decease Comes for the Archbishop in 1927, selling 86,500 copies in just ii years,[79] and which has been included on the Modernistic Library 100 All-time Novels of the twentieth century.[76] Two of her three other novels of the decade—A Lost Lady and The Professor'south House—elevated her literary status dramatically. She was invited to requite several hundred lectures to the public, earned meaning royalties, and sold the movie rights to A Lost Lady. Her other novel of the decade, the 1926 My Mortal Enemy, received no widespread acclaim—and in fact, neither she nor her partner, Edith Lewis, made pregnant mention of it later in their lives.[fourscore]

Despite her success, she was the subject of much criticism, especially surrounding One of Ours. Her close friend, Elizabeth Shepley Sergeant, saw the novel as a expose of the realities of war, not understanding how to "bridge the gap between [Cather's] idealized war vision ... and my own stark impressions of war as lived."[81] Similarly, Ernest Hemingway took consequence with her portrayal of war, writing in a 1923 alphabetic character: "Wasn't [the novel's] final scene in the lines wonderful? Practice you know where it came from? The battle scene in Birth of a Nation. I identified episode after episode, Catherized. Poor adult female, she had to become her war experience somewhere."[82]

1930s [edit]

By the 1930s, an increasingly large share of critics began to dismiss her as overly romantic and cornball, unable to grapple with contemporary issues:[83] Granville Hicks, for instance, charged Cather with escaping into an idealized by to avoid confronting them.[84] [85] And it was particularly in the context of the hardships of the Great Depression in which her work was seen as lacking social relevance.[86] Similarly, critics—and Cather herself[87]—were disappointed when her novel A Lost Lady was fabricated into a film; the film had little resemblance to the novel.[88] [89]

Cather's lifelong bourgeois politics,[ninety] [D] appealing to critics such as Mencken, Randolph Bourne, and Carl Van Doren, soured her reputation with younger, often left-leaning critics similar Hicks and Edmund Wilson.[95] [96] Despite this disquisitional opposition to her piece of work, Cather remained a popular writer whose novels and short story collections continued to sell well; in 1931 Shadows on the Stone was the most widely read novel in the The states, and Lucy Gayheart became a bestseller in 1935.[18]

While Cather made her concluding trip to Ruby Cloud in 1931 for a family unit gathering after her female parent'due south death, she stayed in touch with her Ruddy Cloud friends and sent money to Annie Pavelka and other families during the Depression years.[27] : 327 In 1932, Cather published Obscure Destinies, her final collection of short fiction, which independent "Neighbor Rosicky", one of her most highly regarded stories. That aforementioned summer, she moved into a new flat on Park Avenue with Edith Lewis, and during a visit on M Manan, she probably began working on her next novel, Lucy Gayheart.[97] [E]

Cather suffered two devastating losses in 1938.[116] [117] [118] In June, her favorite blood brother, Douglass, died of a heart assault. Cather was too grief-stricken to attend the funeral.[28] : 478 Four months later, Isabelle McClung died. Cather and McClung had lived together when Cather first arrived in Pittsburgh, and while McClung eventually married and moved with her husband to Toronto,[119] the two women remained devoted friends.[120] [121] [F] Cather wrote that Isabelle was the person for whom she wrote all her books.[124]

Final years [edit]

During the summer of 1940, Cather and Lewis went to K Manan for the last time, and Cather finished her final novel, Sapphira and the Slave Girl, a book much darker in tone and subject matter than her previous works.[28] : 483 [125] While Sapphira is understood past readers as lacking a moral sense and declining to evoke empathy,[126] the novel was a great critical and commercial success, with an advance press of 25,000 copies.[79] Information technology was then adopted past the Book of the Month Club,[127] which bought more than 200,000 copies.[128] Her final story, "The Best Years",[129] intended as a gift for her brother,[130] was retrospective. It contained images or "keepsakes" from each of her twelve published novels and the curt stories in Obscure Destinies.[131]

Although an inflamed tendon in her hand hampered her writing, Cather managed to end a substantial function of a novel set in Avignon, France. She had titled it Hard Punishments and placed information technology in the 14th century during the reign of Antipope Bridegroom Xiv.[27] : 371 She was elected a fellow of the American Academy of Arts and Sciences in 1943.[132] The aforementioned year, she executed a volition that prohibited the publication of her letters and dramatization of her works.[123] In 1944, she received the gold medal for fiction from the National Institute of Arts and Letters, a prestigious award given for an writer's total accomplishments.[133]

Cather was diagnosed with breast cancer in December 1945 and underwent a mastectomy on January 14, 1946.[134] : 294–295 Probably by early 1947, her cancer metastasized to her liver, becoming stage Four cancer.[134] : 296 Virtually a twelvemonth afterward, on April 24, 1947, Cather died of a cognitive hemorrhage, at the historic period of 73, in her dwelling at 570 Park Avenue in Manhattan.[135] [136] Later on Cather's decease, Edith Lewis destroyed the manuscript of Difficult Punishments, according to Cather's instructions.[137] She is buried at the southwest corner of the Quondam Burying Ground in Jaffrey, New Hampshire,[138] alongside Edith Lewis[139] [140]—a place she first visited when joining Isabelle McClung and her husband, violinist Jan Hambourg,[141] at the Shattuck Inn, where she routinely visited later in life owing to its seclusion.[142] [143]

Bibliography [edit]

Green and yellow prairie grasses adorn a hill

Novels

  • Alexander'southward Bridge (1912)
  • O Pioneers! (1913)
  • The Song of the Lark (1915)
  • My Ántonia (1918)
  • 1 of Ours (1922)
  • A Lost Lady (1923)
  • The Professor's House (1925)
  • My Mortal Enemy (1926)
  • Death Comes for the Archbishop (1927)
  • Shadows on the Rock (1931)
  • Lucy Gayheart (1935)
  • Sapphira and the Slave Daughter (1940)

Short fiction

  • The Troll Garden (1905)
  • Youth and the Bright Medusa (1920)
  • Obscure Destinies (1932)
  • Neighbor Rosicky (1932)
  • The Old Beauty and Others (1948)
  • Willa Cather'south Nerveless Short Fiction, 1892–1912 (1965)
  • Uncle Valentine and Other Stories: Willa Cather's Uncollected Brusk Fiction, 1915–1929 (1972)

Poesy

  • Apr Twilights (1903)
  • April Twilights and Other Poems (1923)

Personal life [edit]

Woman in Western apparel, tipping a cowboy hat

Willa Cather in the Mesa Verde wilds, c. 1915

Scholars disagree about Cather'southward sexual identity. Some believe it impossible or anachronistic to make up one's mind whether she had same-sex attraction,[144] [145] while others disagree.[146] [147] [148] Researcher Deborah Carlin suggests that denial of Cather existence a lesbian is rooted in treating aforementioned-sexual activity desire "every bit an insult to Cather and her reputation", rather than a neutral historical perspective.[149] Melissa Homestead has argued that Cather was attracted to Edith Lewis, and in so doing, asked: "What kind of show is needed to establish this equally a lesbian relationship? Photographs of the two of them in bed together? She was an integral part of Cather'south life, creatively and personally."[17] Across her own relationships with women, Cather'due south reliance on male characters has been used to support the idea of her same-sex allure.[150] [One thousand]

In any event, throughout Cather's adult life, her closest relationships were with women. These included her college friend Louise Pound; the Pittsburgh socialite Isabelle McClung, with whom Cather traveled to Europe and at whose Toronto home she stayed for prolonged visits;[154] the opera vocalist Olive Fremstad;[155] and nigh notably, the editor Edith Lewis, with whom Cather lived the final 39 years of her life.[156]

Cather'southward relationship with Lewis began in the early on 1900s. They lived together in a series of apartments in New York City from 1908 until Cather'southward death in 1947. From 1913 to 1927, Cather and Lewis lived at No. 5 Banking concern Street in Greenwich Village.[157] They moved when the apartment was scheduled for sabotage during the construction of the Broadway–Seventh Artery New York Urban center Subway line (at present the ane, ​2, and ​3 trains).[158] [159] While Lewis was selected equally the literary trustee for Cather's estate,[53] she was not simply a secretary for Cather'south documents but an integral part of Cather's creative process.[160]

Offset in 1922, Cather spent summers on the island of Grand Manan in New Brunswick, where she bought a cottage in Whale Cove on the Bay of Fundy. This is where her short story, "Earlier Breakfast", is set.[xviii] [161] She valued the seclusion of the island and did not mind that her cottage had neither indoor plumbing nor electricity. Anyone wishing to attain her could do then by telegraph or mail service.[28] : 415 In 1940, she stopped visiting Grand Manan afterward Canada's entrance to Globe State of war 2, equally travel was considerably more difficult; she as well began a long recuperation from gallbladder surgery in 1942 that restricted travel.[162] [134] : 266–268

A resolutely private person, Cather destroyed many drafts, personal papers, and letters, request others to do the aforementioned.[163] While many complied, some did not.[164] Her will restricted the ability of scholars to quote from the personal papers that remain.[123] Only in April 2013, The Selected Messages of Willa Cather—a collection of 566 letters Cather wrote to friends, family, and literary acquaintances such every bit Thornton Wilder and F. Scott Fitzgerald—was published, two years after the death of Cather's nephew and 2d literary executor, Charles Cather. Willa Cather'south correspondence revealed the complexity of her character and inner globe.[165] The messages do not disclose any intimate details about Cather's personal life, but they practice "brand clear that [her] primary emotional attachments were to women."[166] The Willa Cather Archive at the University of Nebraska–Lincoln works to digitize her complete body of writing, including private correspondence and published work. Equally of 2021, almost two,100 letters have been made freely available to the public, in addition to transcription of her ain published writing.[167] [168]

Writing influences [edit]

Cather admired Henry James's use of language and characterization.[169] While Cather enjoyed the novels of several women—including George Eliot,[170] the Brontës, and Jane Austen—she regarded most women writers with disdain, judging them overly sentimental.[28] : 110 One contemporary exception was Sarah Orne Jewett, who became Cather's friend and mentor.[H] Jewett brash Cather of several things: to utilise female person narrators in her fiction (even though Cather preferred using male perspectives),[175] [176] to write nearly her "own country" (O Pioneers! was dedicated in large role to Jewett),[177] [178] [179] and to write fiction that explicitly represented romantic attraction between women.[180] [181] [182] [I] Cather was also influenced by the work of Katherine Mansfield,[96] praising in an essay Mansfield's ability "to throw a luminous streak out onto the shadowy realm of personal relationships."[184]

Cather'due south high regard for the immigrant families forging lives and enduring hardships on the Nebraska plains shaped much of her fiction. The Burlington Depot in Ruby Deject brought in many foreign and wonderful people to her small town. Equally a child, she visited immigrant families in her area and returned home in "the most unreasonable state of excitement," feeling that she "had got inside another person's skin."[21] : 169–170 After a trip to Carmine Cloud in 1916, Cather decided to write a novel based on the events in the life of her childhood friend Annie Sadilek Pavelka, a Bohemian girl who became the model for the title character in My Ántonia.[69] [185] [186] Cather was likewise fascinated by the French-Canadian pioneers from Quebec who had settled in the Red Cloud area while she was a daughter.[187] [188]

During a cursory stopover in Quebec with Edith Lewis in 1927, Cather was inspired to write a novel set up in that French-Canadian city. Lewis recalled: "From the first moment that she looked downwards from the windows of the [Chateau] Frontenac [Hotel] on the pointed roofs and Norman outlines of the town of Quebec, Willa Cather was not merely stirred and overjoyed—she was overwhelmed past the flood of memories, recognition, surmise it called up; by the sense of its extraordinary French character, isolated and kept intact through hundreds of years, as if by a miracle, on this great un-French continent."[28] : 414–xv Cather finished her novel Shadows on the Rock, a historical novel ready in 17th-century Quebec, in 1931;[189] it was afterwards included in Life magazine'south list of the 100 outstanding books of 1924–1944.[190] The French influence is institute in many other Cather works, including Decease Comes for the Archbishop (1927) and her concluding, unfinished novel set in Avignon, Difficult Punishments.[187]

Literary style and reception [edit]

Although Cather began her writing career as a journalist, she made a stardom betwixt journalism, which she saw as being primarily informative, and literature, which she saw as an art grade.[191] : 27 Cather's piece of work is often marked by—and criticized for[192]—its nostalgic tone[96] [193] [194] and themes drawn from memories of her early years on the American plains.[195] [196] Consequently, a sense of place is integral to her work: notions of land,[197] the frontier,[J] pioneering and relationships with western landscapes are recurrent.[199] [200] [201] Even when her heroines were placed in an urban environment, the influence of identify was critical, and the way that power was displayed through room layout and piece of furniture is axiomatic in her novels like My Mortal Enemy.[202] Though she hardly confined herself to writing exclusively about the Midwest, Cather is about inseparable from the Midwestern identity that she actively cultivated (even though she was not a "native" Midwesterner).[203] While Cather is said to have significantly altered her literary arroyo in each of her novels,[204] [205] this stance is not universal; some critics have charged Cather with being out of bear on with her times and declining to use more than experimental techniques in her writing, such as stream of consciousness,[191] : 36 [206] [207] likewise every bit defining her literary genre every bit nothing simply romantic.[208] At the aforementioned time, others have pointed out that Cather could follow no other literary path but her own:

She had formed and matured her ideas on art before she wrote a novel. She had no more reason to follow Gertrude Stein and James Joyce, whose work she respected, than they did to follow her. Her way solves the issues in which she was interested. She wanted to stand midway between the journalists whose all-seeing objectivity accrue more fact than any grapheme could notice and the psychological novelist whose use of subjective point of view stories distorts objective reality. She developed her theory on a middle ground, selecting facts from experience on the ground of feeling and so presenting the experience in a lucid, objective style.[209]

The English novelist A. S. Byatt has written that with each work Cather reinvented the novel form to investigate the changes in the human condition over time.[210] Particularly in her borderland novels, Cather wrote of both the dazzler and terror of life.[211] Like the exiled characters of Henry James, an author who had a pregnant influence on the author,[212] most of Cather'southward major characters alive equally exiled immigrants,[211] identifying with the immigrants' "sense of homelessness and exile" following her ain feelings of exile living on the frontier. It is through their engagement with their environment that they proceeds their community.[213] Susan J. Rosowski wrote that Cather was perchance the first to grant immigrants a respectable position in American literature.[214]

Notes [edit]

Footnotes [edit]

  1. ^ Sources are inconsistent on the date of Cather's birth, in large role because she fabricated—or equally scholar Jean Schwind says, "chronically lied well-nigh"[ii]—the date.[3] [4] [five] The 1873 appointment is confirmed by a birth document, an 1874 letter of her father's referring to her,[half-dozen] academy records,[7] and Cather scholarship—both modern and historical.[eight] [9] [x] [eleven] At the management of the staff of McClure's Magazine, Cather claimed to exist born in 1875.[12] Later 1920, she claimed 1876 equally her nascence year; this date has since been replicated in several scholarly sources.[13] [14] [xv] That is the engagement carved into her gravestone at Jaffrey, New Hampshire.[16]
  2. ^ According to Elsie, Douglass'due south existent name was Douglas, just Willa wanted him to spell it every bit Douglass, so he spelled it that way to delight her.[24] [25]
  3. ^ This collection of poesy, while described as unremarkable,[52] was republished several times by Cather over her life, although with significant alterations.[53] Xi of these poems were never again published subsequently 1903.[54] This early on experience with traditional, sentimental poetry—without alteration from this scheme[55]—was the basis for the residue of her literary career;[56] she remarked that ane's earliest writing is formative.[57] While Cather's success was primarily in prose, her republishing of her earliest poetry suggests she wished to be taken as a poet also.[58] But this is contradicted by Cather's own words, where in 1925, where she wrote, "I practise not take myself seriously as a poet."[54] [59]
  4. ^ Not all critics see her 1930s political views every bit bourgeois; Reynolds argues that while she was reactionary later in life, she subscribed to a form of rural populism and progressivism, built on the continuity of community,[91] and Clasen views her as a progressive.[92] Similarly, information technology has been suggested she was distinctly opaque, and that in terms of literary innovation, she was solidly progressive, even radical.[93] [94]
  5. ^ Some sources indicate that Cather began writing Lucy Gayheart in 1933.[98] [99] Homestead argues instead that she truly began writing in the summer of 1932.[97] Some sources agree with her.[100] [101] Others are imprecise or ambiguous.[102] [103] [104] [105] Her thought for the story may have been formed as early on as the 1890s (using the proper noun Gayhardt instead of Gayheart, based on a woman she met at a party),[106] and information technology is possible she began writing as early equally 1926[107] [108] [109] or 1927.[110] While she intended to name the novel Blue Eyes on the Platte early on, she changed the championship[111] and made Lucy's eyes brown.[112] Stout suggests mention of Blueish Eyes on the Platte may take been facetious, only beginning to write and call up about Lucy Gayheart in 1933.[107] This is contradicted by Edith Lewis insisting that not just did she begin working on Blue Eyes on the Platte "several years before" 1933, but that it was the precursor to Lucy Gayheart.[113] Regardless of which of these details are true, it is known that Cather reused images from her 1911 brusk story, "The Joy of Nelly Deane", in Lucy Gayheart.[114] [115] "The Joy of Nelly Deane" may be best understood as an before version of Lucy Gayheart altogether.[4]
  6. ^ Cather wrote hundreds of messages to McClung over her life, and most of them were returned to Cather by McClung'south husband. Most all of these were destroyed.[122] [123]
  7. ^ Some scholars also use this male person-centered narrative approach to read Cather as transmasculine[151] or but masculine.[152] [153]
  8. ^ Some sources depict the relationship using stronger language: as Cather being Jewett'due south protégé.[171] [172] Either way, Jewett's remarkable influence on Cather is evidenced not merely past her delivery to regionalism,[173] but also by Cather's (mayhap overstated) part in editing The State of the Pointed Firs.[174]
  9. ^ Jewett wrote in a letter to Cather, "with what deep happiness and recognition I have read the "McClure" story,—night before final I found it with surprise and delight. It made me feel very near to the author's young and loving heart. You lot accept fatigued your ii figures of the married woman and her husband with unerring touches and wonderful tenderness for her. It makes me the more certain that you are far on your route toward a fine and long story of very high class. The lover is also done equally he could be when a adult female writes in the human'southward character,—it must always, I believe, exist something of a masquerade. I think it is safer to write about him as you did virtually the others, and not try to be he! And you lot could almost accept done it as yourself—a woman could love her in that aforementioned protecting way—a woman could even care plenty to wish to accept her away from such a life, by some means or other. But oh, how close—how tender—how truthful the feeling is!"[183]
  10. ^ Betwixt 1891 and Cather's publication of The Song of the Lark, there was a paucity of novels dealing with farm life. By the 1920s, however, literary interest in rural life and the frontier grew considerably.[198]

References [edit]

  1. ^ "willa-cather – Definition, pictures, pronunciation and usage notes | Oxford Avant-garde Learner's Lexicon at OxfordLearnersDictionaries.com". oxfordlearnersdictionaries.com.
  2. ^ Schwind, Jean (1985). "Latour's Schismatic Church: The Radical Meaning in the Pictorial Methods of Death Comes for the Archbishop". Studies in American Fiction. 13 (1): 71–88. doi:10.1353/saf.1985.0024. S2CID 161453359.
  3. ^ Wilson, James Southall (1953). "Of Willa Cather". The Virginia Quarterly Review. 29 (3): 470–474. ISSN 0042-675X. JSTOR 26439850.
  4. ^ a b Bradford, Curtis (1955). "Willa Cather's Uncollected Short Stories". American Literature. 26 (4): 537–551. doi:ten.2307/2921857. ISSN 0002-9831. JSTOR 2921857.
  5. ^ Morley, C. (September ane, 2009). "DAVID PORTER. On the Dissever: The Many Lives of Willa Cather". The Review of English language Studies. threescore (246): 674–676. doi:10.1093/res/hgp042.
  6. ^ Weddle, Mary Ray. "Mower's Tree | Willa Cather Archive". cather.unl.edu . Retrieved January 22, 2021.
  7. ^ Shively, James R. (1948). "Willa Cather Juvenilia". Prairie Schooner. 22 (one): 97–111. ISSN 0032-6682. JSTOR 40623968.
  8. ^ Carpentier, Martha C. (2007). "The Deracinated Self: Immigrants, Orphans, and the "Migratory Consciousness" of Willa Cather and Susan Glaspell". Studies in American Fiction. 35 (2): 132. doi:10.1353/saf.2007.0001. S2CID 162245931.
  9. ^ Jewell, Andrew (2007). "'Curious Survivals': The Letters of Willa Cather". New Letters. 74 (1): 154–175.
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  156. ^ Griswold, Wendy; Michelson, Anna (September 2020). "The Outsider'due south Edge: Geography, Gender, and Sexuality in the Local Color Movement". Sociological Forum. 35 (three): 628–647. doi:10.1111/socf.12622. S2CID 225426519.
  157. ^ Jewell, Andrew (2004). "Willa Cather'south Greenwich Village: New Contexts for "Coming, Aphrodite!"". Studies in American Fiction. 32 (i): 59–80. doi:10.1353/saf.2004.0009. S2CID 162380556.
  158. ^ Bunyan, Patrick (2011). All Around the Town: Amazing Manhattan Facts and Curiosities (Second ed.). p. 66. ISBN978-0-823-23174-iv.
  159. ^ Stout, Janis P. (1991). "Autobiography as Journey in The Professor'south Firm". Studies in American Fiction. 19 (2): 203–215. doi:10.1353/saf.1991.0019. S2CID 161087364.
  160. ^ Homestead, Melissa J. (2013). "Willa Cather, Edith lewis, and Collaboration: The Southwestern Novels of the 1920s and Beyond". Studies in the Novel. 45 (3): 408–441. ISSN 0039-3827. JSTOR 23594850.
  161. ^ Thacker, Robert (1992). "Alice Munro'south Willa Cather". Canadian Literature. 134 (Autumn 1992): 43–57.
  162. ^ Harbison, Sherrill (2000). "Willa Cather and Sigrid Undset: The Correspondence in Oslo". Resources for American Literary Written report. 26 (two): 240. doi:ten.1353/rals.2000.0024. S2CID 162396411.
  163. ^ Simmons, Thomas E. (2018). "A Will for Willa Cather". Missouri Police Review. 83 (3).
  164. ^ Stout, Janis P. (2009). "Between Candor and Darkening: Willa Cather and (Car)Biography". Biography. 32 (3): 467–492. ISSN 0162-4962. JSTOR 23540820.
  165. ^ Christopher Benfey. Willa Cather's Correspondence Reveals Something New: The rage of a corking American novelist, The New Republic, October 12, 2013.
  166. ^ Schuessler, Jennifer. "O Revelations! Letters, Once Banned, Flesh Out Willa Cather". The New York Times. March 22, 2013, A1.
  167. ^ "About | Willa Cather Annal". cather.unl.edu . Retrieved December 26, 2019.
  168. ^ "The Complete Letters | Willa Cather Archive". cather.unl.edu . Retrieved February 3, 2021.
  169. ^ Cather, Willa (2004). Curtin, William Thousand. (ed.). The Earth and the Parish: Willa Cather'due south Manufactures and Reviews, 1893–1902 ([Repr. of the 1970] ed.). University of Nebraska Press. p. 248. ISBN978-0-80321-544-3.
  170. ^ Laird, David (1992). "Willa Cather's Women: Gender, Place, and Narrativity in "O Pioneers!" and "My Ántonia"". Not bad Plains Quarterly. 12 (4): 242–253. ISSN 0275-7664. JSTOR 23531660.
  171. ^ Rosenberg, Liz (May xvi, 1993). "SARAH ORNE JEWETT: A 'NATURALLY AMERICAN' Writer". Chicago Tribune . Retrieved February iv, 2021.
  172. ^ Shannon, Laurie (1999). ""The State of Our Friendship": Jewett's Intimist Fine art". American Literature. 71 (2): 227–262. ISSN 0002-9831. JSTOR 2902810.
  173. ^ REYNOLDS, GUY (2013). "The Transatlantic Virtual Salon: Cather and the British". Studies in the Novel. 45 (3): 349–368. ISSN 0039-3827. JSTOR 23594847.
  174. ^ Homestead, Melissa (2016). "Willa Cather Editing Sarah Orne Jewett". American Literary Realism. 49 (1): 63–89. doi:x.5406/amerlitereal.49.1.0063. ISSN 1540-3084. JSTOR ten.5406/amerlitereal.49.1.0063. S2CID 164607316.
  175. ^ Rose, Phyllis (September 11, 1983). "THE POINT OF VIEW WAS MASCULINE". The New York Times. p. 92.
  176. ^ Carlin, Deborah (2015). "Cather'south Jewett: Relationship, Influence, and Representation". Cather Studies. x. doi:ten.2307/j.ctt1d98c6j.12.
  177. ^ Cary, Richard (1973). "The Sculptor and the Spinster: Jewett's "Influence"on Cather". Colby Quarterly. 10 (3): 168–178.
  178. ^ Smith, Eleanor 1000. (1956). "The Literary Relationship of Sarah Orne Jewett and Willa Sibert Cather". The New England Quarterly. 29 (iv): 472–492. doi:10.2307/362140. ISSN 0028-4866. JSTOR 362140.
  179. ^ Thorberg, Raymond (1962). "Willa Cather: From Alexander's Bridge to My Antonia". Twentieth Century Literature. seven (4): 147–158. doi:10.2307/440922. ISSN 0041-462X. JSTOR 440922.
  180. ^ Homestead, Melissa J. (2015). "Willa Cather, Sarah Orne Jewett, and the Historiography of Lesbian Sexuality". Cather Studies. 10. doi:ten.2307/j.ctt1d98c6j.5. Retrieved February 4, 2021.
  181. ^ Donovan, Josephine (1979). "The Unpublished Love Poems of Sarah Orne Jewett". Frontiers: A Journal of Women Studies. 4 (3): 26–31. doi:10.2307/3346145. ISSN 0160-9009. JSTOR 3346145. In fact, Jewett was quite enlightened of the temptation to fictionally disguise female person-female relationships as heterosexual love stories, and consciously rejected it. Ane of her almost pointed critical comments to the young Willa Cather was to suggest her against doing this kind of "masquerading" in her future work.
  182. ^ Pryse, Marjorie (1998). "Sexual practice, Class, and "Category Crunch": Reading Jewett'southward Transitivity". American Literature. lxx (3): 517–549. doi:10.2307/2902708. ISSN 0002-9831. JSTOR 2902708.
  183. ^ Jewett, Sarah Orne (1911). Fields, Annie (ed.). Messages of Sarah Orne Jewett. Houghton Mifflin visitor. pp. 246–7.
  184. ^ Cather, Willa (1936). Not Nether 40. Alfred A. Knopf. p. 135.
  185. ^ Harris, Richard C. (1989). "First Loves: Willa Cather's Niel Herbert and Ivan Turgenev'south Vladimir Petrovich". Studies in American Fiction. 17 (1): 81. doi:10.1353/saf.1989.0007. S2CID 161309570.
  186. ^ MURPHY, DAVID (1994). "Jejich Antonie: Czechs, the Land, Cather, and the Pavelka Farmstead". Slap-up Plains Quarterly. 14 (two): 85–106. ISSN 0275-7664. JSTOR 23531597.
  187. ^ a b Danker, Kathleen (Winter 2000). "The Influence of Willa Cather's French-Canadian Neighbors in Nebraska in Death Comes for the Archbishop and Shadows on the Rock." Great Plains Quarterly. p. 34.
  188. ^ Carr, Thomas M. (2016). "A French Canadian Customs Becomes 'French Country': The 1912 Funeral at the Center of Cather's O Pioneers!" (PDF). Willa Cather Newsletter & Review. 59 (1): 21–26. Retrieved February three, 2021.
  189. ^ Haller, Evelyn (2010). ""Shadows On The Stone": A Book in American English language Ezra Pound Gave His Daughter That She Might Larn His Female parent Tongue And More than". Paideuma. 37: 245–265. ISSN 0090-5674. JSTOR 24726727.
  190. ^ Canby, Henry Seidel. "The 100 Outstanding Books of 1924–1944". Life, Baronial 14, 1944. Chosen in collaboration with the magazine's editors.
  191. ^ a b Middleton, Jo Ann (1990). Willa Cather'southward Modernism: A Study of Style and Technique. Rutherford: Fairleigh Dickinson University Printing. ISBN978-0-83863-385-4.
  192. ^ Ozieblo, Barbara (2002). "Beloved and Disappointment: Gamel Woolsey's unpublished novel Patterns on the Sand". Powys Notes. 14 (1–two): v–12.
  193. ^ Morgenstern, Naomi E. (1996). "Love Is Habitation-Sickness": Nostalgia and Lesbian Desire in "Sapphira and the Slave Girl". Novel: A Forum on Fiction. 29 (2): 184–205. doi:10.2307/1345858. ISSN 0029-5132. JSTOR 1345858.
  194. ^ Morley, Catherine (July 1, 2009). "Crossing the water: Willa Cather and the transatlantic imaginary". European Journal of American Civilisation. 28 (2): 125–140. doi:x.1386/ejac.28.2.125_1.
  195. ^ Rosowski, Susan J. (1995). "Willa Cather's Ecology of Place". Western American Literature. xxx (1): 37–51. doi:ten.1353/wal.1995.0050. S2CID 165923896.
  196. ^ Fischer, Mike (1990). "Pastoralism and its Discontents: Willa Cather and the Burden of Imperialism". Mosaic: A Journal for the Interdisciplinary Study of Literature. 23 (1): 31–44. ISSN 0027-1276. JSTOR 24780573.
  197. ^ Ramirez, Karen E. (Spring 2010). "Narrative Mappings of the Land as Space and Identify in Willa Cather'due south O Pioneers!". Great Plains Quarterly. xxx (two).
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  202. ^ Winters, Laura (1993). Willa Cather: Mural and Exile. Selinsgrove: Susquehanna University Printing. p. 58. ISBN978-0-9456-3656-4.
  203. ^ "Writing Willa Cather". Cleveland Review of Books . Retrieved December 21, 2021.
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  205. ^ Curtin, William M. (1968). "Willa Cather: Individualism and Mode". Colby Quarterly. 8 (2): 35–55.
  206. ^ Homestead, Melissa; Reynolds, Guy (October one, 2011). Rosowski, Susan J. (ed.). "Introduction". Cather Studies. 9: x. doi:10.2307/j.ctt1df4gfg.4.
  207. ^ Skaggs, Merrill Maguire (1981). "Willa Cather'south Experimental Southern Novel". The Mississippi Quarterly. 35 (one): 3–14. ISSN 0026-637X. JSTOR 26474933.
  208. ^ Gingrich, Brian (September 17, 2020). "Willa Cather's Naivete". Twentieth-Century Literature. 66 (3): 305–332. doi:10.1215/0041462X-8646863. ISSN 2325-8101. S2CID 225334904.
  209. ^ Curtin, William M. (June 1968). "Willa Cather: Individualism and Mode". Colby Library Quarterly. 8 (2): 1–21.
  210. ^ Byatt, A. Due south. (December 8, 2006). "American pastoral". The Guardian . Retrieved January 23, 2014.
  211. ^ a b Acocella, Joan Ross (2000). Willa Cather and the Politics of Criticism. University of Nebraska Press. pp. 5–6. ISBN978-0-803-21046-2.
  212. ^ Reynolds, Guy (June 2003). "Willa Cather as Equivocal Icon". Presentations, Talks, and Seminar Papers – Department of English: 5.
  213. ^ Urgo, Joseph R. (1995). Willa Cather and the Myth of American Migration. University of Illinois Press. p. 17, 88. ISBN978-0-252-06481-4.
  214. ^ Rosowski, Susan J. (2001). The Voyage Perilous: Willa Cather'south Romanticism. University of Nebraska Press. p. 45. ISBN978-0-803-28986-4.

External links [edit]

Libraries [edit]

  • Willa Cather Review at the Willa Cather Foundation
  • Special Collections & Archives at The National Willa Cather Center
  • Willa Cather Annal at University of Nebraska-Lincoln
  • Willa Cather Collection[usurped!] at the Nebraska Land Historical Society
  • Willa Cather Collection at Drew Academy
  • Willa Cather–Irene Miner Weisz Papers at the Newberry Library
  • Benjamin D. Hitz–Willa Cather Papers at the Newberry Library
  • Ann Safford Mandel collection of Willa Cather papers at the Mortimer Rare Volume Collection

Online editions [edit]

  • Works past Willa Cather in eBook form at Standard Ebooks
  • Works past Willa Cather at Projection Gutenberg
  • Works past Willa Cather at Faded Page (Canada)
  • Works by or about Willa Cather at Internet Archive
  • Works by Willa Cather at LibriVox (public domain audiobooks)
  • Willa Cather at Poets' Corner

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Source: https://en.wikipedia.org/wiki/Willa_Cather

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