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American writer (1873–1947)

Willa Cather
White woman looking straight ahead with a black hat

Cather in 1936
Born Wilella Sibert Cather
(1873-12-07)December 7, 1873
Gore, Virginia, U.S.
Died Apr 24, 1947(1947-04-24) (aged 73)
Manhattan, New York City
Resting place Jaffrey, New Hampshire
Occupation Novelist
Menstruum 1905–1947
Partner Edith Lewis (c. 1908–1947)
Signature

Willa Sibert Cather (;[i] built-in Wilella Sibert Cather; December seven, 1873[A] – April 24, 1947) was an American author 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 Globe War I.

Willa Cather and her family moved from Virginia to Webster County, Nebraska, when she was nine years former. The family later settled in the town of Red Cloud. Shortly later graduating from the University of Nebraska–Lincoln, Cather moved to Pittsburgh for 10 years, supporting herself as a mag editor and loftier 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 Isle, 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 cerebral hemorrhage. She is buried alongside Lewis in a Jaffrey, New Hampshire, plot.

Cather achieved recognition as a novelist of the borderland 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 element in Cather'south fiction: physical landscapes and domestic spaces are for Cather dynamic presences against which her characters struggle and find community.

Early on life and teaching [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's farm in the Dorsum Creek Valley near Winchester, Virginia.[17] [eighteen] Her begetter was Charles Fectigue Cather.[xix] The Cather family originated in Wales,[20] the proper noun deriving from Cadair Idris, a Gwynedd mountain.[21] : iii Her mother was Mary Virginia Boak, a former school teacher.[22] By the time Cather turned twelve months old, the family had moved to Willow Shade, a Greek Revival-way home on 130 acres given to them by her paternal grandparents.[23]

Mary Cather had six more children later Willa: Roscoe, Douglass,[B] Jessica, James, John, and Elsie.[26] : 5–seven Cather was closer to her brothers than to her sisters whom, according to biographer Hermione Lee, she "seems not to have liked very much."[27] : 36

At the urging of Charles Cather's parents, the family moved to Nebraska in 1883 when Willa was nine years quondam. The farmland appealed to Charles' father, and the family wished to escape the tuberculosis outbreaks that were rampant in Virginia.[27] : xxx Willa's father tried his mitt at farming for 18 months, then moved the family into the town of Carmine Cloud, where he opened a real estate and insurance business, and the children attended schoolhouse for the offset time.[28] : 43 Some of Cather's earliest work was get-go published in the Crimson Deject Chief, the city's local newspaper,[29] and Cather read widely, having made friends with a Jewish couple, the Wieners, who offered her complimentary access to their extensive library in Red Deject.[30] At the same time, she made house calls with the local physician and decided to become a surgeon.[31] [32] For a short while, she signed her name as William,[33] but this was speedily abandoned for Willa instead.[17]

In 1890, at the age of sixteen, 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 Periodical without her cognition.[35] [36] After this, she published columns for $1 apiece, saying that seeing her words printed on the page had "a kind of hypnotic consequence", pushing her to continue writing.[36] [37] Afterwards this experience, she became a regular contributor to the Journal. In addition to her work with the local paper, Cather served as the master editor of The Hesperian, the university's student newspaper, 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, like Cather, earned a Pulitzer Prize for his writing.[39] [40] She changed her plans from studying science to get a doc, instead graduating with a Bachelor of Arts in English in 1895.[28] : 71

Cather'southward time in Nebraska, still considered a frontier country, was a determinative feel for her: She was moved by the dramatic surround and conditions, 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's mag, Home Monthly, and moved to Pittsburgh.[10] [44] There, she wrote journalistic pieces, brusk stories, and poetry.[37] A year subsequently, after the magazine was sold,[45] she became a telegraph editor and critic for the Pittsburgh Leader and often contributed poetry and short fiction to The Library, some other local publication.[46] In Pittsburgh, she taught Latin, algebra, and English composition at Fundamental High School for i year;[47] she and then taught English and Latin at Allegheny High School, where she came to head the English language section.[48] [49]

Shortly after moving to Pittsburgh, Cather wrote short stories, including publishing "Tommy, the Unsentimental" in the Dwelling Monthly,[fifty] about a Nebraskan girl with a masculine name who looks like a boy and saves her father's bank concern. Janis P. Stout calls this story one of several Cather works that "demonstrate the speciousness of rigid gender roles and requite favorable treatment to characters who undermine conventions."[51] Her first volume, a collection of poetry called April Twilights, was published in 1903.[C] Shortly afterward this, in 1905, Cather's starting time drove of brusk stories, The Troll Garden, was published. Information technology independent some of her near famous stories, including "A Wagner Matinee", "The Sculptor's Funeral", and "Paul'south Case".[60]

Later on Cather was offered an editorial position at McClure'southward Magazine in 1906, she moved to New York Metropolis.[61] During her first year at McClure's, she ghostwrote a critical biography of the religious leader Mary Baker Eddy, crediting freelance researcher Georgine Milmine instead. While Milmine had performed copious amounts of research, she did not have the resource to produce a manuscript independently, instead employing Cather.[62] This biography was serialized in McClure'south over the next eighteen months and then published in book grade. McClure'southward also serialized Cather's first novel, Alexander's Bridge (1912). While well-nigh reviews were favorable,[63] [64] such equally The Atlantic calling the writing "deft and skillful",[65] Cather herself soon saw the novel equally weak and shallow.[66]

Cather followed Alexander's Bridge with her three novels set in the Corking Plains, which somewhen became both popular and critical successes: O Pioneers! (1913),[67] The Song of the Lark (1915),[68] and My Ántonia (1918),[69] which are—taken together—sometimes referred to as her "Prairie Trilogy".[70] [71] It is this succession of plains-based novels for which Cather was historic for her use of plainspoken language about ordinary people.[72] [73] Sinclair Lewis, for instance, praised her work for making Nebraska available to the wider world for the outset time.[74] After writing The Great Gatsby, F. Scott Fitzgerald lamented that it was a failure in comparison to My Ántonia.[75]

1920s [edit]

Equally late as 1920, Cather became dissatisfied with the functioning of her publisher, Houghton Mifflin, which devoted an advertizement upkeep 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 house, Alfred A. Knopf, which had a reputation for supporting its authors through advertising campaigns.[76] She likewise liked the wait of its books and had been impressed with its edition of Green Mansions by William Henry Hudson.[76] She so enjoyed their way that all her Knopf books of the 1920s—relieve for i printing of her curt story collection Youth and the Bright Medusa—matched in design on their 2nd and subsequent printings.[78]

Past this time, Cather was firmly established equally a major American author, receiving the Pulitzer Prize in 1923 for her Earth State of war I-based novel, 1 of Ours.[76] She followed this upwardly with the popular Death Comes for the Archbishop in 1927, selling 86,500 copies in merely two years,[79] and which has been included on the Modern 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's House—elevated her literary status dramatically. She was invited to give several hundred lectures to the public, earned pregnant royalties, and sold the picture show 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 afterwards in their lives.[lxxx]

Despite her success, she was the subject of much criticism, especially surrounding One of Ours. Her close friend, Elizabeth Shepley Sergeant, saw the novel equally a betrayal of the realities of war, not understanding how to "span the gap between [Cather'due south] idealized state of war vision ... and my own stark impressions of war equally lived."[81] Similarly, Ernest Hemingway took consequence with her portrayal of war, writing in a 1923 letter: "Wasn't [the novel's] final scene in the lines wonderful? Do y'all know where it came from? The battle scene in Birth of a Nation. I identified episode after episode, Catherized. Poor woman, 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 nostalgic, unable to grapple with gimmicky problems:[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 piece of work was seen every bit lacking social relevance.[86] Similarly, critics—and Cather herself[87]—were disappointed when her novel A Lost Lady was made into a picture; the film had little resemblance to the novel.[88] [89]

Cather'south lifelong conservative politics,[90] [D] appealing to critics such as Mencken, Randolph Bourne, and Carl Van Doren, soured her reputation with younger, oft left-leaning critics like Hicks and Edmund Wilson.[95] [96] Despite this critical opposition to her work, Cather remained a popular writer whose novels and brusk story collections connected to sell well; in 1931 Shadows on the Rock was the most widely read novel in the United States, and Lucy Gayheart became a bestseller in 1935.[18]

While Cather made her last trip to Reddish Cloud in 1931 for a family gathering later her mother's expiry, she stayed in touch with her Red Cloud friends and sent money to Annie Pavelka and other families during the Depression years.[27] : 327 In 1932, Cather published Obscure Destinies, her last collection of short fiction, which contained "Neighbor Rosicky", one of her most highly regarded stories. That same summer, she moved into a new flat on Park Avenue with Edith Lewis, and during a visit on 1000 Manan, she probably began working on her next novel, Lucy Gayheart.[97] [Eastward]

Cather suffered 2 devastating losses in 1938.[116] [117] [118] In June, her favorite brother, Douglass, died of a heart set on. Cather was as well 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 Grand Manan for the concluding fourth dimension, and Cather finished her final novel, Sapphira and the Slave Daughter, a book much darker in tone and field of study matter than her previous works.[28] : 483 [125] While Sapphira is understood by readers as defective a moral sense and failing to evoke empathy,[126] the novel was a neat disquisitional and commercial success, with an advance printing of 25,000 copies.[79] It was then adopted by the Book of the Month Club,[127] which bought more 200,000 copies.[128] Her final story, "The Best Years",[129] intended as a souvenir for her brother,[130] was retrospective. It contained images or "keepsakes" from each of her twelve published novels and the short stories in Obscure Destinies.[131]

Although an inflamed tendon in her manus hampered her writing, Cather managed to finish a substantial part of a novel set in Avignon, French republic. She had titled it Difficult Punishments and placed it in the 14th century during the reign of Antipope Benedict Fourteen.[27] : 371 She was elected a beau of the American Academy of Arts and Sciences in 1943.[132] The aforementioned year, she executed a will that prohibited the publication of her letters and dramatization of her works.[123] In 1944, she received the aureate medal for fiction from the National Institute of Arts and Letters, a prestigious award given for an author's full accomplishments.[133]

Cather was diagnosed with breast cancer in Dec 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 About a twelvemonth later, on April 24, 1947, Cather died of a cerebral hemorrhage, at the age of 73, in her home at 570 Park Avenue in Manhattan.[135] [136] After Cather'due south death, Edith Lewis destroyed the manuscript of Difficult Punishments, according to Cather's instructions.[137] She is buried at the southwest corner of the Old Burial Ground in Jaffrey, New Hampshire,[138] alongside Edith Lewis[139] [140]—a place she showtime visited when joining Isabelle McClung and her husband, violinist Jan Hambourg,[141] at the Shattuck Inn, where she routinely visited afterwards in life owing to its seclusion.[142] [143]

Bibliography [edit]

Green and yellow prairie grasses adorn a hill

Novels

  • Alexander'due south 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)
  • Expiry Comes for the Archbishop (1927)
  • Shadows on the Stone (1931)
  • Lucy Gayheart (1935)
  • Sapphira and the Slave Girl (1940)

Brusk fiction

  • The Troll Garden (1905)
  • Youth and the Bright Medusa (1920)
  • Obscure Destinies (1932)
  • Neighbour 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

  • April 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 almost Cather'southward sexual identity. Some believe it incommunicable or anachronistic to determine 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 same-sex desire "as 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 then doing, asked: "What kind of bear witness is needed to establish this as a lesbian relationship? Photographs of the 2 of them in bed together? She was an integral function of Cather's life, creatively and personally."[17] Across her own relationships with women, Cather's reliance on male person characters has been used to support the thought of her same-sex attraction.[150] [Thousand]

In any event, throughout Cather's developed 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 singer Olive Fremstad;[155] and most notably, the editor Edith Lewis, with whom Cather lived the last 39 years of her life.[156]

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

Beginning 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, "Before Breakfast", is set.[18] [161] She valued the seclusion of the isle and did non heed that her cottage had neither indoor plumbing nor electricity. Anyone wishing to reach her could do then past telegraph or mail.[28] : 415 In 1940, she stopped visiting Thou Manan afterward Canada'due south entrance to Globe State of war II, as travel was considerably more difficult; she also 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 messages, asking others to practise the same.[163] While many complied, some did non.[164] Her will restricted the ability of scholars to quote from the personal papers that remain.[123] But in April 2013, The Selected Letters of Willa Cather—a collection of 566 letters Cather wrote to friends, family, and literary acquaintances such as Thornton Wilder and F. Scott Fitzgerald—was published, two years after the expiry of Cather's nephew and 2nd literary executor, Charles Cather. Willa Cather's correspondence revealed the complexity of her grapheme and inner world.[165] The messages exercise not disembalm any intimate details well-nigh Cather's personal life, simply they do "make clear that [her] main emotional attachments were to women."[166] The Willa Cather Annal at the University of Nebraska–Lincoln works to digitize her complete body of writing, including individual correspondence and published piece of work. As of 2021, about 2,100 messages have been made freely bachelor to the public, in addition to transcription of her own published writing.[167] [168]

Writing influences [edit]

Cather admired Henry James'due south utilize of linguistic communication and label.[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 1 contemporary exception was Sarah Orne Jewett, who became Cather'southward friend and mentor.[H] Jewett brash Cather of several things: to use female person narrators in her fiction (even though Cather preferred using male perspectives),[175] [176] to write about her "own country" (O Pioneers! was dedicated in large part to Jewett),[177] [178] [179] and to write fiction that explicitly represented romantic attraction between women.[180] [181] [182] [I] Cather was too influenced past the work of Katherine Mansfield,[96] praising in an essay Mansfield'southward power "to throw a luminous streak out onto the shadowy realm of personal relationships."[184]

Cather's high regard for the immigrant families forging lives and enduring hardships on the Nebraska plains shaped much of her fiction. The Burlington Depot in Blood-red Cloud brought in many strange and wonderful people to her pocket-sized town. As 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'south skin."[21] : 169–170 After a trip to Cherry-red Cloud in 1916, Cather decided to write a novel based on the events in the life of her babyhood friend Annie Sadilek Pavelka, a Maverick girl who became the model for the title character in My Ántonia.[69] [185] [186] Cather was likewise fascinated past the French-Canadian pioneers from Quebec who had settled in the Blood-red Cloud area while she was a girl.[187] [188]

During a cursory stopover in Quebec with Edith Lewis in 1927, Cather was inspired to write a novel ready in that French-Canadian city. Lewis recalled: "From the first moment that she looked down from the windows of the [Chateau] Frontenac [Hotel] on the pointed roofs and Norman outlines of the boondocks of Quebec, Willa Cather was non but stirred and charmed—she was overwhelmed by 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, every bit if by a miracle, on this great un-French continent."[28] : 414–15 Cather finished her novel Shadows on the Rock, a historical novel fix in 17th-century Quebec, in 1931;[189] it was later on included in Life magazine's list of the 100 outstanding books of 1924–1944.[190] The French influence is establish in many other Cather works, including Decease Comes for the Archbishop (1927) and her final, unfinished novel set in Avignon, Hard Punishments.[187]

Literary style and reception [edit]

Although Cather began her writing career as a journalist, she made a stardom between journalism, which she saw equally beingness primarily informative, and literature, which she saw equally an art class.[191] : 27 Cather's work is ofttimes 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 identify 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 surroundings, the influence of place was critical, and the way that power was displayed through room layout and furniture is evident in her novels like My Mortal Enemy.[202] Though she hardly bars herself to writing exclusively most the Midwest, Cather is virtually inseparable from the Midwestern identity that she actively cultivated (fifty-fifty though she was non a "native" Midwesterner).[203] While Cather is said to have significantly contradistinct her literary arroyo in each of her novels,[204] [205] this stance is not universal; some critics have charged Cather with existence out of touch with her times and declining to use more experimental techniques in her writing, such every bit stream of consciousness,[191] : 36 [206] [207] too as defining her literary genre as nothing but romantic.[208] At the aforementioned fourth dimension, others have pointed out that Cather could follow no other literary path but her own:

She had formed and matured her ideas on fine 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 mode solves the problems in which she was interested. She wanted to stand midway between the journalists whose omniscient objectivity accumulate more fact than any character could notice and the psychological novelist whose use of subjective point of view stories distorts objective reality. She developed her theory on a centre basis, selecting facts from experience on the ground of feeling then presenting the feel in a lucid, objective mode.[209]

The English novelist A. S. Byatt has written that with each piece of work Cather reinvented the novel form to investigate the changes in the homo condition over time.[210] Particularly in her frontier novels, Cather wrote of both the beauty and terror of life.[211] Like the exiled characters of Henry James, an author who had a significant influence on the author,[212] most of Cather's major characters live as exiled immigrants,[211] identifying with the immigrants' "sense of homelessness and exile" following her own feelings of exile living on the frontier. It is through their date with their surround that they gain their community.[213] Susan J. Rosowski wrote that Cather was perhaps the first to grant immigrants a respectable position in American literature.[214]

Notes [edit]

Footnotes [edit]

  1. ^ Sources are inconsistent on the engagement of Cather's nativity, in large part because she fabricated—or as scholar Jean Schwind says, "chronically lied almost"[2]—the engagement.[3] [four] [v] The 1873 engagement is confirmed by a birth certificate, an 1874 alphabetic character of her father's referring to her,[6] academy records,[7] and Cather scholarship—both modern and historical.[viii] [nine] [10] [11] At the management of the staff of McClure'southward Magazine, Cather claimed to be born in 1875.[12] After 1920, she claimed 1876 as her nascency year; this date has since been replicated in several scholarly sources.[13] [xiv] [15] That is the appointment carved into her gravestone at Jaffrey, New Hampshire.[16]
  2. ^ Co-ordinate to Elsie, Douglass'south real proper name was Douglas, but Willa wanted him to spell it equally Douglass, so he spelled it that way to delight her.[24] [25]
  3. ^ This drove of verse, while described every bit unremarkable,[52] was republished several times by Cather over her life, although with significant alterations.[53] Eleven of these poems were never once again published afterwards 1903.[54] This early experience with traditional, sentimental verse—without alteration from this scheme[55]—was the basis for the rest of her literary career;[56] she remarked that ane's earliest writing is formative.[57] While Cather'south success was primarily in prose, her republishing of her earliest poetry suggests she wished to exist taken equally a poet besides.[58] Simply this is contradicted past Cather's own words, where in 1925, where she wrote, "I practise not take myself seriously every bit a poet."[54] [59]
  4. ^ Not all critics meet her 1930s political views equally conservative; Reynolds argues that while she was reactionary subsequently in life, she subscribed to a form of rural populism and progressivism, congenital on the continuity of community,[91] and Clasen views her as a progressive.[92] Similarly, it 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 idea for the story may have been formed as early as the 1890s (using the name Gayhardt instead of Gayheart, based on a woman she met at a party),[106] and it is possible she began writing equally early as 1926[107] [108] [109] or 1927.[110] While she intended to proper name the novel Blueish Eyes on the Platte early on, she inverse the title[111] and made Lucy's eyes brown.[112] Stout suggests mention of Blue Optics on the Platte may have been facetious, only kickoff to write and recollect about Lucy Gayheart in 1933.[107] This is contradicted by Edith Lewis insisting that not only did she begin working on Blue Eyes on the Platte "several years before" 1933, simply that it was the forerunner to Lucy Gayheart.[113] Regardless of which of these details are true, information technology 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 earlier version of Lucy Gayheart altogether.[iv]
  6. ^ Cather wrote hundreds of letters to McClung over her life, and most of them were returned to Cather by McClung'southward husband. Almost all of these were destroyed.[122] [123]
  7. ^ Some scholars besides utilise this male-centered narrative approach to read Cather as transmasculine[151] or just masculine.[152] [153]
  8. ^ Some sources describe the relationship using stronger language: as Cather existence Jewett's protégé.[171] [172] Either way, Jewett'due south remarkable influence on Cather is evidenced not only by her commitment to regionalism,[173] but also by Cather's (maybe overstated) office in editing The Country 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 earlier terminal I found it with surprise and delight. It made me feel very virtually to the writer's immature and loving heart. You lot have drawn your ii figures of the wife and her married man with unerring touches and wonderful tenderness for her. Information technology makes me the more sure that you are far on your road toward a fine and long story of very high course. The lover is besides washed every bit he could be when a woman writes in the man's character,—it must ever, I believe, be something of a masquerade. I call up it is safer to write about him as you did about the others, and not try to be he! And you could almost accept done information technology as yourself—a woman could love her in that same protecting way—a woman could even care enough to wish to accept her abroad from such a life, by some means or other. Merely oh, how close—how tender—how true the feeling is!"[183]
  10. ^ Between 1891 and Cather's publication of The Song of the Distraction, 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 Advanced Learner's Dictionary 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. xiii (i): 71–88. doi:10.1353/saf.1985.0024. S2CID 161453359.
  3. ^ Wilson, James Southall (1953). "Of Willa Cather". The Virginia Quarterly Review. 29 (three): 470–474. ISSN 0042-675X. JSTOR 26439850.
  4. ^ a b Bradford, Curtis (1955). "Willa Cather's Uncollected Brusque Stories". American Literature. 26 (iv): 537–551. doi:10.2307/2921857. ISSN 0002-9831. JSTOR 2921857.
  5. ^ Morley, C. (September i, 2009). "DAVID PORTER. On the Divide: The Many Lives of Willa Cather". The Review of English Studies. threescore (246): 674–676. doi:10.1093/res/hgp042.
  6. ^ Weddle, Mary Ray. "Mower'due south 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 Messages of Willa Cather". New Letters. 74 (1): 154–175.
  10. ^ a b Bennett, Mildred R. (1959). "Willa Cather in Pittsburgh". Prairie Schooner. 33 (1): 64–76. ISSN 0032-6682. JSTOR 40626192.
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  157. ^ Jewell, Andrew (2004). "Willa Cather'south Greenwich Village: New Contexts for "Coming, Aphrodite!"". Studies in American Fiction. 32 (1): 59–lxxx. 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. ISBN978-0-823-23174-4.
  159. ^ Stout, Janis P. (1991). "Autobiography as Journey in The Professor's House". Studies in American Fiction. 19 (ii): 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 (iii): 408–441. ISSN 0039-3827. JSTOR 23594850.
  161. ^ Thacker, Robert (1992). "Alice Munro's Willa Cather". Canadian Literature. 134 (Fall 1992): 43–57.
  162. ^ Harbison, Sherrill (2000). "Willa Cather and Sigrid Undset: The Correspondence in Oslo". Resource for American Literary Study. 26 (two): 240. doi:10.1353/rals.2000.0024. S2CID 162396411.
  163. ^ Simmons, Thomas E. (2018). "A Will for Willa Cather". Missouri Law Review. 83 (3).
  164. ^ Stout, Janis P. (2009). "Between Candor and Concealment: Willa Cather and (Auto)Biography". Biography. 32 (three): 467–492. ISSN 0162-4962. JSTOR 23540820.
  165. ^ Christopher Benfey. Willa Cather'south Correspondence Reveals Something New: The rage of a great 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 Dec 26, 2019.
  168. ^ "The Complete Letters | Willa Cather Archive". cather.unl.edu . Retrieved February three, 2021.
  169. ^ Cather, Willa (2004). Curtin, William M. (ed.). The Globe and the Parish: Willa Cather's Manufactures and Reviews, 1893–1902 ([Repr. of the 1970] ed.). University of Nebraska Printing. 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"". Great Plains Quarterly. 12 (4): 242–253. ISSN 0275-7664. JSTOR 23531660.
  171. ^ Rosenberg, Liz (May 16, 1993). "SARAH ORNE JEWETT: A 'NATURALLY AMERICAN' WRITER". Chicago Tribune . Retrieved February 4, 2021.
  172. ^ Shannon, Laurie (1999). ""The Country of Our Friendship": Jewett's Intimist Fine art". American Literature. 71 (two): 227–262. ISSN 0002-9831. JSTOR 2902810.
  173. ^ REYNOLDS, GUY (2013). "The Transatlantic Virtual Salon: Cather and the British". Studies in the Novel. 45 (three): 349–368. ISSN 0039-3827. JSTOR 23594847.
  174. ^ Homestead, Melissa (2016). "Willa Cather Editing Sarah Orne Jewett". American Literary Realism. 49 (ane): 63–89. doi:10.5406/amerlitereal.49.one.0063. ISSN 1540-3084. JSTOR x.5406/amerlitereal.49.i.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's Jewett: Human relationship, Influence, and Representation". Cather Studies. 10. doi:10.2307/j.ctt1d98c6j.12.
  177. ^ Cary, Richard (1973). "The Sculptor and the Spinster: Jewett's "Influence"on Cather". Colby Quarterly. ten (iii): 168–178.
  178. ^ Smith, Eleanor Thousand. (1956). "The Literary Human relationship of Sarah Orne Jewett and Willa Sibert Cather". The New England Quarterly. 29 (four): 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. 7 (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. ten. doi:10.2307/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 aware of the temptation to fictionally disguise female-female person relationships as heterosexual beloved stories, and consciously rejected it. One of her well-nigh pointed critical comments to the immature Willa Cather was to propose her against doing this kind of "masquerading" in her future work.
  182. ^ Pryse, Marjorie (1998). "Sex, Class, and "Category Crisis": Reading Jewett's Transitivity". American Literature. 70 (3): 517–549. doi:10.2307/2902708. ISSN 0002-9831. JSTOR 2902708.
  183. ^ Jewett, Sarah Orne (1911). Fields, Annie (ed.). Letters of Sarah Orne Jewett. Houghton Mifflin company. pp. 246–seven.
  184. ^ Cather, Willa (1936). Not Under Xl. Alfred A. Knopf. p. 135.
  185. ^ Harris, Richard C. (1989). "First Loves: Willa Cather's Niel Herbert and Ivan Turgenev's Vladimir Petrovich". Studies in American Fiction. 17 (1): 81. doi:10.1353/saf.1989.0007. S2CID 161309570.
  186. ^ Potato, DAVID (1994). "Jejich Antonie: Czechs, the Land, Cather, and the Pavelka Farmstead". Dandy Plains Quarterly. fourteen (ii): 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." Bang-up Plains Quarterly. p. 34.
  188. ^ Carr, Thomas 1000. (2016). "A French Canadian Community Becomes 'French Country': The 1912 Funeral at the Center of Cather'due south O Pioneers!" (PDF). Willa Cather Newsletter & Review. 59 (1): 21–26. Retrieved February 3, 2021.
  189. ^ Haller, Evelyn (2010). ""Shadows On The Rock": A Book in American English language Ezra Pound Gave His Girl That She Might Acquire His Mother Tongue And More". Paideuma. 37: 245–265. ISSN 0090-5674. JSTOR 24726727.
  190. ^ Canby, Henry Seidel. "The 100 Outstanding Books of 1924–1944". Life, August 14, 1944. Chosen in collaboration with the magazine'due south editors.
  191. ^ a b Middleton, Jo Ann (1990). Willa Cather's Modernism: A Study of Way and Technique. Rutherford: Fairleigh Dickinson University Printing. ISBN978-0-83863-385-iv.
  192. ^ Ozieblo, Barbara (2002). "Honey and Disappointment: Gamel Woolsey's unpublished novel Patterns on the Sand". Powys Notes. fourteen (1–2): v–12.
  193. ^ Morgenstern, Naomi East. (1996). "Honey Is Home-Sickness": Nostalgia and Lesbian Desire in "Sapphira and the Slave Girl". Novel: A Forum on Fiction. 29 (ii): 184–205. doi:10.2307/1345858. ISSN 0029-5132. JSTOR 1345858.
  194. ^ Morley, Catherine (July ane, 2009). "Crossing the water: Willa Cather and the transatlantic imaginary". European Journal of American Culture. 28 (2): 125–140. doi:10.1386/ejac.28.2.125_1.
  195. ^ Rosowski, Susan J. (1995). "Willa Cather'southward Ecology of Place". Western American Literature. thirty (i): 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 Written report of Literature. 23 (i): 31–44. ISSN 0027-1276. JSTOR 24780573.
  197. ^ Ramirez, Karen Due east. (Jump 2010). "Narrative Mappings of the Land equally Space and Identify in Willa Cather'south O Pioneers!". Swell Plains Quarterly. thirty (2).
  198. ^ Dennis, Ryan (December 17, 2020). "Naming Fields: The Loss of Narrative in Farming". New England Review. 41 (4): 126–134. doi:10.1353/ner.2020.0123. ISSN 2161-9131. S2CID 229355389.
  199. ^ Keller, Julia (September 7, 2002). "The town Willa Cather couldn't leave backside". The Anniston Star. p. 10.
  200. ^ Walker, Don D. (1966). "The Western Humanism of Willa Cather". Western American Literature. i (2): 75–ninety. doi:10.1353/wal.1966.0004. ISSN 1948-7142. S2CID 165885366.
  201. ^ Brownish, Eastward. K. (1936). "Willa Cather and the West". University of Toronto Quarterly. five (4): 544–566. doi:10.3138/utq.5.iv.544. ISSN 1712-5278. S2CID 161220902.
  202. ^ Winters, Laura (1993). Willa Cather: Mural and Exile. Selinsgrove: Susquehanna Academy Press. p. 58. ISBN978-0-9456-3656-4.
  203. ^ "Writing Willa Cather". Cleveland Review of Books . Retrieved Dec 21, 2021.
  204. ^ Stouck, David (1972). "Hagiographical Style in Death Comes for the Archbishop". University of Toronto Quarterly. 41 (4): 293–307. doi:10.3138/utq.41.4.293. ISSN 1712-5278. S2CID 162317290.
  205. ^ Curtin, William 1000. (1968). "Willa Cather: Individualism and Mode". Colby Quarterly. eight (2): 35–55.
  206. ^ Homestead, Melissa; Reynolds, Guy (October 1, 2011). Rosowski, Susan J. (ed.). "Introduction". Cather Studies. 9: x. doi:x.2307/j.ctt1df4gfg.four.
  207. ^ Skaggs, Merrill Maguire (1981). "Willa Cather'due south Experimental Southern Novel". The Mississippi Quarterly. 35 (ane): 3–fourteen. 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 Style". Colby Library Quarterly. eight (2): 1–21.
  210. ^ Byatt, A. S. (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. v–vi. ISBN978-0-803-21046-2.
  212. ^ Reynolds, Guy (June 2003). "Willa Cather as Equivocal Icon". Presentations, Talks, and Seminar Papers – Department of English language: v.
  213. ^ Urgo, Joseph R. (1995). Willa Cather and the Myth of American Migration. University of Illinois Press. p. 17, 88. ISBN978-0-252-06481-iv.
  214. ^ Rosowski, Susan J. (2001). The Voyage Perilous: Willa Cather's Romanticism. University of Nebraska Press. p. 45. ISBN978-0-803-28986-four.

External links [edit]

Libraries [edit]

  • Willa Cather Review at the Willa Cather Foundation
  • Special Collections & Archives at The National Willa Cather Center
  • Willa Cather Archive at University of Nebraska-Lincoln
  • Willa Cather Collection[Usurped!] at the Nebraska State Historical Society
  • Willa Cather Drove at Drew University
  • 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 Project Gutenberg
  • Works by Willa Cather at Faded Page (Canada)
  • Works by or about Willa Cather at Internet Annal
  • 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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