Willa Cather

Quote from the book

• Alexandra and Emil are returning from a trip to the south to check out farming there. Alexandra has decided to take charge of the farm. She thinks:

  • For the first time, perhaps, since that land emerged from the waters of geologic ages, a human face was set toward it with love and yearning. It seemed beautiful to her, rich and strong and glorious. Her eyes drank in the breadth of it, until her tears blinded her. Then the Genius of the Divide, the great, free spirit which breathes across it, must have bent lower than it ever bent to a human will before. The history of every country begins in the heart of a man or a woman.

Quote from the book

• That evening, she tells her brothers of her plans. They're skeptical. Cather writes:

  • That night she had a new consciousness of the country, felt almost a new relation to it. Even her talk with the boys had not taken away the feeling that had overwhelmed her when she drove back to the Divide that afternoon. She had never known before how much the country meant to her. The chirping of the insects down in the long grass had been like the sweetest music. She had felt as if her heart were hiding down there, somewhere, with the quail and the plover and all the little wild things that crooned or buzzed in the sun. Under the long shaggy ridges, she felt the future stirring.

Biography

• “No romantic novel ever written in America, by man or woman, is one half so beautiful as MY ANTONIA.” — H. L. Mencken

Biography (from WCA)

• Born Wilella Cather on December 7, 1873, she spent the first nine years of her life in Back Creek, Virginia, before moving with her family to Catherton, Nebraska, in April 1883. In 1885, the family resettled in Red Cloud, the town that has become synonymous with Cather's name.

• Leaving behind the mountainous ridge of Virginia for the wide open prairies of the Plains had a formative effect on Cather. She described the move in an interview: "I was little and homesick and lonely . . . So the country and I had it out together and by the end of the first autumn the shaggy grass country had gripped me with a passion that I have never been able to shake. It has been the happiness and curse of my life."

• Note: biographical information is drawn from the Willa Cather Archive (WCA), freely distributed by the Center for Digital Research in the Humanities at the University of Nebraska–Lincoln

Biography (from WCA)

• She directed this passion for the country into her writing, drawing upon her Nebraska experiences for seven of her books.

• In addition to the landscape of her new home, Cather was captivated by the customs and languages of the diverse immigrant population of Webster County. She felt a particular kinship with the older immigrant women and spent countless hours visiting them and listening to their stories. This exposure to Old World culture figures heavily within Cather's writings and choice of characters.

• In September 1890, Cather moved to Lincoln to continue her education at the University of Nebraska, initially planning to study science and medicine. She had had a childhood dream of becoming a physician and had become something of an apprentice to the local Red Cloud doctor.

Biography (from WCA)

• During an initial year of preparatory studies, Cather wrote an English essay on Thomas Carlyle that her professor submitted to the Lincoln newspaper for publication. Later Cather recalled that seeing her name in print had a "hypnotic effect" on her—her aspirations changed; she would become a writer.

• Her college activities point to this goal: the young writer became managing editor of the school newspaper, the author of short stories, and a theater critic and columnist for the Nebraska State Journal as well as for the Lincoln Courier. Her reviews earned her the reputation of a "meat-ax critic," who, with a sharp eye and even sharper pen, intimidated the national road companies. While she was producing four columns per week, she was still a full-time student.

Biography (from WCA)

• Cather's classmates remembered her as a colorful personalities on campus: intelligent, outspoken, talented, even mannish in her opinions and dress. This strong personality would suit her well for her first career in journalism, a career that would take her away from Nebraska.

• In June 1896, one year after graduating, Cather accepted a job as managing editor for the Home Monthly, a women's magazine published in Pittsburgh. While turning out this magazine almost single-handedly, she also wrote theater reviews for the Pittsburgh Leader and the Nebraska State Journal.

• Cather met a fellow theater lover, Isabelle McClung, who quickly became her closest friend. McClung encouraged the writer's creative streak: when Cather took some time away from journalism to foster her fictional bent, she found comfortable lodging in the spacious McClung family home.

Biography (from WCA)

• Between 1901 and 1906, Cather took a break from journalism to teach English in local high schools. During this time, she published April Twilights (1903), a book of verse, and The Troll Garden (1905), a collection of short stories.

• Her short stories caught the eye of S. S. McClure, editor of the most famous muckraking journal. He published "Paul's Case" and "The Sculptor's Funeral" in McClure's Magazine and arranged for the publication of The Troll Garden in 1905.

• In 1906, he invited Cather to join his magazine staff. Once again, Cather returned to her work in periodicals, this time enjoying the prestige of editing the most widely circulated general monthly in the nation.

Biography (from WCA)

• Cather ghostwrote a number of pieces for the magazine, including the year-long series The Life of Mary Baker G. Eddy and the History of Christian Science and The Autobiography of S. S. McClure. She continued to publish short stories and poems, but the demands of her job as managing editor took up most of her time and energy.

• McClure felt Cather's true genius lay in magazine business: he considered her the best magazine executive that he knew. Cather, however, remained unfulfilled in the position.

• Her friend and mentor Sarah Orne Jewett encouraged the writer to leave the hectic pace of the office to develop her craft. By 1911, Cather acted on the advice, leaving her managing position at the magazine. She was just shy of her thirty-eighth birthday and about to embark on a full-time writing career in fiction.

• Note: Sarah Orne Jewett is another novelist, short story writer, from south coast of Maine.

Biography (from WCA)

• In early 1912, Cather's first novel, Alexander's Bridge, appeared serially in McClure's as Alexander's Masquerade. Later she dismissed the work as imitative of Edith Wharton and Henry James, rather than her own material.

• The following year she published O Pioneers!, the story that celebrates the immigrant farmers and their quest to cultivate the prairies. Cather placed her "shaggy grass country" at the center of the novel, allowing the form of the land to provide the structure of the book. She had taken Jewett's advice to heart, writing about the land and people she knew best, and dedicated this "second first novel" to the memory of her friend. Reviewers were enthusiastic about the novel, recognizing a new voice in American letters.

Biography (from WCA)

• In her next book, Cather drew upon her past again, this time telling the story of a young Swedish immigrant and her quest to cultivate her artistic talent. Before writing The Song of the Lark (1915), she met Olive Fremstad, a Wagnerian soprano, who inspired her to create Thea Kronborg in the form of an artist. The resulting story of Thea Kronborg's development as an opera singer fused Cather's childhood with Fremstad's success.

• Cather continued in her autobiographical frame as she wrote My Ántonia (1918), her best loved novel. She placed her childhood friend Annie Pavelka at the center of the story, renaming her "Ántonia." Although the story is told through the eyes of Jim, a young boy, his experiences are taken from Cather's, particularly his move from Virginia to Nebraska.

Biography (from WCA)

• Jim's first reaction to the landscape undoubtedly parallels the author's:

  • "There was nothing but land; not a country at all, but the material out of which countries are made. . . . I had the feeling that the world was left behind, that we had got over the edge of it, and were outside man's jurisdiction. . . . Between that earth and that sky, I felt erased, blotted out."

• Eventually Jim becomes entranced with the vastness of the landscape, feeling himself one with his surroundings:

  • "I was something that lay under the sun and felt it, like the pumpkins, and I did not want to be anything more. I was entirely happy. Perhaps we feel like that when we die and become part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep."

Biography (from WCA)

• Jim's attachment to the land parallels his relationship with Ántonia, his Bohemian neighbor and playmate. When he leaves Nebraska, he leaves behind Ántonia, his childhood, his family, the land: Ántonia comes to represent the West; Jim's memories of her stand in for his lost youth.

• Critics unanimously praised the novel. H. L. Mencken wrote, "No romantic novel ever written in America, by man or woman, is one half so beautiful as My Ántonia." Randolph Bourne of the Dial ranked Cather as a member of the worldwide modern literary movement. The author herself felt a special connection to this story, recognizing it as the best thing she had ever done. As she confided to her childhood friend Carrie Miner Sherwood, "I feel I've made a contribution to American letters with that book."

Biography (from WCA)

• It seems fitting that Cather rests underneath the beauty of this writing: The headstone marking her grave reads: "That is happiness; to be dissolved into something complete and great."

• Desiring a publisher who would promote her artistic concerns, Cather switched her alliances in 1921 from Houghton-Mifflin to Alfred Knopf, who allowed Cather the freedom to be uncompromising in her work. He fostered her national reputation and ensured her financial success.

Biography (from WCA)

• During the 1920s, Cather was at the height of her artistic career. Psychologically, however, Cather's mood had changed. In comparison to her epic novels of the 1910s, Cather's post-war novels seem pervaded by disillusionment and despondency. After publishing Youth and the Bright Medusa (1920), a collection of short stories centered on artists, she wrote One of Ours (1922), a World War I story based on the life of her cousin G. P. Cather.

• At the end of the novel, a mother reflects gratefully that her son died as a soldier, still believing "the cause was glorious"—a belief he could not have possibly sustained had he survived the war. Although many critics panned it, scores of former soldiers wrote her letters of appreciation, thanking her for capturing just how they felt during the war. Her efforts secured her the Pulitzer Prize for this novel.

Biography (from WCA)

• A Lost Lady followed (1923), for which Cather drew upon her memory of Lyra Garber, the beautiful wife of a prominent banker in Red Cloud. Once again, innocence brushes up against the realities of the world: the young Niel Herbert first adores Mrs. Forrester, then scorns her in disillusionment when she betrays his ideals. In the end he recalls her memory, glad for the part she played "in breaking him to life," and also for her power "of suggesting things much lovelier than herself, as the perfume of a single flower may call up the whole sweetness of spring."

• In A Lost Lady, Cather employed her philosophy of the "novel démueblé," telling by suggestion rather than by minute details. Most critics applauded the power of her artistry in this novel, although a handful complained about the immorality of the adulterous heroine.

Biography (from WCA)

• The same theme of disillusionment runs heavily throughout The Professor's House (1925) as well. Godfrey St. Peter, reaching success at middle age, finds himself dispirited, withdrawn, almost estranged from his wife and daughters. As his wife prepares a new house for him, the Professor feels he cannot leave his old home. As his despondency deepens, he turns to the memory of his former student Tom Outland, in whom he recalls the promise of youth cut short by death in World War I.

• The purposelessness of Tom's death underscores the post-war malaise of the Professor—indeed, of the modernist world. The Professor will always feel solitude, alienation, the sense of always being not-at-home—in short, he concludes, he will learn to live without delight. The novel reflects Cather's own sense of alienation within the modern world.

Biography (from WCA)

• Cather published My Mortal Enemy (1926) before producing her greatest artistic achievement, Death Comes for the Archbishop (1927). With the same power she had used to invoke the landscape of the Plains, Cather represented the beauty and the history of the southwest United States.

• Drawing from the life of Archbishop Lamy, Catholic French missionary to New Mexico in the 1850s, Cather created Bishop Latour, the man who ministers to the Mexican, Navajo, Hopi, and American people of his diocese.

• Cather took pains with her presentation: her writing was well researched and her attention to the details of layout made this the most handsomely produced book of her career. Critics immediately hailed it as "an American classic," a book of perfection. Cather reflected that writing the novel had been such an enjoyable process for her, she was sad to say goodbye to her characters when she finished. The American Academy of Arts and Letters bestowed the Howells Medal on her for this accomplishment.

Biography (from WCA)

• Cather wrote another historical novel, Shadows on the Rock (1931), this time centering on 17th century French Quebec. Although her father's death and her mother's stroke slowed progress on this book, Cather felt that writing this novel gave her a sense of refuge during a tumultuous emotional period.

• By this time, Cather was reaping the rewards of a long and successful career: she received honorary degrees from Yale, Princeton and Berkeley, in addition to the ones she had already received from the Universities of Nebraska and Michigan. With the publication of Shadows, Cather appeared on the cover of Time Magazine, and the French awarded her the Prix Femina Américain.

• The book enjoyed high sales, becoming the most popular book of 1932. In the same year, she brought out Obscure Destinies, the collection of short stories including "Old Mrs. Harris" and "Neighbour Rosicky."

Biography (from WCA)

• The pace of her writing slowed tremendously during the 1930s. Cather published Lucy Gayheart in 1935 and Sapphira and the Slave Girl in 1940, her last completed novel drawing from her family history in Virginia.

• She spent two years revising her collected works for an Autograph edition put out by Houghton Mifflin, the first volume of which appeared in 1937. Having risen as a national icon by the 1930s, Cather became one of the favorite targets of Marxist critics who said that she was out of touch with contemporary social issues. Granville Hicks claimed that Cather offered her readers "supine romanticism" instead of substance. In addition to these criticisms, Cather had to deal with the deaths of her mother, her brothers Douglass and Roscoe, and her friend Isabelle McClung, the person for whom she said she had written all of her books.

Biography (from WCA)

• The outbreak of World War II occupied her attention, and problems with her right hand impaired her ability to write. Still, there were some bright spots in these final years. She received the gold medal for fiction from the National Institute of Arts and Letters in 1944, an honor that marked a decade of achievement. Three years later on April 24, 1947, Cather died of a cerebral hemorrhage in her New York residence.

• Fifty years after her death, readers are still drawn to the beauty and depth of Cather's art. Seamless enough to draw in the casual reader and nuanced enough to entice the literary scholar, Cather's writing appeals to many walks of life. Her faithful portrayal of immigrant cultures has attracted readers outside the United States, and her work has been translated into countless languages, including Japanese, German, Russian, French, Czech, Polish, and Swedish.

Biography (from WCA)

• Scholastically, Cather has not always held a prominent place in the American literary canon. For many years she was relegated to the status of a regional writer. Within the last twenty years, however, there has been an "explosion of academic interest in Cather," interest that has moved the writer from marginalized to canonical status.

• In their efforts to expand the canon, feminist critics "recovered" her writing as they remembered the strong heroines of O Pioneers!, The Song of the Lark, and My Ántonia. Likewise, Cather has been reclaimed by old-school traditionalists: currently, she is the only American woman writer included in the Encyclopedia Britannica's list of "Great Books of the Western World" (1990).

Biography (from WCA)

• Meanwhile, basic questions about Cather's life remain: the writer tried to destroy all of her letters before her death, burning a rich correspondence that would have delighted any researcher. Thousands of her letters escaped destruction, but they are protected from reproduction or quotation by Cather's will.

• James Woodress's biography (Willa Cather: A Literary Life), the primary source for this account, provides a comprehensive synthesis of Cather's life, gleaned from family records, letters, critical reviews, and recollections of friends and family.

• Elizabeth Shepley Sergeant and Edith Lewis offer more personal accounts of their friend in Willa Cather: A Memoir and Willa Cather Living, respectively.

• Cather's sexual orientation became a subject of inquiry in the 1980s, with Sharon O'Brien considering the possibility of lesbianism in Cather's life (see Willa Cather: The Emerging Voice).

Biography (from WCA)

• Other critics have examined the larger cultural issues that serve as a backdrop to Cather's writing. Guy Reynolds looks at issues of race and empire in Willa Cather in Context, while Susan J. Rosowski examines the romantic literary tradition out of which Cather wrote (see The Voyage Perilous: Willa Cather's Romanticism).

• Deborah Carlin and Merrill Skaggs investigate her later novels in Cather, Canon, and the Politics of Reading and After the World Broke in Two.

• Painstaking efforts have gone toward recovering Cather's juvenilia and journalism, thanks to Bernice Slote (The Kingdom of Art) and William Curtin (The World and the Parish).

• Most serious readers of Cather will appreciate the judgment of her made by Wallace Stevens toward the end of her life: "We have nothing better than she is. She takes so much pains to conceal her sophistication that it is easy to miss her quality."

Publications

• Alexander's Bridge (1912)

• O Pioneers (1913)

• The Song of the Lark (1915)

• My Antonia (1918)

• One 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 Girl (1940)

Cast of characters

• John Bergson's father

  • John Bergson's father had been a shipbuilder, a man of considerable force and of some fortune. Late in life he married a second time, a Stockholm woman of questionable character, much younger than he, who goaded him into every sort of extravagance. On the shipbuilder's part, this marriage was an infatuation, the despairing folly of a powerful man who cannot bear to grow old. In a few years his unprincipled wife warped the probity of a lifetime. He speculated, lost his own fortune . . .

Cast of characters

• John Bergson's wife, Alexandra's mother

• John Bergson had married beneath him, but he had married a good housewife. Mrs. Bergson was a fair-skinned, corpulent woman, heavy and placid like her son, Oscar, but there was something comfortable about her; perhaps it was her own love of comfort. For eleven years she had worthily striven to maintain some semblance of household order amid conditions that made order very difficult. Habit was very strong with Mrs. Bergson, and her unremitting efforts to repeat the routine of her old life among new surroundings had done a great deal to keep the family from disintegrating morally and getting careless in their ways.

Cast of characters

• Son Lou

  • . . .slighter than Oscar, but quicker and more intelligent, apt to go off at half-cock. He had a lively blue eye, a thin, fair skin (always burned red to the neckband of his shirt in summer), stiff, yellow hair that would not lie down on his head, and a bristly little yellow mustache, of which he was very proud.

• Son Oscar

  • . . . could not grow a mustache; his pale face was as bare as an egg, and his white eyebrows gave it an empty look. He was a man of powerful body and unusual endurance; the sort of man you could attach to a corn-sheller as you would an engine. He would turn it all day, without hurrying, without slowing down. But he was as indolent of mind as he was unsparing of his body. His love of routine amounted to a vice. He worked like an insect, always doing the same thing over in the same way, regardless of whether it was best or no.

Cast of characters

• Son Emil

  • youngest child of John Bergson and his wife, introduced as a young child whose kitten is caught on top of a pole

  • intelligent, handsome, athletic, university graduate

  • unfortunately, he loves Marie Shabata, who is unhappily married. He goes to Mexico for a year to escape, but returns.

• Daughter Alexandra

  • main character, intelligent, capable, strong-willed, independent

  • given the farm by her father john, and over the next 16 years makes it prosperous

  • about 40 years old in the second part of the book.

Cast of characters

• Ivar

  • Eccentric character who lives on a remote plot of land, makes hammocks, doesn't eat meat and has an affinity for animals, especially birds

  • when his homestead fails, Alexandra takes him in to save him from being sent to a lunatic asylum

• Carl Linstrum

  • Alexandra's close childhood friend; at 19, he leaves with his family to go back to St. Louis

  • as an adult, her suitor and husband.

Cast of characters

• Marie Tovesky Shabata

  • charming female neighbor who has known the Bergsons since childhood. She is warm towards everyone without prejudice or favor, which infuriates her husband Frank, as well as Emil, who harbors romantic feelings for her despite her marriage. When they Marie, they buy the farm next door that once belonged to Carl's family.

• Frank Shabata

  • Marie's husband who is jealous, has a short temper, and generally doesn't get along with neighbors. He kills his wife Marie and her lover Emil in a drunken rage, and is sent to prison in Lincoln.

Cast of characters

• Annie Lee: Lou's wife

• Mrs. Lee: Lou's mother-in-law. She clings to old ways, although her daughter Annie and son-in-law Lou try to force her to become modern and refined. One of Alexandra's friends.

• Milly: Annie's 15-year-old daughter. She plays the organ and the piano (which Alexandra bought for her).

• Signa: the youngest of Alexandra's Swedish-born servants, her favorite.

• Nelse Jensen: Signa's suitor, then husband

• Amédée Chevalier: a French-American farmer and lifelong friend of Emil

• Angélique Chevalier: Amédée's wife

• Father Duchesne: the French priest

• Mr. Schwartz: the warden at the prison where Frank is being kept.

O Pioneers!

• From the New York Times, Book Review, published Oct. 21, 2021, but this is a reprint of a review originally published in 1913. Thank you to Janet Gordon.

• The hero of the American novel very often starts on the farm, but he seldom stays there; instead, he uses it as a springboard from which to plunge into the mysteries of politics or finance. Probably the novel reflects a national tendency. To be sure, after we have carefully separated ourselves from the soil, we are apt to talk a lot about the advantages of a return to it, but in most cases it ends there. The average American does not have any deep instinct for the land, or vital consciousness of the dignity and value of the life that may be lived upon it.

O Pioneers!

• O Pioneers! is filled with this instinct and this consciousness. It is a tale of the old wood-and-field worshiping races, Swedes and Bohemians, transplanted to Nebraskan uplands, of their struggle with the untamed soil, and their final conquest of it. Miss Cather has written a good story, we hasten to assure the reader who cares for good stories, but she has achieved something even finer. Through a direct, human tale of love and struggle and attainment, a tale that is American in the best sense of the word, there runs a thread of symbolism. It is practically a novel without a hero. There are men in it, but the interest centers on two women — not rivals, but friends, and more especially in the splendid blond farm-woman, Alexandra.

O Pioneers!

• In this new mythology, which is the old, the goddess of fertility once more subdues the barren and stubborn earth. Possibly some might call it a feminist novel, for the two heroines are stronger, cleverer and better balanced than their husbands and brothers — but we are sure Miss Cather had nothing so inartistic in mind. It is a natural growth, feminine because it is only an expansion of the very essence of femininity. Instead of calling “O Pioneers!” a novel without a hero, it might be more accurate to call it a novel with three heroines — Alexandra, the harvest-goddess; Marie, poor little spirit of love and youth snatched untimely from her poppy-fields, and the earth itself, patient and bountiful source of all things.

Questions for discussion

• This book describes in detail some quite specific characters, with specific character traits that make them happier and more successful as landowners, immigrants, family members, and neighbors or friends. So, a lot of this book is about personalities and relationships.

• But the land itself is also a character, a trait we've seen in other novels, like Cold Mountain earlier this term, and the Australian outback in the previous term.

• So which characters are successful and what personal characteristics make them successful?

Questions for discussion

• Early in the novel, Alexandra and her brothers leave town for home, with Emil and his kitten in the back of the wagon:

  • Although it was only four o'clock, the winter day was fading. The road led southwest, toward the streak of pale, watery light that glimmered in the leaden sky. The light fell upon the two sad young faces that were turned mutely toward it: upon the eyes of the girl, who seemed to be looking with such anguished perplexity into the future; upon the sombre eyes of the boy, who seemed already to be looking into the past. The little town behind them had vanished as if it had never been, had fallen behind the swell of the prairie, and the stern frozen country received them into its bosom.

Questions for discussion

• Early in the novel, Alexandra and her brothers leave town for home, with Emil and his kitten in the back of the wagon:

  • The homesteads were few and far apart; here and there a windmill gaunt against the sky, a sod house crouching in a hollow. But the great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness.

Questions for discussion

• When Carl's father decides to move back to St. Louis, and he must therefore leave Alexandra, he's disappointed that he's never really been able to do anything for her, to help her. She replies:

  • It's by understanding me, and the boys, and mother, that you've helped me. I expect that is the only way one person ever really can help another. I think you are about the only one that ever helped me. Somehow it will take more courage to bear your going than everything that has happened before."

Questions for discussion

• When Carl comes back to pay a visit before going to California and Alaska, they pass the cemetery, and he says:

  • "And now the old story has begun to write itself over there," said Carl softly. "Isn't it queer: there are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, that have been singing the same five notes over for thousands of years."

Questions for discussion

• Although the characters in this novel are descriptively drawn, and the landscape described in great detail in many places throughout, we don't get "blow by blow" descriptions of the actual hardships that immigrants tackled.

• Would it be fair to say this is a more "philosophical" understanding of life in the wilderness?

Breakout Room Question

• Not surprising, but this book is also about women, several different types of women. It's about women as immigrants and settlers who have left behind their native lands, customs, cultures.

• Alexandra is obviously successful as a farmer, but at what cost?

• What does it take to be a woman and a successful immigrant?