"One of the few really helpful words I ever heard from an older writer," Willa Cather declared in 1922, "I had from Sarah Orne Jewett when she said to me: 'Of course, one day you will write about your own country. In the meantime, get all you can. One must know the world so well before one can know the parish.'" Although Cather's first novel about her own country, O Pioneers!, did not appear until 1913, the process of knowing the world and of mastering her craft, so far as it can be traced in her published writing, already had been going on for some twenty years. The World and the Parish: Willa Cather's Articles and Reviews, 1893-1902, is the fourth in a series collecting the work of these years of experiment and discovery. More specifically, it offers a representative collection of Cather's nonfiction writing for newspapers and periodicals during her first decade as a professional writer. Selected from 520 articles and columns, the text is divided into three parts corresponding to major developments in Cather's career?the period from 1893 to 1896 when she first began to write regularly for Lincoln newspapers; the years in Pittsburgh when she was working for the Home Monthly and the Leader and sending her famous "Passing Show" column back to Nebraska; and the period from the spring of 1900 to 1903, when she freelanced in Pittsburgh and Washington, taught in a Pittsburgh high school, and made her first trip abroad. The text has been edited with three main objectives: 1) to enable the reader to trace Cather's development as a writer; 2) to group the material so that the reader interested in a particular subject?the theatre, or music, or literature, for example?can readily locate pertinent selections; and 3) to provide a context sufficient to relate these pieces to Willa Cather's life and to the times, and to suggest some of their connections with the body of her work. Chronologies have been included for each of the three parts; and the Bibliography is the most complete yet available for the for the nonfiction writing up to 1903. Not the least remarkable feature of this collection is the range and variety of forms and subject matter?reviews (of books, plays, operas, concerts, art exhibits, lectures), feature stories, interviews, straight reportage, columns of miscellaneous comment, and travel letters. Seemingly, with no apparent effort Willa Cather could adjust her sights to any assignment and any audience. And if it is astonishing that she could write so much about so many matters at so many levels, it is perhaps even more astonishing that so much of it was so good. Undeniably, however, the chief interest to the general reader and the peculiar value to the scholar of these journalistic writings reside in their manifold and crucial connections with Cather's later work and in the unparalleled insights they afford into the process by which a gifted writer becomes a great artist.
Offering a sweeping transatlantic perspective, this book explains the current obsession with automobiles by delving deep into the motives of early car users. It provides a synthesis of our knowledge about the emergence and persistence of the car, using a broad range of material including novels, poems, films, and songs ...
Cather Studies 4 contains eighteen essays and elaborates a theme, ?Willa Cather?s Canadian and Old World Connections.? Such connections are central to Cather?s art and artistry. She transported much from the Old World to the New, shaping her antecedents to tell, in new ways, the stories of Nebraska, of the American Southwest, and especially of Quebec, in Shadows on the Rock. ø David Stouck details Cather?s numerous Canadian connections, Richard Millington treats her ?anthropological? re-creation of the cultural moment of seventeenth-century Quebec, and Franöois Palleau-Papin finds ?The Hidden French in Cather?s English.? A volume of lively and informed criticism, Cather Studies 4 vividly demonstrates Cather?s artistry and her work?s deep connections to the present cultural and critical moment.
They Voyage Perilousis the first extended interpretation of Willa Cather's writing within the literary tradition of romanticism. Although she partook of the familiar subjects and themes of the Wordsworthian school of romanticism, Cather was not nearly so concerned with what we see as how we see. Her intensely individual perspective, more creatively romantic than has been previously recognized, gave her work its own kind of elegant form. ø Susan J. Rosowski argues that Willa Cather early took up the romantic challenge to vindicate imaginative thought in a world threatened by materialism, then pursued it with remarkable consistency throughout her career. The early essays and stories set out the terms of this life-long commitment. In the early novels Cather celebrates imaginative possibilities; in the middle ones she present increasingly desperate circumstances, asking what is left when the imagination is eclipsed by commercial values; in the late novels she writes in a Gothic mode, the dark counterspirit to optimistic romanticism. ø The book is organized chronologically, with a chapter devoted to each novel. The chapters can be read independently or as part of a unified argument providing a larger picture.
The Willa Cather whom friends and acquaintances knew is not well known to contemporary readers. Bourgeois and midwestern, she was not a member of the Social Registerøsociety like Edith Wharton nor of the avant-garde or expatriate circles, as was Gertrude Stein, nor was she a member of the "lost generation" of the younger F. Scott Fitzgerald and Ernest Hemingway. In the 1920s Cather turned fifty and was intent on fully developing her talent, writing six major novels during that decade. Willa Cather Remembered comprises reminiscences of the author written between the 1920s and 1980s by people ranging from close friends to journalistic observers and acquaintances. The materials are drawn from newspapers and journals, portions of books, and a few previously unpublished personal letters or reflections. Many of the writers knew Cather for many years; others knew her at a particular time and place, and a few only saw her in passing. Some are celebrities, such as Truman Capote; others are lesser-known but important names, such as Henry Seidel Canby, editor of the Saturday Review of Literature, and Fanny Butcher, editor of the Chicago Tribune book section. A few of the commentators, though they may have respected Cather in one way or another, are highly critical of her; others are unabashed admirers. All, however, present Cather as a memorable character with an unmistakable presence. These recollections by people who knew Cather throughout the course of her professional life will acquaint readers with the woman who incited one classmate at the University of Nebraska to say, "I don't know if I like Willie, but she's never dull."
"Volume of essays exploring how nineteenth-century culture shaped Willa Cather's childhood, supplied her artistic models, generated her inordinate ambitions, and gave embodiment to the deeply held values present in her fiction"--
Before she wrote her prose masterpieces, Willa Cather produced striking poems, which were collected in 1903 in April Twilights. It was her literary debut, preceding the publication of O Pioneers! by nine years. In her introduction, distinguished Cather scholar Bernice Slote notes that this early edition of April Twilights restores what had been "an almost lost, certainly blurred, portion of the creative life of a great novelist." Among the thirty-seven selections are the much-anthologized "Grandmither, Think Not I Forget" and the highly evocative "Prairie Dawn." This new edition includes a new introduction by Robert Thacker, which provides new insights into Cather and her poetry.
"The essays in Cather Studies, Volume 8 explore the many locales and cultures informing Willa Cather's fiction. A lifelong Francophile, Cather first visited France in 1902 and returned repeatedly throughout her life. Her visits to France influenced not only her writing but also her interpretation of other worlds; for example, while visiting the American Southwest in 1912, a region that informed her subsequent works, she first viewed that landscape through the prism of her memories of Provence. Cather's intellectual intercourse between the Old and the New World was a two-way street, moving both people and cultural mores between the two. But her worlds extended far beyond France, or even geographical locations. This new volume pairs Cather innovatively with additional influences---theological, aesthetic, even gastronomical---and examines her as tourist and traveler cautiously yet assiduoulsy exploring a diverse range of palces, ethnicities, and professions."--BOOK JACKET.