Willa Cather

Willa Cather said that O Pioneers! was her first authentic novel, "the first time I walked off on my own feet—everything before was half real and half an imitation of writers whom I admired." Cather's novel of life on the Nebraska frontier established her reputation as a writer of great note and marked a significant turning point in her artistic development. No longer would she let literary convention guide the form of her writing; the materials themselves would dictate the structure. The paperback edition contains all the text and scholarly apparatus found in the original Willa Cather Scholarly Edition. Edited according to standards set by the Committee for Scholarly Editions of the Modern Language Association, this volume presents the full range of biographical, historical, and textual information on the novel.

Hailed by reviewers and readers for its originality, vitality, and truth, My Ántonia secured Willa Cather's place in the first rank of American writers. Cather drew deeply on her childhood days in frontier Nebraska for her fourth novel, published in 1918. Ántonia Shimerda is memorable as the warm-hearted daughter of Bohemians who must adapt to a hard life on the desolate prairie. She survives and matures, a pioneer woman made radiant by spirit. This Willa Cather Scholarly Edition of My Ántonia is edited according to standards set by the Committee for Scholarly Editions of the Modern Language Association and it presents the full range of biographical, historical, and textual information on the novel. The selection of W. T. Benda's illustrations and the historical photography and maps also illuminate the fiction of a writer who drew so extensively on actual experience.

First published in 1923, A Lost Lady is one of Willa Cather's classic novels about life on the Great Plains. It harks back to Nebraska's early history and contrasts those days with an unsentimental portrait of the materialistic world that supplanted the frontier. In her subtle portrait of Marian Forrester, whose life unfolds in the midst of this disquieting transition, Cather created one of her most memorable and finely drawn characters. This Willa Cather Scholarly Edition of A Lost Lady is edited according to standards set by the Committee for Scholarly Editions of the Modern Language Association. The historical essay describes the origin, writing, and reception of the novel as well as motion pictures that were later based on it; and a selection of archival photographs illuminates the connection between the novel and the people and places from Cather's formative years in Nebraska. Explanatory notes identify locations, literary references, persons, events, and specialized terminology. The textual essays describe the production and subsequent revisions of the text.

The scholarly edition of The Professor's House incorporates into its textual analysis findings from a recently discovered and significantly reworked draft of the novel. Willa Cather's perennial claims that there were no extant drafts make this discovery especially important to Cather scholars. Written in 1925, when she was fifty-two years old, The Professor's House was Cather's seventh novel. Cather explained that in this novel she had attempted two structural experiments. The first experiment she took from the practice of early French and Spanish novelists of inserting a "nouvelle into the roman," hence the first-person "Tom Outland's Story" wedged between the other two parts of the novel. Second, she compared the novel's structure to a sonata form in music, with the center section in significant contrast to the surrounding sectionsBehind the understated prose relating the story of Professor Godfrey St. Peter, who, despite his success, experiences at midcareer a profound disappointment with life, is the fierce account of how he decides to continue living despite those disappointments. Tom Outland's thrilling tale of a long-lost civilization is both an ironic contrast to the professor's staid outer life and a mirror of the imaginative interior life he experiences in his attic study.

An infamous clause in Willa Cather's will, forbidding publication of her letters and other papers, has long caused consternation among Cather scholars. For Cather, a complex and private person who seldom made revelatory public pronouncements, personal letters provide-or would provide-an especially valuable key to understanding. But because of the terms of her will, that key is not readily available. Cather's letters will not come into public domain until the year 2017. Until then, even quotation, let alone publication in full, is prohibited. Janis P. Stout has gathered over eighteen hundred of Cather's letters--all the letters currently known to be available--and provides a brief summary of each, as well as a biographical directory identifying correspondents and a multisection index of the widely scattered letters organized by location, by correspondent, and by names and titles mentioned. This book will be an essential resource for Cather scholars.

This collection of Willa Cather stories-her first book of fiction and the capstone of her early career-is as relevant today as at the time of its initial publication. As different and individually distinguished as the seven stories may be, they share as their subject the role and status of the artist in American society. The passions, ambitions, and pretensions, the cant and the pathos of the art world, artists, pseudo-artists, aficionados, and dilettantes-all are amply represented here in the midst of their foibles, grand affairs, and failures, drawn with great style and subtlety by a writer gathering her formidable powers. With the psychological precision of her early master Henry James and the practical wisdom and wit of her contemporary Edith Wharton, Cather shows us innocents seduced, sophisticates undone, marriages sundered, idealism compromised, and the rare soul uplifted by art.

One of Cather's earliest novels — written in 1918 — is the story of Antonia Shimerda, who arrives on the Nebraska frontier as part of a family of Bohemian emigrants. In quiet, probing depth, the story commemorates the spirit and courage of the immigrant pioneers whose persistence and strength helped build America.

"The time will come when she will be ranked above Hemingway." --Leon Edel In this powerful portrait of the self-making of an artist, Willa Cather created one of her most extraordinary heroines. Thea Kronborg, a minister's daughter in a provincial Colorado town, seems destined from childhood for a place in the wider world. But as her path to the world stage leads her ever farther from the humble town she can't forget and from the man she can't afford to love, Thea learns that her exceptional musical talent and fierce ambition are not enough. It is in the solitude of a tiny rock chamber high in the side of an Arizona cliff--"a cleft in the heart of the world"--that Thea comes face to face with her own dreams and desires, stripped clean by the haunting purity of the ruined cliff dwellings and inspired by the whisperings of their ancient dust. Here she finds the courage to seize her future and to use her gifts to catch "the shining, elusive element that is life itself--life hurrying past us and running away, too strong to stop, too sweet to lose." In prose as shimmering and piercingly true as the light in a desert canyon, Cather takes us into the heart of a woman coming to know her deepest self."

Born into poverty in a small desert town in the American Midwest, Thea Kronborg is one of seven children. But Thea is exceptional, a fact recognized by a discerning few, including Ray Kennedy, who longs to marry her but whose fate it is to set her free. With her rugged will and pioneer spirit, Thea carves her way from Moonstone, Colorado to Chicago, from Dresden to New York, culminating in a triumphant debut at the Metropolitan Opera. Thea has become a great singer, but she also learns that as a true artist, she must make the most bitter sacrifices of all.

Death Comes for the Archbishop sprang from Willa Cather's love for the land and cultures of the American Southwest. Published in 1927 to both praise and perplexity, it has since claimed for itself a major place in twentieth-century literature. When Cather first visited the American Southwest in 1912, she found a new world to imagine and soon came to feel that "the story of the Catholic Church in [the Southwest] was the most interesting of all its stories." The narrative follows Bishop Jean Latour and Father Joseph Vaillant, friends since their childhood in France, as they organize the new Roman Catholic diocese of Santa Fe subsequent to the Mexican War. While seeking to revive the church and build a cathedral in the desert, the clerics, like their historical prototypes, Bishop Jean Lamy and Father Joseph Machebeuf, face religious corruption, natural adversity, and the loneliness of living in a strange and unforgiving land. The Willa Cather Scholarly Edition presents groundbreaking research, establishing a new text that reflects Cather's long and deep involvement with her story. The historical essay traces the artistic and spiritual development that led to its writing. The broad-ranging explanatory notes illuminate the elements of French, Mexican, Hispanic, and Native American cultures that meet in the course of the narrative; they also explain the part played by the land and its people—their history, religion, art, and languages. The textual essay and apparatus reveal Cather's creative process and enable the reader to follow the complex history of the text.

Best known for the distinctive portraits of the people and land of the American West in her prairie novels, Willa Cather is one of the greatest American writers of this century. The fourteen short stories in this richly diverse collection, along with an exemplary introduction by author Cynthia Griffin Wolff, allow for a more complex view of Cather. As a writer she was intrigued by nature's ruthlessness and mankind's limitless potential for brutality and had a passion for the beauty of art. Ranging from the simplicity of Cather's first published story, "Peter" (1892), to the extraordinary eroticism of "Coming, Aphrodite " (1920), this Twentieth-Century Classics collection is an engaging and triumphant testament to the genius of an American literary icon. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

The jacket of the first edition of Obscure Destinies announced "Three New Stories of the West," heralding Willa Cather's return to what many thought of as "her" territory—the Great Plains. These three stories, "Neighbour Rosicky," "Old Mrs. Harris," and "Two Friends," reflected her return to the well of memory that had inspired the books that made her reputation. The Willa Cather Scholarly Edition presents for the first time the three stories in their historical and biographical context, with an interpretive historical essay and detailed explanatory notes. The textual essay and apparatus establish the definitive text and trace Cather's changes through newly discovered prepublication versions.

First published in 1923, A Lost Lady is one of Willa Cather's classic novels about life on the Great Plains. It harks back to Nebraska's early history and contrasts those days with an unsentimental portrait of the materialistic world that supplanted the frontier. In her subtle portrait of Marian Forrester, whose life unfolds in the midst of this disquieting transition, Cather created one of her most memorable and finely drawn characters. This Willa Cather Scholarly Edition of A Lost Lady is edited according to standards set by the Committee for Scholarly Editions of the Modern Language Association. The historical essay describes the origin, writing, and reception of the novel as well as motion pictures that were later based on it; and a selection of archival photographs illuminates the connection between the novel and the people and places from Cather's formative years in Nebraska. Explanatory notes identify locations, literary references, persons, events, and specialized terminology. The textual essays describe the production and subsequent revisions of the text.

S. S. McClure was one of America's greatest editors and publishers in the lively era of muckraking reform. He is remembered for McClure's Magazine, which early in the twentieth century published the works of famous authors and social reformers. He was also the mentor of young Willa Cather. After leaving her position at McClure's in 1912, Cather ghosted this graceful portrait of her former boss. Cather's developing style is clear throughout The Autobiography of S. S. McClure. She goes far inside her subject to find his voice and catch the rhythms of his exciting life: his immigration from Ireland to America, his Horatio Alger–like rise from poverty and struggle to success. Cather shows the risks he took in forming the first newspaper syndicate in the United States, which gave him access to such literary masters as Conan Doyle, Rudyard Kipling, and Robert Louis Stevenson. His extensive contacts were advantageous later in establishing McClure's, the medium for muckrakers like Ida Tarbell and Lincoln Steffens. These famous figures, and many others, enter into The Autobiography of S. S. McClure, which was originally published in 1914, just as Cather was launching her own illustrious career as a novelist

"There was nothing but land...the material out of which countries are made." ntonia Shimerda, Bohemian immigrant and embodiment of the American myth, arrives in this Nebraska prairie to carve a better life from the virgin plain. Her family's tragic quest, battling unexpected dangers and the unyielding soil, is redeemed by ntonia's own private triumphs. She becomes, for Jim Burden, a reminder of the untarnished landscape of early American history and the clear, undaunted human soul.

"There was nothing but land...the material out of which countries are made." ntonia Shimerda, Bohemian immigrant and embodiment of the American myth, arrives in this Nebraska prairie to carve a better life from the virgin plain. Her family's tragic quest, battling unexpected dangers and the unyielding soil, is redeemed by ntonia's own private triumphs. She becomes, for Jim Burden, a reminder of the untarnished landscape of early American history and the clear, undaunted human soul.