From the girl in Red Cloud who oversaw the construction of a miniature town called Sandy Point in her backyard, to the New Woman on a bicycle, celebrating art and castigating political abuse in Lincoln newspapers, to the aspiring novelist in New York City, committed to creation and career, Daryl W. Palmer’s groundbreaking literary biography offers a provocative new look at Willa Cather’s evolution as a writer. Willa Cather has long been admired for O Pioneers! (1913), Song of the Lark (1915), and My Ántonia (1918)—the “prairie novels” about the lives of early Nebraska pioneers that launched her career. Thanks in part to these masterpieces, she is often viewed as a representative of pioneer life on the Great Plains, a controversial innovator in American modernism, and a compelling figure in the literary history of LGBTQ America. A century later, scholars acknowledge Cather’s place in the canon of American literature and continue to explore her relationship with the West. Drawing on original archival research and paying unprecedented attention to Cather’s early short stories, Palmer demonstrates that the relationship with Nebraska in the years leading up to O Pioneers! is more dynamic than critics and scholars thought. Readers will encounter a surprisingly bold young author whose youth in Nebraska served as a kind of laboratory for her future writing career. Becoming Willa Cather changes the way we think about Cather, a brilliant and ambitious author who embraced experimentation in life and art, intent on reimagining the American West.

A contextualizing overview of the polarized critical reception of Willa Cather, one of the pre-eminent US authors of the twentieth-century.

Although it has been proven posthumously by scholars that Willa Cather had lesbian relationships, she did not openly celebrate lesbian desire, and even today is sometimes described as homophobic and misogynistic. What, then, can a reassessment of this contentious first lady of American letters add to an understanding of the gay identities that have emerged in America over the past century? As Marilee Lindemann shows in this study of the novelist's life and work, Cather's sexual coming-of-age occurred at a time when a cultural transition was recasting love between women as sexual deviance rather than romantic friendship. At the same time, the very identity of "America" was characterized by great instability as the United States emerged as a modern industrial nation and imperial power. Indeed, both terms, "queer" and "America," achieved fresh ideological potency at the turn of the century. Willa Cather: Queering America is an enlightening unpacking of Cather's writings, from her controversial love letters of the 1890s--in which "queer" is employed to denote sexual deviance--to her epic novels, short stories, and critical writings. Lindemann points to the "queer" qualities of Cather's fiction--rebellion against traditional fictional form, with sometimes unlikable characters, lack of emphasis on heroic action, and lack of engagement in the drama of heterosexual desire.

The Cambridge Companion to Willa Cather offers thirteen original essays by leading scholars of a major American modernist novelist. Willa Cather's luminous prose is 'easy' to read yet surprisingly difficult to understand. The essays collected here are theoretically informed but accessibly written and cover the full range of Cather's career, including most of her twelve novels and several of her short stories. The essays situate Cather's work in a broad range of critical, cultural, and literary contexts, and the introduction explores current trends in Cather scholarship as well as the author's place in contemporary culture. With a detailed chronology and a guide to further reading, the volume offers students and teachers a fresh and thorough sense of the author of My Ántonia, The Professor's House, and Death Comes for the Archbishop.

In this, her first book, scholar Demaree C. Peck assigns Willa Cather her rightful place in our literary history. Challenging the assumption that women writers must draw their inspiration from a lineage of female predecessors, Peck portrays Willa Cather as a woman who self-consciously set out to write within a male literary tradition that she identified as Emersonian. Peck explores the psychological underpinnings of Cather's aesthetics to show that her theory of stylistic economy and simplicity was motivated by a desire to reorganize the elements of the artistic stage exclusively around her own romantic ego - that "inexplicable presence of the thing not named". Although Cather's protagonists appear in various disguises, clad as pioneers, lawyers, or priests, they are all incarnations of the artist who appropriates people and places as parts of consciousness. Cather's imaginative claimants seek to assimilate the world as a reflection of the self, in the way that their prototype, Emerson's poet-landlord, enjoys a figurative ownership of the landscape in reward for his integrating vision. The novels offer a series of ingenious masquerades beneath whose plots lurk variations of a single story impelled by the artist's quest to take imaginative possession of the world in order to recover the dominion of her soul. Unlike critics who have discussed Cather's novels as a series of discrete experiments, Peck charts the pursuit for imaginative possession as a continuous theme, thereby suggesting a coherence for Cather's art and career as a whole. Offering original interpretations of eight of Cather's novels in the light of previously undiscussed letters and other biographical materials, Peckexplores the relation between Cather's life and art to suggest that she created her central characters as surrogates whose imaginative accumulations could compensate her for various dispossessing experiences in her own life. Cather's novels operate according to the psychological laws of wish fulfillment. While Cather's romanticism has its historical origin in American transcendentalism, its psychological origin derives from the mythic domain of childhood. Cather's "kingdom of art" sanctions the dream projected upon childhood of an original omnipotence that could cheat fate and remain unsoiled by experience. Her novels enact a fantasy of return to primal wholeness. Peck suggests that the novels serve a restorative function not only for their author, but for Cather's readers as well. Cather's fiction is significant, Peck argues, because it performs an important psychological work for its audience.

Willa Cather's novels were neglected after her death, but a new generation of readers has greeted her work with enthusiasm. This feminist study, which draws extensively on Cather's unpublished letters, analyses how she overcame the difficulties which beset a woman writer in the mid-West during the early part of the century. It shows how her absorption in European culture influenced her perception of America and enabled her to produce some of the most compelling literature of modern times. Susie Thomas's highly readable account will be welcomed by all those studying Cather's work. Contents: Willa Cather 1873-1947; To Bayreuth and Back Again: R The Troll Garden, The Song of the Lark, One of Ours, Uncle Valentine; From Horse Opera to Homesteads: O Pioneers ; The Golden Girl of the West: My Antonia; Time's Fool and A Lost Lady; To Speak of the Woe That is in Marriage: The Professor's House; The Chemistry of Colour: Death Comes For the Archbishop and Shadows on the Rock; Testimony: Obscure Destinies, Sapphira and the Slave Girl, The Old Beauty and Others

Willa Cather s My Antonia, a nostalgic novel about an earlier America, portrays the harmonies and disharmonies of the human world and the world of nature. This new edition gathers together some of the best criticism available on the text.

Drawing on letters, interviews, speeches, and reminiscences, looks at the life and career of the American novelist.

Willa Cather was devoted to making art in the face of violence. Here, she emerges as a resource for survival in an age of terror, an artist who encourages her readers to feel at home in the nexus of creativity and terror, and to seek creative responses to the horror of human life.

Though Cather (1837-1947) moved with her family to Nebraska when she was nine, her fiction throughout her life drew heavily from the people, places, and issues of her native Reconstruction South. Novice and veteran literature scholars from around the US examine such connections as racial language, sexual dynamics, and clothes and gender. The 17 essays were selected from a 1997 symposium in Frederick County, Virginia. Annotation copyrighted by Book News Inc., Portland, OR