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A masterful study by a preeminent scholar that situates Cather as a visionary practitioner of literary modernism Willa Cather is often pegged as a regionalist, a feminine and domestic writer, or a social realist. In Cather Among the Moderns, Janis P. Stout firmly situates Cather as a visionary practitioner of literary modernism, something other scholars have hinted at but rarely affirmed. Stout presents Cather on a large, dramatic stage among a sizable cast of characters and against a brightly lit social and historical backdrop, invoking numerous figures and instances from the broad movement in the arts and culture that we call modernism. Early on, Stout addresses the matter of gender. The term “cross-dresser” has often been applied to Cather, but Stout sees Cather’s identity as fractured or ambiguous, a reading that links her firmly to early twentieth-century modernity. Later chapters take up topics of significance both to Cather and to twentieth-century American modernists, including shifting gender roles, World War I’s devastation of social and artistic norms, and strains in racial relations. She explores Cather’s links to a small group of modernists who, after the war, embraced life in New Mexico, a destination of choice for many artists, and which led to two of Cather’s most fully realized modernist novels, The Professor’s House and Death Comes for the Archbishop. The last chapter addresses Cather’s place within modernism. Stout first places her in relation to Ezra Pound and T. S. Eliot with their shared ties to tradition even while making, sometimes startling, innovations in literary form, then showing parallels with William Faulkner with respect to economic disparity and social injustice.

Willa Cather at the Modernist Crux examines Willa Cather’s position in time, in aesthetics, and in the world. Born a Victorian in 1873, Cather made herself a modernist through the poems, stories, and novels she wrote and published into the twentieth century. Beginning with a prologue locating Cather’s position, this volume of Cather Studies offers three sets of related essays. The first section takes up Cather’s beginnings with her late nineteenth-century cultural influences. The second section explores a range of discernible direct connections with contemporary artists (Howard Pyle, Frederic Remington, and Ernest Blumenschein) and others who figured in the making of her texts. The third section focuses on The Song of the Lark, a novel that confirms Cather’s shift westward and elaborates her emergent modernism. An epilogue by the editors of The Selected Letters of Willa Cather addresses how the recent availability of these letters has transformed Cather studies. Altogether, these essays detail Cather’s shaping of the world of the early twentieth century and later into a singular modernism born of both inherited and newer cultural traditions.  

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. David Stouck details Cather’s numerous Canadian connections, Richard Millington treats her “anthropological” re-creation of the cultural moment of seventeenth-century Quebec, and François 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.

Cather Studies 6 is part of a growing body of scholarship that seeks to undo Willa Cather’s longstanding reputation as a writer who remained aloof from the cultural issues of her day. This chronologically arranged collection demonstrates that Cather found the subject of war both unavoidable, because of her position in history, and artistically irresistible. The volume begins with an essay addressing the American Civil War as part of Cather’s southern cultural inheritance and concludes with an account of the aging writer’s participation in the Armed Services Editions Program of World War II. Military matters surface not only in One of Ours and The Professor’s House, Cather’s two major contributions to the literature of World War I, but in most of her other works as well, including My Ántonia, in which the Plains Indian Wars and the Spanish-American conflict of 1898 are subtly but significantly evoked, and Sapphira and the Slave Girl, Cather’s largely ironic contribution to the genre of southern “Lost Cause” fiction. Containing essays by leading Cather scholars, such as Ann Romines and Janis Stout, and work by specialists in war literature, whose inclusion expands the number and range of critical perspectives, this volume breaks new ground.

The wide-ranging essays collected in this volume of Cather Studies examine Willa Cather’s unique artistic relationship to the environment. Under the theoretical rubric of ecocriticism, these essays focus on Cather’s close observations of the natural world and how the environment proves, for most of these contributors, to be more than simply a setting for her characters. While it is certain that Cather’s novels and short stories are deeply grounded in place, literary critics are only now considering how place functions within her narratives and addressing environmental issues through her writing. These essays reintroduce us to a Cather who is profoundly identified with the places that shaped her and that she wrote about: Glen A. Love offers an interdisciplinary reading of The Professor’s House that is scientifically oriented; Joseph Urgo argues that My Ántonia models a preservationist aesthetic in which landscape and memory are inextricably entangled; Thomas J. Lyon posits that Cather had a living sense of the biotic community and used nature as the standard of excellence for human endeavors; and Jan Goggans considers the ways that My Ántonia shifts from nativism toward a “flexible notion of place-based community.”

Gustav Stickley (1858-1942) is one of the iconic and most influential figures of the American Arts and Crafts movement. This is an authoritative monograph on the life and career of Stickley.

Cather Studies 6 is part of a growing body of scholarship that seeks to undo Willa Cather’s longstanding reputation as a writer who remained aloof from the cultural issues of her day. This chronologically arranged collection demonstrates that Cather found the subject of war both unavoidable, because of her position in history, and artistically irresistible. The volume begins with an essay addressing the American Civil War as part of Cather’s southern cultural inheritance and concludes with an account of the aging writer’s participation in the Armed Services Editions Program of World War II. Military matters surface not only in One of Ours and The Professor’s House, Cather’s two major contributions to the literature of World War I, but in most of her other works as well, including My Ántonia, in which the Plains Indian Wars and the Spanish-American conflict of 1898 are subtly but significantly evoked, and Sapphira and the Slave Girl, Cather’s largely ironic contribution to the genre of southern “Lost Cause” fiction. Containing essays by leading Cather scholars, such as Ann Romines and Janis Stout, and work by specialists in war literature, whose inclusion expands the number and range of critical perspectives, this volume breaks new ground.

Here in one authoritative volume are Willa Cather's essential masterpieces: the story collection The Troll Garden, along with the beloved novels O Pioneers!, The Song of the Lark, and My Ántonia. "Let your fiction grow out of the land beneath your feet." Cather's remark describes her own powerfully imaginative recreation of the Nebraska frontier of her youth. The vast Great Plains, where the earth has only recently come beneath the plow and the sky is huge and open, mirrors the uniquely American ethic of her characters: their heroic aspirations and stoicism, their passion for creativity, their rebelliousness of spirit.

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. David Stouck details Cather’s numerous Canadian connections, Richard Millington treats her “anthropological” re-creation of the cultural moment of seventeenth-century Quebec, and François 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.

Volume 3 of Cather Studies demonstrates the range of topics and approaches in contemporary discussions of Willa Cather’s work for the informed reader or the specialized student. In fourteen essays, critics and scholars examine Cather’s Catholic Progressivism, her literary relations with William Faulkner, and her place in the multicultural canon of American literature.

What makes Willa Cather such an anomaly in American literature, and why are her late fictions so rarely read in high school and university classrooms? What is it exactly that renders them unclassifiable in the prevailing critical assessments of Cather's work? Why, in other works are these writings so difficult to interpret?Deborah Carlin addresses these and other questions by examining the ways in which certain reading communities have placed―or, more often, ignored―Cather's complex and unsettling post-1925 fiction within canonical formulations. Employing interpretive strategies drown from narratology, feminism, and deconstruction, Carlin focuses on five female-centered late fictions; My Mortal Enemy (1926), Shadows on the Rock (1931), "Old Mrs. Harris" in Obscure Destinies (1932), $ (1935), and Sapphira and the Slave Girl (1940). She argues that Cather's later works have been largely overlooked for two reasons: they confound reader expectations by revising conventional fictional forms; and they raise troubling questions about race, class, sexuality, and power, especially with regard to women. What makes Carlin's work distinctive, besides its focus on Cather's most problematic writings, is its theoretical approach to issues of narrative and gender. Rather than chart Cather's intellectual biography through the texts, as others have done, Carlin shows how the late fictions reflect self-conscious experimentation with narrative form and, at the same time, reveal ambiguous, sometimes contradictory, feminist impulses.

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Anna Pavlova's revolutionary debut in 1910 at the Metropolitan Opera House captivated the nation and introduced Americans to the charms of modern ballet. Willa Cather was among the first intellectuals to recognize that dance had suddenly been elevated into a new art form, and she quickly trained herself to become one of the leading balletomanes of her era. Willa Cather and the Dance traces the writer's dance education, starting with the ten-page explication she wrote in 1913 for McClure's magazine called "Training for the Ballet." Cather's interest was sustained through her entire canon as she utilized characters, scenes, and images from almost all of the important dance productions that played in New York.

"Whatever is felt upon the page without being specifically named there—that, one might say, is created." This famous observation appears in Willa Cather on Writing, a collection of essays and letters first published in 1949. In the course of it Cather writes, with grace and piercing clarity, about her own fiction and that of Sarah Orne Jewett, Stephen Crane, and Katherine Mansfield, among others. She concludes, "Art is a concrete and personal and rather childish thing after all—no matter what people do to graft it into science and make it sociological and psychological; it is no good at all unless it is let alone to be itself—a game of make-believe, of re-production, very exciting and delightful to people who have an ear for it or an eye for it."

This book surveys the enormously significant impact of New York CIty on Cather's life and the fiction she produced after she chose New York for her permanent home. This book is divided into four sections that emphasize the geographical site. Essays by current experts and Cather scholars explore this New York diversity that reappeared as a part of Cather's memorable prose.

Willa Cather was one of the greatest American writers of the 20th century, creating in indelible novels and stories a rich panorama of place and experience among pioneers and farmers, artists and youthful lovers, immigrants and their striving children. Here, for the first time, the definitve three-volume Library of America edition of her works is available in a collector's boxed set, gathering all of her novels, novellas, and story collections; fourteen additional stories uncollected during her lifetime; and a selection of essays, poems, and other writings. Included are: Early Novels and Stories  1,336 pagesThe Troll Garden (short stories) · O Pioneers! · The Song of the Lark ·My Ántonia · One of OursLater Novels  988 pagesA Lost Lady · The Professor's House · Death Comes for the Archbishop ·Shadows on the Rock · Lucy Gayheart · Sapphira and the Slave GirlStories, Poems, and Other Writings  1,039 pagesYouth and the Bright Medusa (stories) · Obscure Destinies (stories) · The Old Beauty and Others (stories) · Alexander's Bridge · My Mortal Enemy · occasional pieces · critical essays· April Twilights and Other PoemsLIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

This is the first in-depth biography of Willa Cather in thirty years, and the first ever that fully integrates her life and work. The author of such classics as Death Comes to the Archbishop and O Pioneers! was a complex, passionate and gifted woman trying to forge a new kind of identity for herself as a woman and artist before there were adequate models for this kind of self. "Voice" is the metaphor Cather used to describe her attainment of literary identity and authority, a complex attainment for a woman writer who at first viewed femininity and creativity as incompatible. O'Brien asks two central questions: How did Cather pass through a stage of male identification when she adopted male dress and posed as "William Cather" to become the first woman writer who created the first strong, autonomous and successful women heroes in American literature? How did she move from a literary apprenticeship she later associated with Jamesian imitation and inauthentic speech to a literary maturity in which she took "the road home" to her Nebraska past? The book makes full use of biographical and literary materials that have been slighted in previous biographies: Cather's personal and professional correspondence, family letters and documents, photographs, and the early short stories as well as the major fiction. This is the first biography to deal openly and seriously with her lesbianism, exploring the importance of female friendships in her life and work and assessing the impact Cather's need to conceal her sexual identity had on the creative process. O'Brien draws in particular on new psychoanalytic theories that stress the importance of the mother-daughter bond to the formation of female identity. The book concentrates on Cather's childhood, adolescence, young womanhood and lengthy apprenticehsip, with references to later biographical and literary patterns which are used to illuminate the early years. This is a fascinating portrait of how someone becomes a writer.

This study examines the ways in which Willa Cather handles landscape and exile in her fiction. Cather's characters are intricately connected to the places they inhibit, and they are often banished from a native or authentic landscape.

For three decades, the signature "W. C. Hook" has connoted dynamic design, saturated color, and compelling brushwork. William Cather Hook's ability to straddle the border between pictorial illusion and pure paint, between traditional yet modern, has won him collectors worldwide. Less known about this versatile colorist is the breadth of his subject matter. Through his paintings and observations, Hook guides the reader on a journey that includes the back roads of northern New Mexico, the high country of the Colorado Rockies and Sangre de Cristos, and California's Route 1 coastline and central valley. The Sonoran Desert, English and Italian countryside, and garden still lifes are also the subjects of this master of acrylics, whose vision is inviting, vibrant, and infused with radiant light. Also explored in this retrospective is Hook's working methodology and his biography, from his Kansas roots to his current studios in Santa Fe, New Mexico, and Carmel, California. Hook's love of the land and philosophy of art are complemented by his namesake, Pulitzer Prize winning author Willa Cather, whose comments parallel his passion for capturing the nuances of earth, sea, and sky.