In this Book

Cather Studies, Volume 11
summary
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.
 

Table of Contents

  1. Cover
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  1. Series Page, Frontispiece, Title Page, Copyright, In Memoriam
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  1. Contents
  2. pp. vii-viii
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  1. List of Illustrations
  2. pp. ix-x
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  1. Introduction: Willa Cather at the Modernist Crux
  2. Ann Moseley, John J. Murphy, Robert Thacker
  3. pp. xi-xx
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  1. Prologue: Gifts from the Museum: Catherian Epiphanies in Context
  2. John J. Murphy
  3. pp. 1-16
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  1. Part 1. Beginnings
  1. 1. The Compatibility of Art and Religion for Willa Cather: From the Beginning
  2. Steven B. Shively
  3. pp. 19-42
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  1. 2. Thea in Wonderland: Willa Cather’s Revision of the Alice Novels and the Gender Codes of the Western Frontier
  2. Michelle E. Moore
  3. pp. 43-63
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  1. 3. Ántonia and Hiawatha: Spectacles of the Nation
  2. John J. Murphy
  3. pp. 64-90
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  1. Part 2. Presences
  1. 4. Willa Cather, Howard Pyle, and “The Precious Message of Romance”
  2. Richard C. Harris
  3. pp. 93-112
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  1. 5. “Then a Great Man in American Art”: Willa Cather’s Frederic Remington
  2. Robert Thacker
  3. pp. 113-131
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  1. 6. Willa Cather, Ernest L. Blumenschein, and “The Painting of Tomorrow”
  2. James A. Jaap
  3. pp. 132-148
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  1. 7. From The Song of the Lark to Lucy Gayheart, and Die Walküre to Die Winterreise
  2. David Porter
  3. pp. 149-169
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  1. 8. The Trafficking of Mrs. Forrester: Prostitution and Willa Cather’s A Lost Lady
  2. Charmion Gustke
  3. pp. 170-187
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  1. 9. The Outlandish Hands of Fred Demmler: Pittsburgh Prototypes in The Professor’s House
  2. Timothy W. Bintrim
  3. pp. 188-213
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  1. 10. Translating the Southwest: The 1940 French Edition of Death Comes for the Archbishop
  2. Mark J. Madigan
  3. pp. 214-226
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  1. Part 3. Articulation: The Song of the Lark
  1. 11. Elements of Modernism in The Song of the Lark
  2. Ann Moseley
  3. pp. 229-252
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  1. 12. “The Earliest Sources of Gladness”: Reading the Deep Map of Cather’s Southwest
  2. Diane Prenatt
  3. pp. 253-270
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  1. 13. Re(con)ceiving Experience: Cognitive Science and Creativity in The Song of the Lark
  2. Joshua Doležal
  3. pp. 271-288
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  1. 14. Women and Vessels in The Song of the Lark and Shadows on the Rock
  2. Angela Conrad
  3. pp. 289-302
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  1. Epilogue: The Difference That Letters Make: A Meditation on The Selected Letters of Willa Cather
  2. Andrew Jewell, Janis Stout
  3. pp. 303-326
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  1. Contributors
  2. pp. 327-332
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  1. Index
  2. pp. 333-358
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