Vintage Catherby Willa Cather
A classic American writer in every sense, Willa Cather enjoyed both critical and commercial success in her long career, receiving the Pulitzer Prize for the novel One of Ours. Her beloved and enduring novels and stories have long been part of the canon of world literature, and the characters she created remain in the hearts and minds of her readers.
Vintage Cather includes sections of the novels Death Comes for the Archbishop, O Pioneers!, One of Ours, The Professor's House and My Antonia; and a generous selection of her stories, including “Coming Aphrodite!”
Vintage Readers are a perfect introduction to some of the great modern writers, presented in attractive, affordable paperback editions.
BONUS: The edition includes an excerpt from The Selected Letters of Willa Cather.
- Knopf Doubleday Publishing Group
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- Random House
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- 2 MB
Read an Excerpt
FLAVIA AND HER ARTISTS
As the train neared Tarrytown, Imogen Willard began to wonder why she had consented to be one of Flavia's house party at all. She had not felt enthusiastic about it since leaving the city, and was experiencing a prolonged ebb of purpose, a current of chilling indecision, under which she vainly sought for the motive which had induced her to accept Flavia's invitation.
Perhaps it was a vague curiosity to see Flavia's husband, who had been the magician of her childhood and the hero of innumerable Arabian fairy tales. Perhaps it was a desire to see M. Roux, whom Flavia had announced as the especial attraction of the occasion. Perhaps it was a wish to study that remarkable woman in her own setting.
Imogen admitted a mild curiosity concerning Flavia. She was in the habit of taking people rather seriously, but somehow found it impossible to take Flavia so, because of the very vehemence and insistence with which Flavia demanded it. Submerged in her studies, Imogen had, of late years, seen very little of Flavia; but Flavia, in her hurried visits to New York, between her excursions from studio to studio-her luncheons with this lady who had to play at a matinée, and her dinners with that singer who had an evening concert-had seen enough of her friend's handsome daughter to conceive for her an inclination of such violence and assurance as only Flavia could afford. The fact that Imogen had shown rather marked capacity in certain esoteric lines of scholarship, and had decided to specialize in a well-sounding branch of philology at the Ecole des Chartes, had fairly placed her in that category of "interesting people" whom Flavia considered her natural affinities, and lawful prey.
When Imogen stepped upon the station platform she was immediately appropriated by her hostess, whose commanding figure and assurance of attire she had recognized from a distance. She was hurried into a high tilbury and Flavia, taking the driver's cushion beside her, gathered up the reins with an experienced hand.
"My dear girl," she remarked, as she turned the horses up the street, "I was afraid the train might be late. M. Roux insisted upon coming up by boat and did not arrive until after seven."
"To think of M. Roux's being in this part of the world at all, and subject to the vicissitudes of river boats! Why in the world did he come over?" queried Imogen with lively interest. "He is the sort of man who must dissolve and become a shadow outside of Paris."
"Oh, we have a houseful of the most interesting people," said Flavia, professionally. "We have actually managed to get Ivan Schemetzkin. He was ill in California at the close of his concert tour, you know, and he is recuperating with us, after his wearing journey from the coast. Then there is Jules Martel, the painter; Signor Donati, the tenor; Professor Schotte, who has dug up Assyria, you know; Restzhoff, the Russian chemist; Alcée Buisson, the philologist; Frank Wellington, the novelist; and Will Maidenwood, the editor of Woman. Then there is my second cousin, Jemima Broadwood, who made such a hit in Pinero's comedy last winter, and Frau Lichtenfeld. Have you read her?"
Imogen confessed her utter ignorance of Frau Lichtenfeld, and Flavia went on.
"Well, she is a most remarkable person; one of those advanced German women, a militant iconoclast, and this drive will not be long enough to permit my telling you her history. Such a story! Her novels were the talk of all Germany when I was there last, and several of them have been suppressed-an honour in Germany, I understand. 'At Whose Door' has been translated. I am so unfortunate as not to read German."
"I'm all excitement at the prospect of meeting Miss Broadwood," said Imogen. "I've seen her in nearly everything she does. Her stage personality is delightful. She always reminds me of a nice, clean, pink-and-white boy who has just had his cold bath, and come down all aglow for a run before breakfast."
"Yes, but isn't it unfortunate that she will limit herself to those minor comedy parts that are so little appreciated in this country? One ought to be satisfied with nothing less than the best, ought one?" The peculiar, breathy tone in which Flavia always uttered that word "best," the most worn in her vocabulary, always jarred on Imogen and always made her obdurate.
"I don't at all agree with you," she said reservedly. "I thought every one admitted that the most remarkable thing about Miss Broadwood is her admirable sense of fitness, which is rare enough in her profession."
Flavia could not endure being contradicted; she always seemed to regard it in the light of a defeat, and usually coloured unbecomingly. Now she changed the subject.
"Look, my dear," she cried, "there is Frau Lichtenfeld now, coming to meet us. Doesn't she look as if she had just escaped out of Walhalla? She is actually over six feet."
Imogen saw a woman of immense stature, in a very short skirt and a broad, flapping sun hat, striding down the hillside at a long, swinging gait. The refugee from Walhalla approached, panting. Her heavy, Teutonic features were scarlet from the rigour of her exercise, and her hair, under her flapping sun hat, was tightly befrizzled about her brow. She fixed her sharp little eyes upon Imogen and extended both her hands.
"So this is the little friend?" she cried, in a rolling baritone.
Imogen was quite as tall as her hostess; but everything, she reflected, is comparative. After the introduction Flavia apologized.
"I wish I could ask you to drive up with us, Frau Lichtenfeld."
"Ah, no!" cried the giantess, drooping her head in humorous caricature of a time-honoured pose of the heroines of sentimental romances. "It has never been my fate to be fitted into corners. I have never known the sweet privileges of the tiny."
Laughing, Flavia started the ponies, and the colossal woman, standing in the middle of the dusty road, took off her wide hat and waved them a farewell which, in scope of gesture, recalled the salute of a plumed cavalier.
When they arrived at the house, Imogen looked about her with keen curiosity, for this was veritably the work of Flavia's hands, the materialization of hopes long deferred. They passed directly into a large, square hall with a gallery on three sides, studio fashion. This opened at one end into a Dutch breakfast-room, beyond which was the large dining-room. At the other end of the hall was the music-room. There was a smoking-room, which one entered through the library behind the staircase. On the second floor there was the same general arrangement; a square hall, and, opening from it, the guest chambers, or, as Miss Broadwood termed them, the "cages."
When Imogen went to her room, the guests had begun to return from their various afternoon excursions. Boys were gliding through the halls with ice-water, covered trays, and flowers, colliding with maids and valets who carried shoes and other articles of wearing apparel. Yet, all this was done in response to inaudible bells, on felt soles, and in hushed voices, so that there was very little confusion about it.
Flavia had at last builded her house and hewn out her seven pillars; there could be no doubt, now, that the asylum for talent, the sanatorium of the arts, so long projected, was an accomplished fact. Her ambition had long ago outgrown the dimensions of her house on Prairie Avenue; besides, she had bitterly complained that in Chicago traditions were against her. Her project had been delayed by Arthur's doggedly standing out for the Michigan woods, but Flavia knew well enough that certain of the aves rares-"the best"-could not be lured so far away from the seaport, so she declared herself for the historic Hudson and knew no retreat. The establishing of a New York office had at length overthrown Arthur's last valid objection to quitting the lake country for three months of the year; and Arthur could be wearied into anything, as those who knew him knew.
Flavia's house was the mirror of her exultation; it was a temple to the gods of Victory, a sort of triumphal arch. In her earlier days she had swallowed experiences that would have unmanned one of less torrential enthusiasm or blind pertinacity. But, of late years, her determination had told; she saw less and less of those mysterious persons with mysterious obstacles in their path and mysterious grievances against the world, who had once frequented her house on Prairie Avenue. In the stead of this multitude of the unarrived, she had now the few, the select, "the best." Of all that band of indigent retainers who had once fed at her board like the suitors in the halls of Penelope, only Alcée Buisson still retained his right of entrée. He alone had remembered that ambition hath a knapsack at his back, wherein he puts alms to oblivion, and he alone had been considerate enough to do what Flavia had expected of him, and give his name a current value in the world. Then, as Miss Broadwood put it, "he was her first real one,"-and Flavia, like Mahomet, could remember her first believer.
The "House of Song," as Miss Broadwood had called it, was the outcome of Flavia's more exalted strategies. A woman who made less a point of sympathizing with their delicate organisms might have sought to plunge these phosphorescent pieces into the tepid bath of domestic life; but Flavia's discernment was deeper. This must be a refuge where the shrinking soul, the sensitive brain, should be unconstrained; where the caprice of fancy should outweigh the civil code, if necessary. She considered that this much Arthur owed her; for she, in her turn, had made concessions. Flavia, had, indeed, quite an equipment of epigrams to the effect that our century creates the iron genii which evolve its fairy tales: but the fact that her husband's name was annually painted upon some ten thousand threshing machines, in reality contributed very little to her happiness.
Arthur Hamilton was born, and had spent his boyhood in the West Indies, and physically he had never lost the brand of the tropics. His father, after inventing the machine which bore his name, had returned to the States to patent and manufacture it. After leaving college, Arthur had spent five years ranching in the West and travelling abroad. Upon his father's death he had returned to Chicago and, to the astonishment of all his friends, had taken up the business-without any demonstration of enthusiasm, but with quiet perseverance, marked ability, and amazing industry. Why or how a self-sufficient, rather ascetic man of thirty, indifferent in manner, wholly negative in all other personal relations, should have doggedly wooed and finally married Flavia Malcolm, was a problem that had vexed older heads than Imogen's.
While Imogen was dressing she heard a knock at her door, and a young woman entered whom she at once recognized as Jemima Broadwood-"Jimmy" Broadwood, she was called by people in her own profession. While there was something unmistakably professional in her frank savoir-faire, "Jimmy's" was one of those faces to which the rouge never seems to stick. Her eyes were keen and grey as a windy April sky, and so far from having been seared by calcium lights, you might have fancied they had never looked on anything less bucolic than growing fields and country fairs. She wore her thick, brown hair short and parted at the side; and, rather than hinting at freakishness, this seemed admirably in keeping with her fresh, boyish countenance. She extended to Imogen a large, well-shaped hand which it was a pleasure to clasp.
"Ah! you are Miss Willard, and I see I need not introduce myself. Flavia said you were kind enough to express a wish to meet me, and I preferred to meet you alone. Do you mind if I smoke?"
"Why, certainly not," said Imogen, somewhat disconcerted and looking hurriedly about for matches.
"There, be calm, I'm always prepared," said Miss Broadwood, checking Imogen's flurry with a soothing gesture, and producing an oddly-fashioned silver match-case from some mysterious recess in her dinner-gown. She sat down in a deep chair, crossed her patent-leather Oxfords, and lit her cigarette. "This match-box," she went on meditatively, "once belonged to a Prussian officer. He shot himself in his bath-tub, and I bought it at the sale of his effects."
Imogen had not yet found any suitable reply to make to this rather irrelevant confidence, when Miss Broadwood turned to her cordially: "I'm awfully glad you've come, Miss Willard, though I've not quite decided why you did it. I wanted very much to meet you. Flavia gave me your thesis to read."
"Why, how funny!" ejaculated Imogen.
"On the contrary," remarked Miss Broadwood. "I thought it decidedly lacked humour."
"I meant," stammered Imogen, beginning to feel very much like Alice in Wonderland, "I meant that I thought it rather strange Mrs. Hamilton should fancy you would be interested."
Miss Broadwood laughed heartily. "No, don't let my rudeness frighten you. Really, I found it very interesting, and no end impressive. You see, most people in my profession are good for absolutely nothing else, and, therefore, they have a deep and abiding conviction that in some other line they might have shone. Strange to say, scholarship is the object of our envious and particular admiration. Anything in type impresses us greatly; that's why so many of us marry authors or newspaper men and lead miserable lives." Miss Broadwood saw that she had rather disconcerted Imogen, and blithely tacked in another direction. "You see," she went on, tossing aside her half-consumed cigarette, "some years ago Flavia would not have deemed me worthy to open the pages of your thesis-nor to be one of her house party of the chosen, for that matter. I've Pinero to thank for both pleasures. It all depends on the class of business I'm playing whether I'm in favour or not. Flavia is my second cousin, you know, so I can say whatever disagreeable things I choose with perfect good grace. I'm quite desperate for some one to laugh with, so I'm going to fasten myself upon you-for, of course, one can't expect any of these gypsy-dago people to see anything funny. I don't intend you shall lose the humour of the situation. What do you think of Flavia's infirmary for the arts, anyway?"
"Well, it's rather too soon for me to have any opinion at all," said Imogen, as she again turned to her dressing. "So far, you are the only one of the artists I've met."
From the Trade Paperback edition.
Meet the Author
Willa Cather was born on December 7, 1873, in Back Creek Valley, Virginia. Her father was a sheep farmer. When she was nine the family moved to Nebraska, eventually settling in the frontier village of Red Cloud. As a child Cather read voraciously, learning Greek and Latin from a neighbor, and displayed an early interest in science. At the University of Nebraska she immersed herself in literary studies and began writing stories and essays; following her graduation in 1895 she worked for some years as a journalist and schoolteacher, living part of the time in Pittsburgh and Washington, D.C., and visiting Europe.
Cather's first book, a collection of poetry called April Twilights, was published in 1903, followed two years later by a book of short stories, The Troll Garden. In 1906 she accepted a job in New York as editor at one of the great American national magazines, McClure's, where she stayed for six years, often doing the bulk of the work of putting out the magazine herself. In 1908 she met the novelist Sarah Orne Jewett, whose writing influenced her greatly, and with whom she shared a close friendship until Jewett's death sixteen months later. From 1912 on, Cather devoted herself entirely to writing. For most of her adult life she was based in New York City, but she traveled frequently; she was particularly influenced by her visits to the Southwest from 1912 onward, and to Quebec City beginning in 1928. Her friends included Dorothy Canfield, Mabel Dodge Luhan, Mary Austin, Sigrid Undset, Stephen Tennant, Yehudi Menuhin, and Edith Lewis.
While Cather's first novel, Alexander's Bridge (1912), was not particularly successful, in the next--O Pioneers! (1913)--she firmly established the sense of place and the meticulous descriptive style that would inform her best work. She later wrote of O Pioneers!: 'Since I wrote this book for myself, I ignored all the situations and accents that were then generally thought to be necessary.' Her reputation was further enhanced by The Song of the Lark (1915) and My Antonia (1918), and for the war novel One of Ours (1922) she received the Pulitzer Prize. A Lost Lady (1923), My Mortal Enemy (1926), and Lucy Gayheart (1935) were further evocations of the Midwestern setting, but in other works she explored a variety of landscapes and eras: in The Professor's House (1925) the contemporary Southwest; in Death Comes for the Archbishop (1927) the Southwest in the period of the Spanish missions, treated in what she called 'the style of the legends'; in Shadows on the Rock (1931), seventeenth-century Quebec; and in her final novel, Sapphira and the Slave Girl (1940), the nineteenth-century Virginia of her own ancestors.
Cather's later stories were collected in Youth and the Bright Medusa (1920) and Obscure Destinies (1930). Of her approach to fiction, she wrote: 'Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process. . . . Any first-rate novel or story must have in it the strength of a dozen fairly good stories that have been sacrificed to it. A good workman can't be a cheap workman; he can't be stingy about wasting material, and he cannot compromise.' Cather was for many years regarded as one of the most important American novelists and was the recipient of many literary prizes and honors. She died in New York on April 24, 1947.
From the Trade Paperback edition.
- Date of Birth:
- December 7, 1873
- Date of Death:
- April 27, 1947
- Place of Birth:
- Winchester, Virginia
- Place of Death:
- New York, New York
- B.A., University of Nebraska, 1895
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