The West and the past—one is the physical background of Willa Cather’s writing, the other is its spiritual climate. Against her chosen backgrounds, she projects her stories of pioneers and artists, men and women of simple passions and creative energies. The very nature of her material determines her own values as an artist: to find in the people of her creation those realities of the spirit that are almost overwhelmed in the complexity and confusion of the present. The Song of the Lark, which carries Thea Kronborg from an obscure Colorado town to the concert and opera stage, is a novel rich and sustaining in homely realism. The character of Thea is drawn in part from Olive Fremstad, a Swedish American opera singer, but there is much of Cather’s own story in the experiences of her heroine. Like Thea, she made common things and disciplined effort the shaping influences of her art. The story of the artist in America is usually sentimentalized or idealized. This novel is a notable exception.
Though it never shared the success of some of Cather’s other works, The Song of the Lark is nevertheless a rewarding and significant part of the Cather canon. The novel has been criticized, and perhaps justly so, for its unselective use of detail and episode in developing Thea’s story; yet such thoroughness is also what has allowed Cather to convey so fully to the reader Thea’s passionate spirit for living. Thea’s growth as an artist is shown in the context of two themes that run throughout Cather’s works: the invigorating, spiritual significance of the Southwest and its history, and the alienation of the artistic...
(The entire section is 671 words.)