remarking about the opera singer, ‘‘That woman's a diamond mine.’’ The narrator, an "old friend of Cressida Garnet," laments the impending "mining operations." Through this lamentation, she elucidates the metaphor's meaning, portraying how the public and Cressida's kin perceive the opera singer not as a flesh-and-blood woman but as a resource to be exploited. They intend to strip away her vitality, wealth, and, inevitably, her very existence. This metaphor is not solitary in describing the opera singer. In reference to Poppas, the narrator observes that he alone grasps the roots of her prosperity, a notion Cressida's family recognizes, making him the sole guardian able "to proclaim sanctuary for the goose that laid the golden eggs."

Flashback Narration

"The Diamond Mine" weaves a complex tapestry, eschewing simple chronology. The story embarks aboard a ship, where the narrator notes, "I first became aware that Cressida Garnet was on board when I saw young men with cameras going up to the boat deck." This introduction sets the scene—or so it seems. Yet, swiftly, the narrative shifts back to "a few days before, when I was lunching with some friends at Sherry's." The narrator uses this recollection to introduce the "diamond mine" metaphor she had overheard. But her thoughts meander towards Jerome Brown. In the subsequent paragraph, she states, "I had been away from New York and had not seen Cressida for a year; now I paused on the gangplank." The transition to "now" on the "gangplank" returns the action to the ship. This temporal dance mirrors the erratic rhythm the narrator employs throughout the tale.

As the main story unfolds, detailing each of Cressida's marriages, a semblance of chronological order emerges. Nonetheless, the initial narrative capriciousness serves a purpose—it captures the frenetic pace of Cressida's existence within the high-stakes realm of opera. A straightforward narrative would lack this tension. Additionally, disorienting the reader at the outset conceals the impending twist: Cressida's fate aboard the Titanic.

By this juncture, the narrator delves into Cressida's fourth husband, Jerome Brown, whose poor investments necessitate a special concert in England, ‘‘where she could always raise money from a faithful public.’’ As the narrative progresses, unsuspecting readers remain oblivious to the looming calamity, accustomed to the story's pattern. Yet, a sudden leap propels the tale forward: ‘‘When she sailed, her friends knew that her husband's affairs were in a bad way; but we did not know how bad until after Cressida's death.’’ In an instant, Cressida's preparations turn into a retrospective after her demise. The following line reveals the tragic outcome: ‘‘Cressida Garnet, as all the world knows, was lost on the Titanic.’’ Once more, the narrator's temporal shift delivers the ultimate narrative coup.

Hints of Destiny

In stories where time flows fluidly, foreshadowing often lurks subtly beneath the surface, escaping immediate notice. Early in the tale, as the narrator converses with Cressida on a ship, she weaves in a rich tapestry of past events to provide context.

After detailing Cressida's first marriage and introducing Poppas and his pivotal role in her career, the narrative returns to the present, stating, ‘‘It was of Bouchalka that we talked upon that last voyage I ever made with Cressida Garnet, and not of Jerome Brown.’’ The story sets sail discussing Jerome Brown, yet as their conversation unfolds, the narrator signals another dive into the past to explore Blasius Bouchalka, Cressida's third husband. However, she also subtly inserts the phrase "last voyage," casting a shadow that hints ominously at Cressida's fate. This foreboding note becomes somewhat obscured as the narrator shifts focus to Cressida's union with Bouchalka.

1910s: Rise of the Music Industry

1910s: The burgeoning music industry finds its rhythm as record players become household staples. Americans eagerly acquire these devices to indulge in the melodies and harmonies of their treasured musicians, propelling their musical idols to newfound heights of fame.

Today: Digital Disruption

Today: The realm of music recording and publishing faces a formidable challenge posed by the revolutionary MP3 format, which encapsulates music in digital essence. With ease, music enthusiasts download these files from the vast expanse of the Internet, enjoying them on a multitude of devices. In response, the Recording Industry Association of America—a stalwart defender of the music industry—embarks on a futile quest to curtail the use of certain MP3 players.

1910s: Celebrity Culture

1910s: American celebrities, including the illustrious Lillian Nordica, find their lives increasingly illuminated by the spotlight. For many stars, this unsolicited attention serves as a valuable currency, amplifying their fame and allure.

Today: The Paparazzi Phenomenon

Today: A relentless pursuit by the paparazzi casts a shadow over the lives of modern public figures, who often find themselves besieged by these photographers. The tragic demise of Diana, Princess of Wales, on August 31, 1997, underscores the hounding nature of this pursuit, as her car, allegedly chased by paparazzi on motorbikes, meets a fateful end.

1910s: Maritime Tragedy

1910s: The majestic voyage of the luxury liner Titanic meets a catastrophic fate as it collides with an iceberg. Within a mere two hours, the ship descends into the ocean's depths, claiming the lives of 1,500 souls.

Today: Cinematic Marvels

Today: The cinematic landscape dazzles with productions that command astronomical budgets, encompassing exhaustive research, intricate set designs, and breathtaking special effects. James Cameron's epic film Titanic (1997) stands as a testament to cinematic ambition, emerging as the most costly film of its time with a staggering budget of approximately $200 million. Incorporating the latest insights into the ship's sinking, the film weaves a poignant, imaginary narrative centered on Rose, a noblewoman on the brink of matrimony, and Jack, a destitute artist who captures her heart amidst the historical backdrop.

Sources

Fisher, Dorothy Canfield, ‘‘Among New Books: Some Books of Short Stories,’’ in Willa Cather: The Contemporary Reviews, edited by Margaret Anne O'Connor, Cambridge University Press, pp. 110—11, originally published in Yale Review, Vol. 10, April 1921, pp. 670-71.

Hackett, Francis, ‘‘Miss Cather's Short Stories,’’ in Willa Cather: The Contemporary Reviews, edited by Margaret Anne O'Connor, Cambridge University Press, pp. 105-107, originally published in New Republic, Vol. 25, January 19, 1921, pp. 233-34.

Hoffman, Frederick J., The Modern Novel in America, 1900-1950, Gateway Editions, Ltd., 1951, pp. 39-40.

‘‘Latest Works of Fiction: Miss Cather's Stories,’’ in Willa Cather: The Contemporary Reviews, edited by Margaret Anne O'Connor, Cambridge University Press, p. 101, originally published in New York Times Book Review, October 3, 1920, p. 24.

Lewis, Sinclair, ‘‘A Hamlet of the Plains,’’ in The Man from Main Street: Selected Essays and Other Writings, 1904—1950, edited by Harry E. Maule and Melville H. Cane, Random House, 1953, pp. 170-74, originally published in the New York Post, September 22, 1922.

Mencken, H. L., ‘‘Four Reviews: Youth and the Bright Medusa,'' in Willa Cather and Her Critics, edited by James Schroeter, Cornell University Press, 1967, pp. 9-10, originally published as a Review of Youth and the Bright Medusa, in The Smart Set, Vol. LXIII, No. 4, December 1920.

Porter, Katherine Anne, ‘‘Critical Reflections on Willa Cather,’’ in Critical Essays on Willa Cather, edited by John J. Murphy, G. K. Hall & Co., 1984, p. 36.

Robertson, R. M., ‘‘Disinterring the 'Scandal' of Willa Cather: Youth and the Bright Medusa,'' in Criticism, Vol. XXXII, No. 4, Fall 1990, p. 489.

Stout, Janis P., Willa Cather: The Writer and Her World, University Press of Virginia, 2000, pp. 130-31.

Williams, Blanche Colton, ‘‘A New Book of Stories,’’ in Willa Cather: The Contemporary Reviews, edited by Margaret Anne O'Connor, Cambridge University Press, pp. 100-101, originally published in Bookman, Vol. 52, October 1920, pp. 169-70.

Williams, Orlo, Review of Youth and the Bright Medusa, in Willa Cather: The Contemporary Reviews, edited by Margaret Anne O'Connor, Cambridge University Press, p. 104-105, originally published in Athenaeum, No. 4731, December 31, 1920, p. 890.

Woodress, James, Willa Cather: A Literary Life, University of Nebraska Press, 1987, pp. 87, 127, 278-80.

Further Reading

Acocella, Joan Ross, Willa Cather and the Politics of Criticism, Vintage Books, 2002.
This book is a controversial argument in favor of Willa Cather and her work. Acocella criticizes previous reviews of other critics—who sometimes focused on Cather's personal life and not her works themselves—and discusses how these undeserved reviews helped to obscure Cather's works.

Fiedler, Johanna, Molto Agitato: The Mayhem behind the Music at the Metropolitan Opera, Doubleday, 2001.
Fiedler, a press representative at the Metropolitan Opera, ' 'the Met,’’ for fifteen years, gives a thorough history of this massive musical enterprise. The book examines the Opera house from its inception in 1883 until today and discusses both the day-to-day dealings and the behind-the-scenes anecdotes from this famous American institution.

Gerber, Philip L., Willa Cather, Twayne Publishers, 1995.
This is an overview of Willa Cather's literary career. Her early, middle, and final stage novels are covered, as well as her contributions to short fiction and a collection of past and present biographies and criticism about this author.

Wasserman, Loretta, Willa Cather: A Study of the Short Fiction, Twayne Publishers, 1991.
This chronological study of Cather's short stories traces the themes and philosophies that she developed throughout her career, and it explores her contributions to early American modernism.