Willa Cather Long Fiction Analysis
Willa Cather once said in an interview that the Nebraska landscape was “the happiness and the curse” of her life. That statement reveals the ambivalence in Cather that produced in her a lifelong tug-of-war between the East and the western prairie. That ambivalence is the central tension in her novels. As long as her parents were alive, she made repeated trips back home to see them, and each time she crossed the Missouri River, she said, “the very smell of the soil tore [her] to pieces.” As a young woman in Red Cloud and Lincoln, however, she was chafed by narrow attitudes and limited opportunities. She knew that she had to leave the prairie in order to fulfill her compelling desire for broader experiences and for art. Like Thea Kronborg in The Song of the Lark, Cather knew she would never find fulfillment unless she left her home. At the same time, however, she also discovered that her very being was rooted in the landscape of her childhood. Thus, going back to it, even if only in memory, was essential and inescapable.
Cather once remarked that the most important impressions one receives come before the age of fifteen, and it seems clear that she was referring particularly to her own experiences on the Nebraska prairie. She did use some Virginia memories in her work, but only sporadically, in a few early short stories, before turning to them in her last published novel, Sapphira and the Slave Girl. In her “Nebraska works,” it is not only Nebraska that Cather evokes, but it is, also, what Nebraska symbolizes and means, for she is not simply a regional writer. The range of her work is as broad as the range of her experience, and Nebraska represents the westward necessity of her life. Wherever in her work the pull of the landscape is felt, there is NebraskA&Mdash;whether the setting is Colorado, Kansas, New Mexico, or even rural Pennsylvania or frontier Quebec.
As has been suggested, her life had an eastward necessity too. The raw hardships of prairie life could sometimes mutilate the body and drain the spirit, and a human being often needed something else. A man of genuine sensitivity and culture, such as Ántonia Shimerda’s father, for example, could not survive in a hard land. Cather’s awareness of this fact made a great impression on her. One of the first stories she heard after arriving in Nebraska was the account of Francis Sadilek’s suicide, an event that she reconstructed in My Ántonia. Not only could the beloved land be killingly cruel, but it also failed to provide the environment of training, discipline, and appreciation so necessary for the growth and development of an artist. Although the land provided the materials for memory to work with and the germinating soil for the seed of talent, it could not produce the final fruit.
Then, too, part of the Nebraska Cather experienced was small-town life and the limited opportunities it offered the artistically ambitious. Throughout her life, she felt misunderstood by some of the townspeople who had known her as a youngster. Letters to her lifelong friend in Red Cloud, Carrie Miner Sherwood (from whom she drew Frances Harling in My Ántonia), indicate how sharply Cather felt their disapproval of her. She rebelled against their codes and refused to remain among them but was stung by their criticism.
Tension between East and West
Thea Kronborg is not the only Cather character to be torn, like her creator, between East and West, civilization and the land. In My Ántonia, the young Jim Burden expresses Cather’s own feelings of awe and fear upon his arrival in Nebraska. Later, when he goes to school in Lincoln and eventually leaves for a career in the East, the Nebraska landscape of his past stays with him, just as it stayed with Cather, even after long absences. Claude Wheeler, in One of Ours , also has a good deal of his maker in him. Much as he loves the beauty of the Nebraska landscape, he cannot find himself until he leaves it. Like Cather, the ultimate in...
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