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Cather, Willa: Primary Sources

WILLA CATHER: PRIMARY SOURCES

WILLA CATHER (ESSAY DATE 1931)

SOURCE: Cather, Willa. "My First Novels [There Were Two]." In On Writing: Critical Studies on Writing as an Art, pp. 91-7. New York: Alfred A. Knopf, 1976.

In the following essay, originally published in The Colophon in 1931, Cather provides background information on the writing and publication of her first two novels.

My first novel, Alexander's Bridge, was very like what painters call a studio picture. It was the result of meeting some interesting people in London. Like most young writers, I thought a book should be made out of "interesting material," and at that time I found the new more exciting than the familiar. The impressions I tried to communicate on paper were genuine, but they were very shallow. I still find people who like that book because it follows the most conventional pattern, and because it is more or less laid in London. London is supposed to be more engaging than, let us say, Gopher Prairie; even if the writer knows Gopher Prairie very well and London very casually. Soon after the book was published I went for six months to Arizona and New Mexico. The longer I stayed in a country I really did care about, and among people who were a part of the country, the more unnecessary and superficial a book like Alexander's Bridge seemed to me. I did no writing down there, but I recovered from the conventional editorial point of view.

When I got back to Pittsburgh I began to write a book entirely for myself; a story about some Scandinavians and Bohemians who had been neighbours of ours when I lived on a ranch in Nebraska, when I was eight or nine years old. I found it a much more absorbing occupation than writing Alexander's Bridge; a different process altogether. Here there was no arranging or "inventing"; everything was spontaneous and took its own place, right or wrong. This was like taking a ride through a familiar country on a horse that knew the way, on a fine morning when you felt like riding. The other was like riding in a park, with someone not altogether congenial, to whom you had to be talking all the time. Since I wrote this book for myself, I ignored all the situations and accents that were then generally thought to be necessary. The "novel of the soil" had not then come into fashion in this country. The drawing-room was considered the proper setting for a novel, and the only characters worth reading about were smart people or clever people. "O. Henry" had made the short story go into the world of the cheap boarding-house and the shop-girl and the truck-driver. But Henry James and Mrs. Wharton were our most interesting novelists, and most of the younger writers followed their manner, without having their qualifications.

O Pioneers! interested me tremendously, because it had to do with a kind of country I loved, because it was about old neighbours, once very dear, whom I had almost forgotten in the hurry and excitement of growing up and finding out what the world was like and trying to get on in it. But I did not in the least expect that other people would see anything in a slow-moving story, without "action," without "humour," without a "hero"; a story concerned entirely with heavy farming people, with cornfields and pasture lands and pig yards,—set in Nebraska, of all places! As everyone knows, Nebraska is distinctly déclassé as a literary background; its very name throws the delicately attuned critic into a clammy shiver of embarrassment. Kansas is almost as unpromising. Colorado, on the contrary, is considered quite possible. Wyoming really has some class, of its own kind, like well-cut riding breeches. But a New York critic voiced a very general opinion when he said: "I simply don't care a damn what happens in Nebraska, no matter who writes about it."

O Pioneers! was not only about Nebraska farmers; the farmers were Swedes! At that time, 1912, the Swede had never appeared on the printed page in this country except in broadly humorous sketches; and the humour was based on two peculiarities: his physical strength, and his inability to pronounce the letter "j." I had certainly good reasons for supposing that the book I had written for myself would remain faithfully with me, and continue to be exclusively my property. I sent it to Mr. Ferris Greenslet, of Houghton Mifflin, who had published Alexander's Bridge, and was truly astonished when he wrote me they would publish it.

I was very much pleased when William Heinemann decided to publish it in England. I had met Mr. Heinemann in London several times, when I was on the editorial staff of McClure's Magazine, and I had the highest opinion of his taste and judgment. His personal taste was a thing quite apart from his business, and it was uncompromising. The fact that a second-rate book sold tremendously never made him hedge and insist that there must be something pretty good in it after all. Most publishers, like most writers, are ruined by their successes.

When my third book, The Song of the Lark, came along, Heinemann turned it down. I had never heard from him directly that he liked O Pioneers! but now I had a short hand-written letter from him, telling me that he admired it very much; that he was declining The Song of the Lark because he thought in that book I had taken the wrong road, and that the full-blooded method, which told everything about everybody, was not natural to me and was not the one in which I would ever take satisfaction. "As for myself," he wrote, "I always find the friendly, confidential tone of writing of this sort distressingly familiar, even when the subject matter is very fine."

At that time I did not altogether agree with Mr. Heinemann, nor with Randolph Bourne, in this country, who said in his review almost the same thing. One is always a little on the defensive about one's last book. But when the next book, My Ántonia, came along, quite of itself and with no direction from me, it took the road of O Pioneers! —not the road of The Song of the Lark. Too much detail is apt, like any other form of extravagance, to become slightly vulgar; and it quite destroys in a book a very satisfying element analogous to what painters call "composition."

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