Willa Cather

Artistic growth is, more than it is anything else, a refining of the sense of truthfulness. The stupid believe that to be truthful is easy; only the artist, the great artist, knows how difficult it is.

Willa Sibert Cather (7 December 1873 – 24 April 1947) is among the most eminent American authors, known for her depictions of US life in her novels.

Quotes

It does not matter much whom we live with in this world, but it matters a great deal whom we dream of.

• No one can build his security upon the nobleness of another person. Two people, when they love each other, grow alike in their tastes and habits and pride, but their moral natures (whatever we may mean by that canting expression) are never welded. The base one goes on being base, and the noble one noble, to the end.
  • Alexander's Bridge (1912) Ch. 8

• There's nothing so dangerous as sitting still. You've only got one life, one youth, and you can let it slip through your fingers if you want to; nothing easier. Most people do that.
  • The Bohemian Girl (1912)

• It does not matter much whom we live with in this world, but it matters a great deal whom we dream of.
  • Youth and the Bright Medusa, "A Gold Slipper" (1920)

• The world there was the flat world of the ancients; to the east, a cornfield that stretched to daybreak; to the west, a corral that reached to the sunset; between, the conquests of peace, dearer-bought than those of war.
  • Youth and the Bright Medusa, "A Wagner Matinee" (1920)

• The dead might as well try to speak to the living as the old to the young.
  • One of Ours (1922), Bk. II, Ch. 6

• The sun was like a great visiting presence that stimulated and took its due from all animal energy. When it flung wide its cloak and stepped down over the edge of the fields at evening, it left behind it a spent and exhausted world.
  • One of Ours (1922), Bk. II, Ch. 6

• Beautiful women, whose beauty meant more than it said... was their brilliancy always fed by something coarse and concealed? Was that their secret?
  • A Lost Lady (1923), Part I, Ch. 7

• He had seen the end of an era, the sunset of the pioneer. He had come upon it when already its glory was nearly spent. So in the buffalo times a traveller used to come upon the embers of a hunter's fire on the prairies, after the hunter was up and gone; the coals would be trampled out, but the ground was warm, and the flattened grass where he had slept and where his pony had grazed, told the story.
  This was the very end of the road-making West; the men who had put plains and mountains under the iron harness were old; some were poor, and even the successful ones were hunting for rest and a brief reprieve from death. It was already gone, that age; nothing could ever bring it back. The taste and smell and song of it, the visions those men had seen in the air and followed, — these he had caught in a kind of afterglow in their own faces, — and this would always be his.
  • A Lost Lady (1923), Part II, Ch. 9

• My familiar spirit is like an old wild turkey that forsakes a feeding ground as soon as it sees tracks of people-especially if the people are readers, book-buyers. It's a crafty bird and it wants to go where there aint no readers That's the truth: they go and paw a place all up and spoil it for me. It isn't my secret anymore.
  • Letter to Dorothy Canfield Fisher (27 February 1924), published in The Selected Letters of Willa Cather (2013), edited by Andrew Jewell and Janis Stout

• Directly under his feet was the French stronghold, — scattered spires and slated roofs flashing in the rich, autumnal sunlight; the little capital which was just then the subject of so much discussion in Europe, and the goal of so many fantastic dreams.
  • Shadows on the Rock (1931), Book I, Ch. 1

• Only solitary men know the full joys of friendship. Others have their family — but to a solitary and an exile his friends are everything.
  • Shadows on the Rock (1931), Book III, Ch. 5

• Sometimes a neighbor whom we have disliked a lifetime for his arrogance and conceit lets fall a single commonplace remark that shows us another side, another man, really; a man uncertain, and puzzled, and in the dark like ourselves.
  • Shadows on the Rock (1931), Epilogue

O Pioneers! (1913)

We come and go, but the land is always here. And the people who love it and understand it are the people who own it — for a little while.

• The great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness.
  • Part I, Ch. 9

• Of all the bewildering things about a new country, the absence of human landmarks is one of the most depressing and disheartening.
  • Part I, Ch. 2

• The history of every country begins in the heart of a man or a woman.
  • Part I, Ch. 5

• Alexandra drew her shawl closer about her and stood leaning against the frame of the mill, looking at the stars which glittered so keenly through the frosty autumn air. She always loved to watch them, to think of their vastness and distance, and of their ordered march. It fortified her to reflect upon the great operations of nature, and when she thought of the law that lay behind them, she felt a sense of personal security.
  • Part I, Ch. 5

• She had never known before how much the country meant to her. The chirping of the insects in the long grass had been like the sweetest music. She had felt as if her heart were hiding down there, somewhere, with the quail and the plover and all the little wild things that crooned or buzzed in the sun. Under the long shaggy ridges, she felt the future stirring.
  • Part I, Ch. 5

• Freedom so often means that one isn't needed anywhere. Here you are an individual, you have a background of your own, you would be missed. But off there in the cities there are thousands of rolling stones like me. We are all alike; we have no ties, we know nobody, we own nothing. When one of us dies, they scarcely know where to bury him... We have no house, no place, no people of our own. We live in the streets, in the parks, in the theatres. We sit in restaurants and concert halls and look about at the hundreds of our own kind and shudder.
  • Part II, Ch. 3

• There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, that have been singing the same five notes over for thousands of years.
  • Part II, Ch. 4

• Perhaps I am like Carrie Jensen, the sister of one of my hired men. She had never been out of the cornfields, and a few years ago she got despondent and said life was just the same thing over and over, and she didn't see the use of it. After she had tried to kill herself once or twice, her folks got worried and sent her over to Iowa to visit some relations. Ever since she's come back she's been perfectly cheerful, and she says she's contented to live and work in a world that's so big and interesting. She said that anything as big as the bridges over the Platte and the Missouri reconciled her. And it's what goes on in the world that reconciles me.
  • Part II, Ch. 4

• The history of every country begins in the heart of a man or a woman.
  • Part II, Ch. 4

• I like trees because they seem more resigned to the way they have to live than other things do.
  • Part II, Ch. 8

• There was about Alexandra something of the impervious calm of the fatalist, always disconcerting to very young people, who cannot feel that the heart lives at all unless it is still at the mercy of storms; unless its strings can scream to the touch of pain.
  • Part IV, Chapter 1 : "The White Mulberry Tree"

• The years seemed to stretch before her like the land: spring, summer, autumn, winter, spring; always the same patient fields, the patient little trees, the patient lives; always the same yearning; the same pulling at the chain — until the instinct to live had torn itself and bled and weakened for the last time, until the chain secured a dead woman, who might cautiously be released.
  • Part IV, Ch. 5

• We come and go, but the land is always here. And the people who love it and understand it are the people who own it — for a little while.
  • Part V, Ch. 3

The Song of the Lark (1915)

When we look back, the only things we cherish are those which in some way met our original want; the desire which formed in us in early youth, undirected, and of its own accord.

• I tell you there is no such thing as creative hate!
  • Part I, Ch. 9

• Nothing is far and nothing is near, if one desires. The world is little, people are little, human life is little. There is only one big thing — desire.
  • Part I, Ch. 11

• Every artist makes himself born. It is very much harder than the other time, and longer.
  • Part II, Ch. 3

• All the intelligence and talent in the world can't make a singer. The voice is a wild thing. It can't be bred in captivity. It is a sport, like the silver fox. It happens.
  • Part II, Ch. 6

• The great pines stand at a considerable distance from each other. Each tree grows alone, murmurs alone, thinks alone. They do not intrude upon each other. The Navajos are not much in the habit of giving or of asking help. Their language is not a communicative one, and they never attempt an interchange of personality in speech. Over their forests there is the same inexorable reserve. Each tree has its exalted power to bear.
  • Part IV, ch. 1

• What was any art but an effort to make a sheath, a mould in which to imprison for a moment the shining, elusive element which is life itself — life hurrying past us and running away, too strong to stop, too sweet to lose?
  • Part IV, Ch. 3
  • Sometimes paraphrased: What was any art but a mould in which to imprison for a moment the shining elusive element which is life itself — life hurrying past us and running away, too strong to stop, too sweet to lose.

• When we look back, the only things we cherish are those which in some way met our original want; the desire which formed in us in early youth, undirected, and of its own accord.
  • Part VI, Ch. 2

• I keep my mind on it. That's the whole trick, in so far as stage experience goes; keeping right there every second. If I think of anything else for a flash, I'm gone, done for. But at the same time, one can take things in — with another part of your brain, maybe. It's different from what you get in study, more practical and conclusive. There are some things you learn best in calm, and some in storm. You learn the delivery of a part only before an audience.
  • Thea, in Part VI, Ch. 7

• If you love the good thing vitally, enough to give up for it all that one must give up, then you must hate the cheap thing just as hard. I tell you, there is such a thing as creative hate! A contempt that drives you through fire, makes you risk everything and lose everything, makes you a long sight better than you ever knew you could be.
  • Part VI, Ch. 9

• Artistic growth is, more than it is anything else, a refining of the sense of truthfulness. The stupid believe that to be truthful is easy; only the artist, the great artist, knows how difficult it is.
  • Part VI, Ch. 11

My Antonia (1918)

In that singular light every little tree and shock of wheat, every sunflower stalk and clump of snow-on-the-mountain, drew itself up high and pointed; the very clods and furrows in the fields seemed to stand up sharply.

• There seemed to be nothing to see; no fences, no creeks or trees, no hills or fields. If there was a road, I could not make it out in the faint starlight. There was nothing but land: not a country at all, but the material out of which countries are made.
  • Book I, Ch. 1

• I kept as still as I could. Nothing happened. I did not expect anything to happen. I was something that lay under the sun and felt it, like the pumpkins, and I did not want to be anything more. I was entirely happy. Perhaps we feel like that when we die and become a part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep.
  • Book I, Ch. 2

• I ain't got time to learn. I can work like mans now.
  • Book 1, Ch. 17

• Winter lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men's affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk.
  • Book II, Ch. 7

• On starlight nights I used to pace up and down those long, cold streets, scowling at the little, sleeping houses on either side, with their storm-windows and covered back porches. They were flimsy shelters, most of them poorly built of light wood, with spindle porch-posts horribly mutilated by the turning-lathe. Yet for all their frailness, how much jealousy and envy and unhappiness some of them managed to contain! The life that went on in them seemed to me made up of evasions and negations; shifts to save cooking, to save washing and cleaning, devices to propitiate the tongue of gossip. This guarded mode of existence was like living under a tyranny. People's speech, their voices, their very glances, became furtive and repressed. Every individual taste, every natural appetite, was bridled by caution. The people asleep in those houses, I thought, tried to live like the mice in their own kitchens; to make no noise, to leave no trace, to slip over the surface of things in the dark.
  • Book II, Ch. 12

• There were no clouds, the sun was going down in a limpid, gold-washed sky. Just as the lower edge of the red disk rested on the high fields against the horizon, a great black figure suddenly appeared on the face of the sun. We sprang to our feet, straining our eyes toward it. In a moment we realized what it was. On some upland farm, a plough had been left standing in the field. The sun was sinking just behind it. Magnified across the distance by the horizontal light, it stood out against the sun, was exactly contained within the circle of the disk; the handles, the tongue, the share — black against the molten red. There it was, heroic in size, a picture writing on the sun.
  • Book II, Ch. 14

• "Jim," she said earnestly, "if I was put down there in the middle of the night, I could find my way all over that little town; and along the river to the next town, where my grandmother lived. My feet remember all the little paths through the woods, and where the big roots stick out to trip you. I ain't never forgot my own country."
  • Book II, Ch. 14

• Cleric said he thought Virgil, when he was dying at Brindisi, must have remembered that passage. After he had faced the bitter fact that he was to leave the 'Aeneid' unfinished, and had decreed that the great canvas, crowded with figures of gods and men, should be burned rather than survive him unperfected, then his mind must have gone back to the perfect utterance of the 'Georgics,' where the pen was fitted to the matter as the plough is to the furrow; and he must have said to himself, with the thankfulness of a good man, 'I was the first to bring the Muse into my country.'
  • Book III, Ch. 2

• Men are all right for friends, but as soon as you marry them they turn into cranky old fathers, even the wild ones. They begin to tell you what's sensible and what's foolish, and want you to stick at home all the time. I prefer to be foolish when I feel like it, and be accountable to nobody.
  • Book III, Ch. 4

• She remembered home as a place where there were always too many children, a cross man and work piling up around a sick woman.
  • Book III, Ch. 4

• The windy springs and the blazing summers, one after another, had enriched and mellowed that flat tableland; all the human effort that had gone into it was coming back in long, sweeping lines of fertility. The changes seemed beautiful and harmonious to me; it was like watching the growth of a great man or of a great idea. I recognized every tree and sandbank and rugged draw. I found that I remembered the conformation of the land as one remembers the modelling of human faces.
  • Book IV, Ch. 3

• I think of you more often than of anyone else in this part of the world. I'd have liked to have you for a sweetheart, or a wife, or my mother or my sister — anything that a woman can be to a man. The idea of you is a part of my mind; you influence my likes and dislikes, all my tastes, hundreds of times when I don't realize it. You really are a part of me.
  • Book IV, Ch. 4

• Ain't it wonderful, Jim, how much people can mean to each other?
  • Bok IV, Ch. 4

• As we walked homeward across the fields, the sun dropped and lay like a great golden globe in the low west. While it hung there, the moon rose in the east, as big as a cart-wheel, pale silver and streaked with rose colour, thin as a bubble or a ghost-moon. For five, perhaps ten minutes, the two luminaries confronted each other across the level land, resting on opposite edges of the world.
  In that singular light every little tree and shock of wheat, every sunflower stalk and clump of snow-on-the-mountain, drew itself up high and pointed; the very clods and furrows in the fields seemed to stand up sharply. I felt the old pull of the earth, the solemn magic that comes out of those fields at nightfall. I wished I could be a little boy again, and that my way could end there.
  • Book IV, Ch. 4

• In the course of twenty crowded years one parts with many illusions. I did not wish to lose the early ones. Some memories are realities, and are better than anything that can ever happen to one again.
  • Book V, Ch. 1

• As I confronted her, the changes grew less apparent to me, her identity stronger. She was there, in the full vigour of her personality, battered but not diminished, looking at me, speaking to me in the husky, breathy voice I remembered so well.
  • Book V, Ch. 1

• It was no wonder that her sons stood tall and straight. She was a rich mine of life, like the founders of early races.
  • Book V, Ch. 1

• Whatever we had missed, we possessed together the precious, the incommunicable past.
  • Book V, Ch. 3

The Professor's House (1925)

• His misfortune was that he loved youth — he was weak to it, it kindled him. If there was one eager eye, one doubting, critical mind, one lively curiosity in a whole lecture-room full of commonplace boys and girls, he was its servant. That ardour could command him. It hadn't worn out with years, this responsiveness, any more than the magnetic currents wear out; it had nothing to do with Time.
  • Book I, Ch. 1

• Desire is creation, is the magical element in that process. If there were an instrument by which to measure desire, one could foretell achievement.
  • Book I, Ch. 1

• The great fact in life, the always possible escape from dullness, was the lake. The sun rose out of it, the day began there; it was like an open door that nobody could shut. The land and all its dreariness could never close in on you. You had only to look at the lake, and you knew you would soon be free.
  • Book I, Ch. 1
  • The Professor's thoughts on Lake Michigan

• A work-room should be like an old shoe; no matter how shabby, it's better than a new one.
  • Book I, Ch. 4

• Art and religion (they are the same thing, in the end, of course) have given man the only happiness he has ever had.
  • Book I, Ch. 5

• The heart of another is a dark forest, always, no matter how close it has been to one's own.
  • Book I, Ch. 8

• To people off alone, as we were, there is something stirring about finding evidences of human labour and care in the soil of an empty country. It comes to you as a sort of message, makes you feel differently about the ground you walk over every day.
  • Book II, Ch. 2

• He had never learned to live without delight. And he would have to learn to, just as, in a Prohibition country, he supposed he would have to learn to live without sherry. Theoretically he knew that life is possible, maybe even pleasant, without joy, without passionate griefs. But it had never occurred to him that he might have to live like that.
  • Book III, Ch. 4

• "In great misfortunes," he told himself, "people want to be alone. They have a right to be. And the misfortunes that occur within one are the greatest. Surely the saddest thing in the world is falling out of love — if once one has ever fallen in."
  Falling out, for him, seemed to mean falling out of all domestic and social relations, out of his place in the human family, indeed.
  • Book III, Ch. 4

Katherine Mansfield (1925)

Essay, originally published in The Borzoi 1925 (1925)

• The qualities of a second-rate writer can easily be defined, but a first-rate writer can only be experienced. It is just the thing in him which escapes analysis that makes him first-rate.

• Even in harmonious families there is this double life: the group life, which is the one we can observe in our neighbour's household, and, underneath, another — secret and passionate and intense — which is the real life that stamps the faces and gives character to the voices of our friends. Always in his mind each member of these social units is escaping, running away, trying to break the net which circumstances and his own affections have woven about him.

• One realizes that human relationships are the tragic necessity of human life; that they can never be wholly satisfactory, that every ego is half the time greedily seeking them, and half the time pulling away from them. In those simple relationships of loving husband and wife, affectionate sisters, children and grandmother, there are innumerable shades of sweetness and anguish which make up the pattern of our lives day by day, though they are not down in the list of subjects from which the conventional novelist works.

My Mortal Enemy (1926)

• Now everything was in ruins. The air was still and cold like the air in a refrigerating-room. What I felt was fear; I was afraid to look or speak or move. Everything about me seemed evil. When kindness has left people, even for a few moments, we become afraid of them, as if their reason had left them. When it has left a place where we have always found it, it is like shipwreck; we drop from security into something malevolent and bottomless.
  • Part I, Ch. 6

• Only the stupid and the phlegmatic should teach.
  • Part II, Ch. 1

• People can be lovers and enemies at the same time, you know. We were... A man and woman draw apart from that long embrace, and see what they have done to each other... In age we lose everything; even the power to love.
  • Part II, Ch. 4

• Religion is different from everything else; because in religion seeking is finding.

• In other searchings it might be the object of the quest that brought satisfaction, or it might be something incidental that one got on the way; but in religion, desire was fulfilment, it was the seeking itself that rewarded.

• I could bear to suffer... so many have suffered. But why must it be like this? I have not deserved it. I have been true in friendship; I have faithfully nursed others in sickness... Why must I die like this, alone with my mortal enemy?
  • Part II, Ch. 5

Death Comes for the Archbishop (1927)

Elsewhere the sky is the roof of the world; but here the earth was the floor of the sky. The landscape one longed for when one was away, the thing all about one, the world one actually lived in, was the sky, the sky!

• That irregular and intimate quality of things made entirely by the human hand.
  • Book I, Ch. 3

• Where there is great love there are always miracles.
  • Book I, Ch. 4

• The Miracles of the Church seem to me to rest not so much upon faces or voices or healing power coming suddenly near to us from afar off, but upon our perceptions being made finer, so that for a moment our eyes can see and our ears can hear what is there about us always.
  • Book I, Ch. 4

• The sky was as full of motion and change as the desert beneath it was monotonous and still, — and there was so much sky, more than at sea, more than anywhere else in the world. The plain was there, under one's feet, but what one saw when one looked about was that brilliant blue world of stinging air and moving cloud. Even the mountains were mere ant-hills under it. Elsewhere the sky is the roof of the world; but here the earth was the floor of the sky. The landscape one longed for when one was away, the thing all about one, the world one actually lived in, was the sky, the sky!
  • Book VII, Ch. 4

• Father Latour judged that, just as it was the white man's way to assert himself in any landscape, to change it, make it over a little (at least to leave some mark of memorial of his sojourn), it was the Indian's way to pass through a country without disturbing anything; to pass and leave no trace, like fish through the water, or birds through the air.
  It was the Indian manner to vanish into the landscape, not to stand out against it. The Hopi villages that were set upon rock mesas were made to look like the rock on which they sat, were imperceptible at a distance.
  • Book VII, Ch. 4

• In New Mexico he always awoke a young man...Beautiful surroundings, the society of learned men, the charm of noble women, the graces of art, could not make up to him for the loss of those light-hearted mornings of the desert, for that wind that made one a boy again. He had noticed that this peculiar quality in the air of new countries vanished after they were tamed by man and made to bear harvests... That air would disappear from the whole earth in time, perhaps; but long after his day. He did not know just when it had become so necessary to him, but he had come back to die in exile for the sake of it. Something soft and wild and free, something that whispered to the ear on the pillow, lightened the heart, softly, softly picked the lock, slid the bolts, and released the prisoned spirit of man into the wind, into the blue and gold, into the morning, into the morning!
  • Book IX, Ch. 3

Not Under Forty (1936)

To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.

• Whatever is felt upon the page without being specifically named there — that, one might say, is created. It is the inexplicable presence of the thing not named, of the overtone divined by the ear but not heard by it, the verbal mood, the emotional aura of the fact or the thing or the deed, that gives high quality to the novel or the drama, as well as to poetry itself.
  • "The Novel Démeublé"; originally published in The New Republic (1922)

• The higher processes are all processes of simplification. The novelist must learn to write, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to disregard his accomplishment, when to subordinate it to a higher and truer effect.
  • "The Novel Démeublé"

• There is a popular superstition that "realism" asserts itself in the cataloguing of a great number of material objects, in explaining mechanical processes, the methods of operating manufactories and trades, and in minutely and unsparingly describing physical sensations. But is not realism, more than it is anything else, an attitude of mind on the part of the writer toward his material, a vague indication of the sympathy and candour with which he accepts, rather than chooses, his theme?
  • "The Novel Démeublé"

• To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.
  • "Miss Jewett"; originally published as the Preface to The Best Stories of Sarah Orne Jewett (1925)

• One might say that every fine story must leave in the mind of the sensitive reader an intangible residuum of pleasure; a cadence, a quality of voice that is exclusively the writer's own, individual, unique. A quality which one can remember without the volume at hand, can experience over and over again in the mind but can never absolutely define, as one can experience in memory a melody, or the summer perfume of a garden... It is a common fallacy that a writer, if he is talented enough, can achieve this poignant quality by improving upon his subject-matter, by using his "imagination" upon it and twisting it to suit his purpose. The truth is that by such a process (which is not imaginative at all!) he can at best produce only a brilliant sham, which, like a badly built and pretentious house, looks poor and shabby after a few years. If he achieves anything noble, anything enduring, it must be by giving himself absolutely to his material. And this gift of sympathy is his great gift; is the fine thing in him that alone can make his work fine.
  The artist spends a lifetime in pursuing the things that haunt him, in having his mind "teased" by them, in trying to get these conceptions down on paper exactly as they are to him and not in conventional poses supposed to reveal their character; trying this method and that, as a painter tries different lightings and different attitudes with his subject to catch the one that presents it more suggestively than any other. And at the end of a lifetime he emerges with much that is more or less happy experimenting, and comparatively little that is the very flower of himself and his genius.
  • "Miss Jewett"

• The "sayings" of a community, its proverbs, are its characteristic comment upon life; they imply its history, suggest its attitude toward the world and its way of accepting life. Such an idiom makes the finest language any writer can have; and he can never get it with a notebook. He himself must be able to think and feel in that speech — it is a gift from heart to heart.
  • "Miss Jewett"

• It is scarcely exaggeration to say that if one is not a little mad about Balzac at twenty, one will never live; and if at forty one can still take Rastignac and Lucien de Rubempre at Balzac's own estimate, one has lived in vain.
  • "A Chance Meeting"; first published in The Atlantic Monthly (1933)

• The world is always full of brilliant youth which fades into grey and embittered middle age: the first flowering takes everything. The great men are those who have developed slowly, or who have been able to survive the glamour of their early florescence and to go on learning from life.
  • "Joseph and His Brothers"; first published in The Saturday Review of Literature (6 June 1936)

Willa Cather on Writing (1949)

• Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole — so that all that one has suppressed and cut away is there to the reader's consciousness as much as if it were in type on the page.
  • On the Art of Fiction"; originally published in The Borzoi 1920 (1920)

• Writing ought either to be the manufacture of stories for which there is a market demand — a business as safe and commendable as making soap or breakfast foods — or it should be an art, which is always a search for something for which there is no market demand, something new and untried, where the values are intrinsic and have nothing to do with standardized values.
  • "On the Art of Fiction" (1920)

• Religion and art spring from the same root and are close kin. Economics and art are strangers.
  • "Four Letters: Escapism" first published in Commonweal (17 April 1936)

• The condition every art requires is, not so much freedom from restriction, as freedom from adulteration and from the intrusion of foreign matter.
  • "Four Letters: Escapism" (1936)

• Give the people a new word and they think they have a new fact.
  • "Four Letters: Escapism" (1936)

• Nearly all the Escapists in the long past have managed their own budget and their social relations so unsuccessfully that I wouldn't want them for my landlords, or my bankers, or my neighbors. They were valuable, like powerful stimulants, only when they were left out of the social and industrial routine.
  • "Four Letters: Escapism" (1936)

• Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.
  • "Light on Adobe Walls"

• Art is a concrete and personal and rather childish thing after all — no matter what people do to graft it into science and make it sociological and psychological; it is no good at all unless it is let alone to be itself — a game of make-believe, or re-production, very exciting and delightful to people who have an ear for it or an eye for it.
  • "Light on Adobe Walls"

Willa Cather in Europe (1956)

• Every American travelling in England gets his own individual sport out of the toy passenger and freight trains and the tiny locomotives, with their faint, indignant, tiny whistle. Especially in western England one wonders how the business of a nation can possibly be carried on by means so insufficient.
  • Ch. 4 (16 July 1902)

• If the street life, not the Whitechapel street life, but that of the common but so-called respectable part of town is in any city more gloomy, more ugly, more grimy, more cruel than in London, I certainly don't care to see it. Sometimes it occurs to one that possibly all the failures of this generation, the world over, have been suddenly swept into London, for the streets are a restless, breathing, malodorous pageant of the seedy of all nations.
  • Ch. 5 (22 July 1902)

• We were at last in Monte Cristo's country, fairly into the country of the fabulous, where extravagance ceases to exist because everything is extravagant, and where the wildest dreams come true.
  • Ch. 12 (6 September 1902) near Marseilles, France.

• One cannot divine nor forecast the conditions that will make happiness; one only stumbles upon them by chance, in a lucky hour, at the world's end somewhere, and hold fast to the days, as to fortune or fame.
  • Ch. 13 (10 September 1902)

• What a thing it is to lie there all day in the fine breeze, with the pine needles dropping on one, only to return to the hotel at night so hungry that the dinner, however homely, is a fete, and the menu finer reading than the best poetry in the world! Yet we are to leave all this for the glare and blaze of Nice and Monte Carlo; which is proof enough that one cannot become really acclimated to happiness. (10 September 1902) in the village of Cavalaire, France.
  • Ch. 13

• I am sure I do not know why the beauty of Monte Carlo should not satisfy more than it does. The bluest of all seas is nowhere bluer than when you see it between the marble balustrades of the long white terrace before the casino, palms are nowhere greener than in that high garden which the mountain screen from every unkind breath, no colours could be more rich and various than those of the red and purple Alps that tower up behind the town, on whose summit such violent thunderstorms gather and break. But for me, at least, there was not at all the pleasure I had anticipated in this dazzling white and blue, these feathery palms and ragged Alps. ...I had a continual restless feeling that there was nothing at all real about Monte Carlo; that the sea was too blue to be wet, the casino too white to be anything but pasteboard, and that from their very greenness the palms must be cotton. … in atmosphere and spirit the entire kingdom of Monaco is an extension of the casino.
  • Ch. 14 (16 September 1902)

• From the time the Englishman's bones harden into bones at all, he makes his skeleton a flagstaff, and he early plants his feet like one who is to walk the world and the decks of all the seas. (16 September 1902)
  • Ch. 14

Quotes about Cather

• Jim Burden, the narrator of Willa Cather's My Ántonia, says of the Nebraska prairie to which he has moved from Virginia that "trees were so rare in that country, and they had to make such a hard fight to grow, that we used to feel anxious about them, and visit them as if they were persons." He adds, "It must have been the scarcity of detail in that tawny landscape that made detail so precious." Burden is speaking of the American frontier at the end of the nineteenth century, but his words ring true for a prairie dweller one hundred years later.
  • Kathleen Norris "Dreaming of Trees" anthologized in The Sweet Breathing of Plants: Women Writing on the Green World edited by Linda Hogan and Brenda Peterson (2001)

• The most sensuous of writers, Willa Cather builds her imagined world almost as solidly as our five senses build the universe around us.
  • Rebecca West, "The Classic Artist", in James Schroeter, (ed.) Willa Cather and Her Critics, Cornell University Press, 1976.

External links

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• Works by Willa Cather at Project Gutenberg
• Willa Cather Electronic Archive at University of Nebraska-Lincoln
• The Online Books Page (University of Pennsylvania)
• Willa Cather Pioneer Memorial and Educational Foundation in Red Cloud, Nebraska
• Willa Cather Page at Gustavus Adolphus College
• My Antonia quotes analyzed; study guide with themes, character analyses, literary devices, teacher resources