Willa Cather

Cather in 1912.

Willa Sibert Cather (/ˈkæðər/December 7, 1873 – April 24, 1947) was an American writer who achieved recognition for her novels of frontier life on the Great Plains, including O Pioneers! (1913), The Song of the Lark (1915), and My Ántonia (1918). In 1923 she was awarded the Pulitzer Prize for One of Ours (1922), a novel set during World War I.

Cather grew up in Virginia and Nebraska, and graduated from the University of Nebraska–Lincoln. She lived and worked in Pittsburgh for ten years, supporting herself as a magazine editor and high school English teacher. At the age of 33 she moved to New York City, her primary home for the rest of her life, though she also traveled widely and spent considerable time at her summer residence on Grand Manan Island, New Brunswick. (Information from Wikipedia)

Website: willacather.org

Articles in Western American Literature:

Willa Cather’s Southwestern Grave Robbersby Carolyn Dekker

Beyond Possession: Animals and Gifts in Willa Cather’s Settler Colonial Fictions

The Chinaman’s Crime: Race, Memory, and the Railroad in Willa Cather’s “The Affair at Grover Station”

“Nothing but land”: Women’s Narratives, Gardens, and the Settler-Colonial Imaginary in the US West and Australian Outback

Sacred Spaces, Profane “Manufactories”: Willa Cather’s Split Artist in The Professor’s House and My Mortal Enemy

“Terrible Women”: Gender, Platonism, and Christianity in Willa Cather’s The Professor’s House

How the West Was Whitened: “Racial” Difference on Cather’s Prairie

My Ántonia and the Making of the Great Race

Immovable: Willa Cather’s Logic of Art and Place

From a “Stretch of Grey Sea” to the “Extent of Space”: The Gaze Across Vistas in Cather’s The Professor’s House

A Response to Susan Rosowski’s “Willa Cather’s Ecology of Place”

Concentric Texts in The Professor’s House

The “Wonderfulness” of Thea Kronborg’s Voice

Willa Cather’s Ecology of Place

Getting Back to Cather’s Text: The Shared Dream in O Pioneers!

“The Breath Vibrating Behind It”: Intimacy in the Storytelling of Ántonia Shimerda

Thea Kronborg’s “Song of Myself”: The Artist’s Imaginative Inheritance in The Song of the Lark

The Professor’s House: Cather, Hemingway, and the Chastening of American Prose Style

Jim Burden and the Structure of My Ántonia

New Letters From Willa Cather

The “Case” of Willa Cather

Memory, Myth, and The Professor’s House

Prosodic Variations in Willa Cather’s Prairie Poems

The Professor’s House and “Rip Van Winkle”

In Defense of Lillian St. Peter: Men’s Perceptions of Women in The Professor’s House

Cather’s Confounded Conundrums in The Professor’s House

The Husband of My Ántonia

Cather’s Archbishop and Travel Writing

St. Peter and the World All Before Him

Godfrey St. Peter and Eugène Delacroix: A Portrait of the Artist in The Professor’s House?

Willa Cather’s Bodies for Ghosts

Willa Cather and Catholic Themes

The Pattern of Willa Cather’s Novels

The Fool Figure in Willa Cather’s Fiction

Carlyle’s Presence in The Professor’s House

The Dual Nature of Art in The Song of the Lark

“The Thing Not Named ”in The Professor’s House

Willa Cather’s Archbishop: A Western and Classical Perspective

One of Ours: Willa Cather’s Losing Battle

The French-Canadian Connection: Willa Cather as a Canadian Writer

Symbolic Representation in Willa Cather’s O Pioneers!

A Lost Lady: The End of the First Cycle

Willa Cather and The Professor’s House: “Letting Go With The Heart”

Willa Cather’s Southwest

A Novelist’s Miracle: Structure and Myth In Death Comes For The Archbishop

Willa Cather’s Technique and the Ideology of Populism

The Bohemian Folk Practice in “Neighbour Rosicky”

Nebraska Regionalism in Selected Works of Willa Gather

My Ántonia: A Dark Dimension

The Western Humanism of Willa Cather

Two Primitives: Huck Finn and Tom Outland