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    Under Far Horizons - Selected Poetry of Willa Cather
    Under Far Horizons - Selected Poetry of Willa Cather
    Under Far Horizons - Selected Poetry of Willa Cather
    Ebook98 pages42 minutes

    Under Far Horizons - Selected Poetry of Willa Cather

    By Willa Cather and H.L. Mencken

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    About this ebook

    From the Pulitzer Prize-winning novelist and author of O Pioneers! (1913) comes this collection of poetry, published between 1892 and 1933. Willa Cather experiments in style and theme, with many of her poems drawing from her own experiences.

    Willa Cather is known for her remarkable fiction, most notably her Great Plains trilogy and One of Ours (1922), a World War I novel for which she received the Pulitzer Prize in 1923. This collection of her poetry highlights Cather’s unrivalled attention to the small sensory details of everyday life. Utilising traditional Romantic language and often using abstract imagery, Cather’s poetry can be compared to the work of writers who championed the previous century. She explores different forms and styles, experimenting with sonnets, iambic pentameter, and ABAB rhyme schemes.

    Despite never quite finding her own distinctive voice, Cather’s poetry includes many beautiful passages. The ‘father’ of American literature and author of Adventures of Huckleberry Finn (1884), Mark Twain, praised Cather for her poem ‘The Palatine’, which is featured in this volume.

    This collection is divided into three sections:

      - Uncollected poems from 1892 to 1900
      - April Twilights (1903)
      - April Twilights and Other Poems (Poems added in 1923 and 1933)

    With its name taken from the famous line in Cather’s autobiographical poem ‘Macon Prairie’ (1923), Under Far Horizons - Selected Poetry of Willa Cather has been proudly published by specialist poetry imprint Ragged Hand. The volume features an introductory excerpt by H. L. Mencken and would make the perfect gift for collectors of Cather’s work and those who enjoyed her marvellous novel O Pioneers! (1913).

    LanguageEnglish
    PublisherRagged Hand
    Release dateSep 26, 2022
    ISBN9781528798433
    Under Far Horizons - Selected Poetry of Willa Cather
    Author

    Willa Cather

    Willa Cather nació en Winchester (Virginia) en 1876, de una familia de origen irlandés, y pasó su infancia en Nebraska, en los años de la primera gran colonización de inmigrantes checos y escandinavos. Siempre activa y de espíritu independiente, estudió en la Universidad de Nebraska, donde se presentó, vestida de hombre, con el nombre de William Cather. Fue viajera, periodista, maestra, dirigió revistas; vivió durante cuarenta años con su compañera, Edith Lewis; y, cuando hubo ahorrado lo suficiente, se dedicó exclusivamente a la literatura. Admiradora de Flaubert y Henry James, así como de Turguéniev, Conrad y Stephen Crane, su primera novela, Alexander’s Bridge, se publicó en 1912. Al año siguiente, con Pioneros (ALBA CLÁSICA núm. L) introdujo el que habría de ser uno de sus temas centrales: el mundo vitalista de los colonos en el que transcurrió su infancia. A ésta siguieron otras novelas como Mi Ántonia (1918; ALBA CLÁSICA núm. XXXV), One of Ours (1922), que mereció el premio Pulitzer, La muerte y el arzobispo (1927), Shadows on the Rock (1931) o Lucy Gayheart (1935; ALBA CLÁSICA núm. ) y algunas exquisitas nouvelles como Una dama extraviada (1923; ALBA CLÁSICA núm. LX) o Mi enemigo mortal (1926; ALBA CLÁSICA núm. XXXII), ejemplos de un modo de escribir complejo y personal que se ganaría la admiración de escritores como William Faulkner y Truman Capote. Es autora asimismo de un gran número de relatos, reunidos en Los libros de cuentos (ALBA CLÁSICA MAIOR núm. ), y de un delicioso libro de recuerdos y ensayos, Para mayores de cuarenta (1936; ALBA CLÁSICA núm. LV). Murió en Nueva York en 1947.

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      Book preview

      Under Far Horizons - Selected Poetry of Willa Cather - Willa Cather

      WILLA CATHER

      An Excerpt by H. L. Mencken

      Four or five years ago, though she already had a couple of good books behind her, Willa Cather was scarcely heard of. When she was mentioned at all, it was as a talented but rather inconsequential imitator of Mrs. Wharton. But today even campus-pump critics are more or less aware of her, and one hears no more gabble about imitations. The plain fact is that she is now discovered to be a novelist of original methods and quite extraordinary capacities—penetrating and accurate in observation, delicate in feeling, brilliant and charming in manner, and full of a high sense of the dignity and importance of her work. Bit by bit, patiently and laboriously, she has mastered the trade of the novelist; in each succeeding book she has shown an unmistakable advance. Now, at last, she has arrived at such a command of all the complex devices and expedients of her art that the use she makes of them is quite concealed. Her style has lost self-consciousness; her grasp of form has become instinctive; her drama is firmly rooted in a sound psychology; her people relate themselves logically to the great race masses that they are parts of. In brief, she knows her business thoroughly, and so one gets out of reading her, not only the facile joy that goes with every good story, but also the vastly higher pleasure that is called forth by first-rate craftsmanship.

      I know of no novel that makes the remote folk of the western farmlands more real than My Antonía makes them, and I know of none that makes them seem better worth knowing. Beneath the tawdry surface of Middle Western barbarism—so suggestive, in more than one way, of the vast, impenetrable barbarism of Russia—she discovers human beings bravely embattled against fate and the gods, and into her picture of their dull, endless struggle she gets a spirit that is genuinely heroic, and a pathos that is genuinely moving. It is not as they see themselves that she depicts them, but as they actually are. And to representation she adds something more—something that is quite beyond the reach, and even beyond the comprehension of the average novelist. Her poor peasants are not simply anonymous and negligible hinds, flung by fortune into lonely, inhospitable wilds. They become symbolical, as, say, Robinson Crusoe is symbolical, or Faust, or Lord Jim. They are actors in a play that is far larger than the scene swept by their own pitiful suffering and aspiration. They are actors in the grand farce that is the tragedy of man.

      Setting aside certain early experiments in both prose and verse, Miss Cather began with Alexander’s Bridge in 1912. The book strongly suggested the method and materials of Mrs. Wharton, and so it was inevitably, perhaps, that the author should be plastered with the Wharton label. I myself, ass-like, helped to slap it on—though with prudent reservations, now comforting to contemplate. The defect of the story was one of locale and people: somehow one got the feeling that the author was dealing with both at second-hand, that she knew her characters a bit less intimately than she should have known them. This defect, I venture to guess, did not escape her own eye. At all events, she abandoned New England in her next novel for the Middle West, and particularly for the Middle West of the great immigrations—a region nearer at hand, and infinitely better comprehended. The result was O Pioneers (1913), a book

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