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One of Ours As American Naturalism

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One of Ours As American Naturalism University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Fall 1982 One of Ours As American Naturalism John J. Murphy Merrimack College Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Murphy, John J., "One of Ours As American Naturalism" (1982). Great Plains Quarterly. 1634. https://digitalcommons.unl.edu/greatplainsquarterly/1634 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ONE OF OURS AS AMERICAN NATURALISM JOHN J. MURPHY I n a comment to Edmund Wilson, Ernest mature novelist, One of Ours must have another Hemingway ridiculed the war scenes in Willa side that makes it worth considering. To avoid Cather's One of Ours (1922) and implied the understating the weaknesses of the novel, I general inferiority of her effort: "Look at One will review them before suggesting a positive of Ours," he wrote, complaining about the interpretation. frivolity of the American reading public. Frequently Cather's failure to develop her "[ Pulitzer 1 Prize, big sale, people taking it material takes the form of summarizing rather seriously. You were in the war weren't you? than approximating what is going on in her Wasn't that last scene in the lines wonderful? characters' minds. For example, when her hero Do you know where it came from? The battle Claude Wheeler is forced to return to Temple scene in Birth of a Nation. I identified episode College we are told, "he knew that he was going after episode, Catherized. Poor woman she had back to the wrong school, that he was wasting to get her war experience somewhere."l Hem­ both time and money. If he had to do with ingway was right; Cather's warfare is often trite strangers, he told himself, he could take up his stuff, but that is not really a major problem, case and fight for it. He could not assert himself for One of Ours is hardly a battle novel. How­ against his father or mother, but he could be ever, Cather can be faulted for underdeveloping bold enough with the rest of the world.,,2 Al­ her material, belaboring the obvious, violating though we learn significant things about Claude, verisimilitude through "message" dialogue, and we feel cheated of character development here; allowing her feelings about the war to invade we remain distant, outside, unable to share his character consciousness. Yet, as the effort of a experiences. Cather concludes the passage with a question: "Yet, if this were true, why did he continue to live with the tiresome Chapins?" John J. Murphy, professor of English at Merri­ mack College, is the editor of Five Essays on However, Claude seems so remote at this point Willa Cather: The Merrimack Symposium that we are not sure if he is asking himself this, (1974). His essays on Cather have been pub­ or if Cather is asking us. lished in American Literature, Western Ameri­ Related to this kind of failure are recurring can Literature, and other journals. suggestive inclusions that mystify rather than 232 ONE OF OURS AS AMERICAN NATURALISM 233 illuminate. For example, after Claude bayonets the few heroic contexts in Nebraska for Claude: a dandified German officer and dismisses the after strenuous work in the fields by day, he picture of a pale, dreamy-eyed young man in "slept like the heroes of old" (p. 137). Mean­ his locket as that of a kid brother, Claude's while the war, a similarly heroic cooperative more sophisticated buddy, David Gerhardt, effort, is going forward in Europe and will glances at it "with a disdainful expression," make Claude "like the hero of the Odyssey" but protects Claude from the obvious truth (p. 209). However, Cather mars her admirable about the officer. Claude then notices that juxtaposition of harvesting details and war David "looked at him as if he were very much news by having Claude's farmer friend Ernest pleased with him,-looked, indeed, as if some­ Havel label the war as "'the harvest of all that thing pleasant had happened in this room" has been planted'" (p. 142). Putting such saws (p. 367). Claude wonders if David is pleased in the mouths of characters destroys verisimili­ because he had displayed nerve in going in after tude of dialogue as well, as when Mademoiselle the sniper, and we are left wondering also. de Courcy declares to Claude, "'This war has Was it because of Claude's courage or because taught us all how little the made things matter. of his innocence? Cather's subsequent comment Only the feeling matters'" (p. 329).5 only adds to our confusion: "Claude had often This excess leads to serious problems when observed that when David had an interesting Cather allows development of character con­ idea, or a strong twinge of recollection, it made sciousness to serve her own feelings about the him, for the moment, rather heartless" (p. war. Sometimes she invents characters as an 368). A few pages later, during one of the rare excuse to make her points, as when the old opportunities Cather's soldiers have to forni­ French shopwoman ruminates for two pages cate, David comments, "'Do you realize, (pp. 277-78) on the disastrous effects of the Claude, you and I are the only men in the Com­ American invasion "on everybody's integrity." pany who haven't got engaged?'" (p. 374). It is worse when major characters become How are we to respond to these comments? victims of diatribes-for example, when the Do they tell us something about the David­ account of Mrs. Wheeler's final estimate of her Claude relationship? One of Ours is, after all, dead son begins to embrace rather too obvious­ the story of the rejection of marriage and ly Cather's own postwar disillusionment (pp. heterosexual love for the violence of war and 389-90). Then there are those insipid passages for friendship with a member of one's own one wants to pencil out: after a little French sex.3 Like Jim Burden and Niel Herbert, Claude boy gazes at Claude and then distresses him by fears sex. He had been scared away by the running off, Claude mutters, "'Unless I can advances of college date Peachy Millmore, and learn to talk to the children of this country, we are told of his "sharp disgust for sensuality. .. I'll go home!'" (p. 279). Cather seems to He had an almost Hippolytean pride in can­ have needed a good editor; the irony is that she dour" (p. 51) that is "whiteness" (in the obso­ herself was a good editor, and that while she lete sense) and "unstained purity." Including was cluttering One of Ours with excessive un­ but failing to exploit such incidents as that of fIltered feeling and opinion, she was writing the German officer is a fault; "to touch and the essay "The Novel Demeuble," expressing a pass on" would work in a book like Death literary creed of simplification and synthesis. Comes for the Archbishop, but One of Ours One gets impatient with One of Ours primar­ is a different kind of book.4 ily because its author is Willa Cather. Such On the other hand, Cather frequently over­ excesses and confusions as I have detailed are writes in this novel. In the second section she common enough in significant works of some renders a lively picture of the great harvest, other American novelists, especially the natural­ when men, horses, and machines strive in a ists. For example, in novels like Theodore gigantic effort under a blazing sun. It is one of Dreiser's Sister Carrie and Frank Norris's 234 GREAT PLAINS QUARTERLY, FALL 1982 Me Teague, characterization is often violated surface verisimilitude; it is, in fact, the mani­ by diatribes on the biological and moral evolu­ festation of Claude's imprisoning environment. tion of man and on contemporary social con­ On the surface, we have in One of Ours such ditions. These books also contain more than a thorough and interesting genre picture of life their share of embarrassing dialogue, obvious in Nebraska during the second decade of this symbolism, and underdeveloped situations. In century that the later Nebraska novels pale by One of Ours, Cather, like the naturalists, was comparison as pictures of the place. From the dealing with contemporary problems, with first page, where Claude opens his eyes to sun­ material unsimplified by time. Perhaps this light streaming through curtainless windows, novel should be considered as her experiment the minutiae are overwhelming. Claude tries to in turn-of-the-century realism and naturalism, wash in the bowls of two porcelain stands in and as a touchstone by which we may evaluate the washroom, but they are dark with sediment her achievement in more characteristic works. from alkaline water, and he uses a tin basin. One of Ours is Cather's fullest rendition of He then cleans his mud-crusted Ford car, and the Nebraska that preoccupied her all her life; drinks weak coffee with his griddle cakes while like a faithful realist, in the Nebraska section staring at his father's rumpled shirt bulging she wrote about her native place and the people carelessly over his belt. Claude proceeds to and events she had known.6 In the war section town in a clean, colored shirt, visits his brother ("The Voyage of the Anchises" and '''Bidding Bayliss, who functions in a little glass cage with the Eagles of the West Fly On' "), she turned a plow catalog handy, and then joins his friend from the commonplace world to extraordinary Ernest Havel for beer from bottles cooled in a ev.ents reported to her and to settings that creek.
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