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Willa, Cather Pioneer Memorial Newsletter the Willa Cather Society 326 N Copyright © 1997 by the Willa Cather Pioneer ISSN 0197-663X Memorial and Educational Foundation Willa, Cather Pioneer Memorial Newsletter The Willa Cather Society 326 N. Webster Street VOLUME XLI, No. 1 Red Cloud, Nebraska 68970 Spdng, 1997 Telephone (402) 746-2653 Virginia Seminar News SEMINAR FELLOWS ANNOUNCED The Seventh International Willa Cather Seminar, scheduled for June 21-28 in Winchester, Virginia, promises to be a unique and important scholarly event, exploring the topic of Willa Cather’s Southern Connec- tions. An impressive list of faculty and speakers has already been announced.* In addition, a number of noted scholars and teachers who have published recently on Cather or whose work is closely related to the Seminar topic have agreed to join the Seminar as Fellows. They will be presenting papers and helping to facilitate the ongoing discussions that have been such a rich and productive feature of past Seminars. To date, this stellar list of Fellows, both Cather schol- ars and scholars of Southern writing and culture, includes Professors Virgil Albertini, Richard Harris, Sharon Hoover, Helen Fiddymont Levy, JoAnn Middle- ton, Ann Moseley, Elsa Nettels, Daniele Pitavy- Souques, Diane Quantic, Janis Stout, John Swift, Loretta Wasserman, Laura Winters, and Catherland photographer Beverly Cooper. For the first time, distin- guished high school teachers who have made impor- tant contributions to Cather studies have been invited to serve as Fellows; Betty Kort and Melanee Kvasnicka will be participating in this Seminar as High School Teacher Fellows. FOCUS ON TEACHING Cather texts in the contemporary classroom will be J. Murphy an important topic of this Seminar. One plenary A street in Clermont, France. evening will be devoted to classroom issues. Betty Kort of Hastings (Nebraska) High School and John Jacobs of Winchester’s Shenandoah University will talk Death Comes for the Archbishop about teaching Cather in places intimately associated 1927 - 1997 with her work, and historian Phyllis Palmer, who Thera is a telling passage beyond the middle of specializes in classroom issues of race, will discuss Archbishop where Father Latour, during a visit to teaching Sapphira and the Slave Girl in a contem- porary urban university. In addition, we will make an Father Vaillant’s sister’s convent in Riom, is taken to a effort to tap our collective experiences with Cather in window framing a truncated view of a narrow street by classrooms by collecting syllabi for courses in which one of the impressionable young nuns busy fulfilling seminar participants have read and taught Cather Vaillant’s requests for vestments. "Look," she directs texts. When you register for the Seminar, you will be Latour, "after Mother [Philom~ne] has read us one of asked to submit at least one syllabus for this project, (Continued on page 2) (Continued on page 4) -1- DEATH COMES FOR THE ARCHBISHOP A Parisian Views Cather’s Southwest (Continued) Illustrating Willa Cather [Father Vaillant’s] letters .... I come and stand in this Fran~oise Palleau-Papin alcove and look up our little street with its one lamp, University of Tours and just beyond the turn there, is New Mexico; all that ’The lake.., he could recall all its aspects perfectly. he has written us of those red deserts and blue They had made pictures in him when he was unwilling mountains, the great plains and the herds of bison, and unconscious, when his eyes were merely open and the canyons more profound than our deepest wide" (The Professor’s House). mountain gorges." The sister, of course, is getting her As Harold von Schmidt, who illustrated Death New Mexico twice removed, like Cather’s readers, and Comes for the Archbishop in 1929, explains, every from a French perspective. The novel’s Southwestern illustrator first studies the literary text as a critic: "1 country is filtered through a cultivated European always ask myself why the story was written, then try sensibility, which is why mesas resemble ’~ast cathe- to add something constructive to augment the writer’s drals," Stone Lips cave is "shaped somewhat like a intention, to enhance it. I prefer, usually, to paint the Gothic chapel," the prairieland sky is "empty" and spirit and the background of the action rather than the "monotonous to the eyes of a Frenchman," the quarry action itself, though, of course, this is not always of "golden ochre" rock glows like the "old Palace of the possible (interview with Harold von Schmit, American Popes, at Avignon," and the "golden-face" of the Midi Artist, issue 109 [Nov. 1947]: 56). Every reader of Romanesque cathedral is appropriate against its Willa Cather’s texts knows how visually her prose can "curtain" of "rose-coloured," "pine-splashed" New take hold of one’s imagination, and how, like Tom Mexican hills. Outland at Blue Mesa, we are apt to see pictures The correspondence Latour detects near the behind the printed page: ’~/Vhen I look into the Aeneid beginning of the novel between the ’~Nooden figures of now, I can always see two pictures: the one on the the saints" (santos) in New Mexico and the "homely page, and another behind that: blue and purple rocks stone carvings on the front of old parish churches in and yellow-green piSons with flat tops, little clustered Auvergne," and later between the painted altar decor houses clinging together for protection, a rude tower at Laguna and a "Persian chieftain’s tent . in a rising in their midst, rising strong, with calmness and textile exhibit at Lyons" reveal Cather’s own significant courage -- behind it a dark grotto, in its depths a artistic interest in what she referred to as "the utterly crystal spring." My own attempt at illustrating Willa unconventional frescoes and countless fanciful figures Cather, and in particular Death Comes for the Arch- of the saints" in Southwestern mission churches and bishop, in woodcuts and typography, has stemmed indicate the museum or art gallery dimension of the from a desire to share how I visualized the ’thing not novel’s filtering perspective. The grim skeletal santos named," the respiration, the rhythm, the breathing of death kept in churches for Holy Week and Penitente softness and the decisive cut of Willa Cather’s writing. observances reminded Cather of Holbein’s Dance of Death series, to which (although Death in Holbein comes to a mere bishop) she credited her title. He must have travelled The combination of subject, landscape, and per- through thirty miles of these conical red hills, spective suggested in Howlett’s material provided Cather an opportunity to duplicate in prose contempo- rary French art that had teased her since the 1902 visit of France. "Since I first saw the Puvis de Chavannes frescoes [actually oils on canvas] of the life of Saint Genevieve in my student days," she revealed to the Commonweal, "1 have wished that I could I try some- thing a little like that in prose; something without accent, with none of the artificial elements of composi- tion." The eight panels (two triptychsand two indepen- dent panels) painted for the right and left walls of the Pantheon in Paris provided her with a model for doing "something in the style of legend, which is absolutely the reverse of dramatic treatment," and Howlett’s book provided her a subject that naturally lent itself to the Fr. Papin 1995 style of the legend Of Paris’s patron saint, who, like Lamy (Latour), built a church. winding his way in the narrow cracks between them, Excerpt from John J. Murphy’s Historical Introduc- tion to the forthcoming U of Nebraska Press Scholarly and he had begun to think that he would never Edition of Death Comes for the Archbishop. see anything else. -2- a small white church, painted above and about the altar with gods of wind and rain and thunder, sun and moon Fr. Papin 1995 Fr. Papin 1995 Fr. Papin 1995 It was Olivares who presented Father Latour with Nothing sensational, the silver hand-basin and pitcher and toilet accessories simply honest building and good stone-cutting, which gave him so much satisfaction - good Midi Romanesque of the plainest. all the rest of his life. -3- VIRGINIA SEMINAR NEWS (Continued) *For this list, see the Seminar poster. If you have not received a poster, you may request one from either of Virgil Albertini, an experienced Cather bibliographer, the Seminar Directors or from the WCPM. has agreed to compile these syllabi and report to the seminar on his findings. A packet of syllabi will also be available for purchase. ENTERTAINMENT AND EXCURSIONS Prefatory Note to In addition to its scholarly attractions, the Seminar "Friends of Willa Cather" week will offer a wide array of entertainment and excursions designed to introduce participants to the Anyone who attended the 1989 Western Literature cultures of the Shenandoah Valley and Blue Ridge Association meeting will recall the poignant moment Virginia. The Jack Tale Players of Ferrum College and when we heard it announced that Mildred Bennett was the Blue Ridge Institute will present an evening perfor- too ill to travel to Coeur d’Alene, and that her daughter mance of folklore and music. A gospel choir concert Alicia would read what her mother had written. In the from a Blue Ridge community church will evoke the essay, called "Friends of Willa Cather," Mildred de- traditions of African American church music that are scribes her meetings (sometimes over years) with important to Sapphira and the Slave Girl. A group of Louise Pound, Mariel Gere, Dorothy Canfield Fisher Winchester-area quilters and quilt collectors will and Elizabeth Sergeant. "Friends of Willa Cather" is introduce us to the Shenandoah Valley quilting tradi- thoroughly in Mildred’s style w matter of fact, but tions that Willa Cather encountered as a little girl, graced with telling detail and good humor.
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