Melissa J. Homestead – författare

A groundbreaking new look at American novelist Willa Cather's creative process What would Willa Cather's widely read and cherished novels have looked like if she had never met magazine editor and copywriter Edith Lewis? In this groundbreaking book on Cather's relationship with her life partner, author Melissa J. Homestead counters the established portrayal of Cather as a solitary genius and reassesses the role that Lewis, who has so far been rendered largely invisible by scholars, played in shaping Cather's work. Inviting Lewis to share the spotlight alongside this pivotal American writer, Homestead argues that Lewis was not just Cather's companion but also her close literary collaborator and editor. Drawing on an array of previously unpublished sources, Homestead skillfully reconstructs Cather and Lewis's life together, from their time in New York City to their travels in the American Southwest that formed the basis of the novels The Professor's House and Death Comes for the Archbishop. After Cather's death and in the midst of the Cold War panic over homosexuality, the story of her life with Edith Lewis could not be told, but by telling it now, Homestead offers a refreshing take on lesbian life in early twentieth-century America.

'I knew at once I had come upon the city of some extinct civilization, hidden away in this inaccessible mesa for centuries'The Professor's House (1925) depicts the mid-life crisis of Godfrey St. Peter, a history professor at a midwestern state university who is disillusioned with his wife and daughters, his university, and the materialism of American culture. He longs for Tom Outland, his most brilliant student, who died on a World War I battlefield. At the same time, Tom's recollection of discovering hidden cliff dweller ruins in New Mexico interrupt Godfrey's narrative. Cather's own experiences of travel in the Southwestern US with her partner, Edith Lewis, shadow and enrich her depictions of Tom's New Mexican experiences.Cather's sixth novel is a compelling modernist work of art that raises questions that are still compelling a century later. What is the purpose of a university education? Are the sacrifices of war worth the outcome? To whom do the American past and the country's future belong? A daring experiment in form, the novel is haunted by war and love.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Through an exploration of women authors' engagements with copyright and married women's property laws, American Women Authors and Literary Property, 1822-1869, revises nineteenth-century American literary history, making women's authorship and copyright law central. Using case studies of five popular fiction writers - Catharine Sedgwick, Harriet Beecher Stowe, Fanny Fern, Augusta Evans, and Mary Virginia Terhune - Homestead shows how the convergence of copyright and coverture both fostered and constrained white women's agency as authors. Women authors exploited their status as nonproprietary subjects to advantage by adapting themselves to a copyright law that privileged readers'access to literature over authors' property rights. Homestead's inclusion of the Confederacy in this work sheds light on the centrality of copyright to nineteenth-century American nationalisms and on the strikingly different construction of author reader relations under U.S. and Confederate copyright laws.

Through an exploration of women authors' engagements with copyright and married women's property laws, American Women Authors and Literary Property, 1822-1869, revises nineteenth-century American literary history, making women's authorship and copyright law central. Using case studies of five popular fiction writers - Catharine Sedgwick, Harriet Beecher Stowe, Fanny Fern, Augusta Evans, and Mary Virginia Terhune - Homestead shows how the convergence of copyright and coverture both fostered and constrained white women's agency as authors. Women authors exploited their status as nonproprietary subjects to advantage by adapting themselves to a copyright law that privileged readers'access to literature over authors' property rights. Homestead's inclusion of the Confederacy in this work sheds light on the centrality of copyright to nineteenth-century American nationalisms and on the strikingly different construction of author reader relations under U.S. and Confederate copyright laws.

Linking Willa Cather to "the modern" or "modernism" still seems an eccentric proposition to some people. Born in 1873, Cather felt tied to the past when she witnessed the emergence of twentieth-century modern culture, and the clean, classical sentences in her fiction contrast starkly with the radically experimental prose of prominent modernists. Nevertheless, her representations of place in the modern world reveal Cather as a writer able to imagine a startling range of different cultures.Divided into two sections, the essays in Cather Studies, Volume 9 examine Willa Cather as an author with an innovative receptivity to modern cultures and a powerful affinity with the visual and musical arts. From the interplay between modern and antimodern in her representations of native culture to the music and visual arts that animated her imagination, the essays are unified by an understanding of Cather as a writer of transition whose fiction meditates on the cultural movement from Victorianism into the twentieth century.

Although it has long been claimed that Willa Cather destroyed most of her letters in order to protect her privacy, the record now makes clear that this is largely myth: The Complete Letters of Willa Cather digital archive has collected more than three thousand letters, and more are regularly being located. What can we learn about Cather and her fiction from such a wealth of firsthand writings? The essays in Cather Studies, Volume 15 use a variety of approaches to consider both letters authored by Cather and letters written to her, shining new light on Cather's relationships with her brother Roscoe Cather and her friends playwright and screenwriter Zoë Akins and opera diva Olive Fremstad.Readers also come to understand Cather's pleasure in artistic works produced by others, her experience of disability, and her appreciation of the GIs who read her books in Armed Services Editions. Contributors show how digital tools can be used to read across her letters at a larger scale, finding patterns and trends not discernible using conventional methods.