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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.

In Biography: A Very Short Introduction, Hermione Lee observes that \"the theoretical separation of text and life\" inaugurated by the New Criticism and elaborated on different grounds by late twentieth-century critical theorists \"created a long stand-off between biography viewed as a popular, impure, conservative, and unexamined product for consumption by the general reader, and the academic study of literature and history.\" Homestead is sure that her forthcoming book about the relationship between Willa Cather (primarily a twentieth-century figure) and her partner, Edith Lewis, a magazine editor and advertising copywriter, motivated the editors of J19 to ask her to participate in this forum on biography and biographical approaches. Sarah Orne Jewett's partnership with Annie Adams Fields, which entailed her living in Maine part of the year and in Boston and Manchester-by-the Sea with Fields for the other part, has made the author central to analyses of both turn-of-the-century regionalism and to queer literary history.

In her later career, Cather often presented herself as above the market, her writing motivated purely by aesthetic concerns, but in this early interview, drawing on her still- recent experiences as managing editor of McClure's Magazine, she is unusually frank about authorship as a business, subject to market forces of supply and demand. [...]inaccuracies abound. According to the Brown Palace Hotel guest register, \"W.S. Cather\" and \"Miss Lewis\" of New York City checked in on 8 August, but their date of departure is not specified. \"First Principles.\"

This essay examines the circulation of the works of American novelist E. D. E. N. Southworth in London penny weeklies owned by George Stiff from the mid-1850s through the mid-1860s, including his best-known periodical, the London Journal. While Stiff’s earliest circulation of Southworth’s fiction was not authorized, they soon reached an understanding, and Southworth moved to England, living there from 1859 to 1862 so that her works could be protected by both British and U.S. copyright. In Stiff’s penny weeklies, many of Southworth’s works, including her most famous novel, The Hidden Hand (1859), were revised to suit the taste of British audiences, including relocating plots set in the United States to Britain. While these adaptations have been characterized as piracies, they were not—although Southworth herself did not produce the adaptations, her cooperation made them possible. Stiff and Southworth’s collaboration illustrates how tricky it was to arrange transatlantic serialization of novels in the fast-paced world of cheap weekly periodicals. To trace the rise and fall of Southworth and Stiff’s collaboration, the essay draws on Southworth’s letters to Robert Bonner (who serialized her novels in the New York Ledger), advertisements and notices in both the US and British press, the chancery file of the British copyright lawsuit Southworth v. Taylor, and the texts of Southworth’s fiction as circulated on both sides of the Atlantic in several forms.

[...]the situation of Pittsburgh-born painter and illustrator Charles Stanley Reinhart, who died in 1896 in New York and whose funeral in Pittsburgh Cather attended, writing a newspaper column about the erection of a memorial at his grave in 1897.1 While the case for these prototypes is clear, no one has accounted for the title of Cather's story and her decision to make her dead artist a sculptor-that is, her story is not \"The Painter's Funeral.\" [...]they lost their prestige and largely disappeared from literary history and university teaching anthologies.70 With their devaluation, Parsons's obscurity only increased.

The prolific nineteenth-century writer E. D. E. N. Southworth enjoyed enormous public success in her day-she published nearly fifty novels during her career-but that very popularity, combined with her gender, led to her almost complete neglect by the critical establishment before the emergence of academic feminism. Even now, most scholarship on Southworth focuses on her most famous novel, The Hidden Hand. However, this new book-the first since the 1930s devoted entirely to Southworth-shows the depth of her career beyond that publication and reassesses her place in American literature.     Editors Melissa Homestead and Pamela Washington have gathered twelve original essays from both established and emerging scholars that set a new agenda for the study of E. D. E. N. Southworth's works. Following an introduction by the editors, these articles are divided into four thematic clusters. The first, \"Serial Southworth,\" treats her fiction in periodical publication contexts. \"Southworth's Genres,\" the second grouping, considers her use of a range of genres beyond the sentimental novel and the domestic novel. In the third part, \"Intertextual Southworth,\" the essays present intensive case studies of Southworth's engagement with literary traditions such as Greek and Restoration drama and with her contemporaries such as Harriet Beecher Stowe and French novelist George Sand. Southworth's focus on social issues and reform figures prominently throughout the volume, but the pieces in the fourth section, \"Southworth, Marriage, and the Law,\" present a sustained inquiry into the ways in which marriage law and the status of women in the nineteenth century engaged her literary imagination.     The collection concludes with the first chronological bibliography of Southworth's fiction organized by serialization date rather than book publication. For the first time, scholars will be able to trace the publication history of each novel and will be able to access citations for lesser-known and previously unknown works.     With its fresh approach, this volume will be of great value to students and scholars of American literature, women's studies, and popular culture studies. MELISSA J. HOMESTEAD is the Susan J. Rosowski Associate Professor of English at the University of Nebraska-Lincoln. Her book American Women Authors and Literary Property, 1822-1869 includes Southworth, and her articles on American women's writing have been published in a variety of academic journals. PAMELA T. WASHINGTON is Professor of English and former dean of the College of Liberal Arts at the University of Central Oklahoma. She is the co-author of Fresh Takes: Explorations in Reading and Writing: A Freshman Composition Text.

[...]as Whitney Chadwick and Isabelle de Courtivron argue in Significant Others: Creativity & Intimate Partnership, \"the agonizing loneliness of artistic and literary production...the wrenching pain of sitting alone in front of a blank page or a blank canvas\" is only one part of the story of artistic creation, which \"doesn't end-or for that matter doesn't begin-there\" (12-13). [...]as Marjorie Stone and Judith Thompson observe in Literary Couplings: Writing Couples, Collaborators, and the Construction of Authorship, scholars must \"distinguish[] between ideology and practice,\" between the \"powerful metaphors of lyric solitude, egotistical sublimity, and heroic individualism\" and the \"surprising variety of creative practices\" incorporating collaboration that British Romantic poets employed (16). [...]Cather liked to write in garrets, where all good solitary geniuses write (and where Godfrey St. Peter writes his histories, edits Tom's diary, and narrowly escapes suffocation).