Cather Studies, Volume 7

Guy Reynolds is the director of the Cather Project at the University of Nebraska–Lincoln. He is the author of Willa Cather in Context: Progress, Race, Empire and Twentieth-Century American Women's Fiction.

• Editorial PolicyIntroduction: Willa Cather as IconGuy ReynoldsA Commentary on An Explanation of AmericaRobert PinskyWhat Happens to Criticism When the Artist Becomes an Icon?Elsa NettelsAdvertising Cather during the Transition Years (1914-1922)Erika HamiltonWilla Cather and Her Public in 1922Janis P. StoutA Portrait of an Artist as a Cultural Icon: Edward Steichen, Vanity Fair, and Willa CatherMichael SchuethWilla Cather and the Book-of-the-Month ClubMark J. Madigan"Two or Three Human Stories": O Pioneers! and the Old TestamentJessica G. RabinBarbusse's L'enfer: A Source for "Coming, Aphrodite!" and "The Novel Démeublé"Richard C. HarrisRecollecting Emotion in Tranquility: Wordsworth and Byron in Cather's My Ántonia and Lucy GayheartJonathan D. Gross"Have I Changed So Much?": Jim Burden, Intertextuality, and the Ending of My ÁntoniaTimothy C. BlackburnShadows on the Rock: Against InterpretationRichard H. MillingtonCather's Shadows: Solid Rock and Sacred CanopyJohn J. MurphyCather's Secular Humanism: Writing Anacoluthon and Shooting Out into the EternitiesJoseph R. UrgoSubsequent Reflections on Shadows on the RockRichard H. Millington, John J. Murphy, and Joseph R. UrgoCather, Freudianism, and FreudJohn N. SwiftCather's Medical Icon: Euclide Auclair, Healing Art, and the Cultivated Physician     Joshua DolezalThe Dialectics of Seeing in Cather's Pittsburgh: "Double Birthday" and Urban AllegoryJoseph C. MurphyAntithetical Icons? Willa Cather, Ernest Hemingway, and the First World WarSteven TroutIcons and Willa CatherMerrill Maguire Skaggs"A Critic Who Was Worthy of Her": The Writing of Willa Cather: A Critical BiographyRobert ThackerContributorsIndex