Cather Studies, Volume 9

Melissa J. Homestead is Susan J. Rosowski Associate Professor of English and program faculty in women's and gender studies at the University of Nebraska–Lincoln. She is the author of American Women Authors and Literary Property, 1822–1869. Guy J. Reynolds is a professor of English and 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 Apostles of Modernity: American Writers in the Age of Development (Nebraska 2008).

• Editorial PolicyIntroductionMelissa J. Homestead and Guy J. Reynolds1. Willa Cather in and out of Zane Grey's WestJohn N. Swift2. Thea's "Indian Play" in The Song of the LarkSarah Clere3. "Jazz Age" Places: Modern Regionalism in Willa Cather's The Professor's HouseKelsey Squire4. Changing Trains: Metaphors of Transfer in Willa CatherMark A. R. Facknitz5. Chicago's Cliff Dwellers and The Song of the LarkMichelle E. Moore6. Willa Cather and Henry Blake Fuller: More Building Blocks for The Professor's HouseRichard C. Harris7. Cather's "Office Wives" Stories and Modern Women's WorkAmber Harris Leichner8. It's Mr. Reynolds Who Wishes It: Profit and Prestige between Cather and Her Literary AgentMatthew Lavin9. Thea at the Art InstituteJulie Olin-Ammentorp10. Art and the Commercial Object as Ekphrastic Subjects in The Song of the Lark and The Professor's HouseDiane Prenatt11. "The Nude Had Descended the Staircase": Katherine Anne Porter Looks at Willa Cather Looking at Modern ArtJanis P. Stout12. "The Cruelty of Physical Things": Picture Writing and Violence in Willa Cather's "The Profile"Joyce Kessler13. "Before Its Romanzas Have Become Street Music": Cather and Verdi's Falstaff, Chicago, 1895John H. FlanniganContributorsIndex

"The scholarly authority with which the contributors approach their subjects reinforces the notion of Cather as a sophisticated 20th-century artist."—K. P.Ljungquist, CHOICE "The ninth volume of Cather Studies transcends the usual tendency to classify Cather as modern here and antimodern there, more interestingly highlighting tensions with modernism itself."—Stefanie Heron, Great Plains Quarterly