My Antonia: Introduction by Lucy Hughes-Hallett

My Antonia: Introduction by Lucy Hughes-Hallett

My Antonia: Introduction by Lucy Hughes-Hallett

My Antonia: Introduction by Lucy Hughes-Hallett

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Overview

Of Ántonia, the passionate and majestic central character in Willa Cather’s greatest novel, the narrator, Jim Burden, says that she left “images in the mind that did not fade–that grew stronger with time.” The same is true of the book in which Cather enshrines her heroine.

On one level, My Ántonia is a straight forward narrative, written in limpid prose of uncanny descriptive accuracy, about the struggles endured by a family of immigrant pioneers and the small community that surrounds them on the unsettled Nebraska plains. On another, it is a novel that represents a perfect marriage of form and feeling.

In its magnificent tableaux of human beings caught in the toils of an abundant and overpowering natural world, and in the quiet, understated sympathy it displays for life of every sort, My Ántonia is a novel that effortlessly encompasses history and wilderness and the destiny of the individual–even as it lovingly and unsentimentally portrays a woman whose robust spirit and enduring warmth make her emblematic of what Cather most admired in the American people.


Product Details

ISBN-13: 9780679447276
Publisher: Knopf Doubleday Publishing Group
Publication date: 07/23/1996
Series: Everyman's Library Contemporary Classics Series , #228
Pages: 312
Sales rank: 711,041
Product dimensions: 5.26(w) x 8.30(h) x 0.97(d)
Lexile: 990L (what's this?)
Age Range: 14 - 18 Years

About the Author

About The Author
Wila Cather was probably born in Virginia in 1873, although her parents did not register the date, and it is probably incorrectly given on her tombstone. Because she is so famous for her Nebraska novels, many people assume she was born there, but Wila Cather was about nine years old when her family moved to a small Nebraska frontier town called Red Cloud that was populated by immigrant Swedes, Bohemians, Germans, Poles, Czechs, and Russians. The oldest of seven children, she was educated at home, studied with a Latin neighbor, and read the English classics in the evening. By the time she went to the University of Nebraska in 1891–where she began by wearing boy’s clothes and cut her hair close to her head–she had decided to be a writer.

After graduation she worked for a Lincoln, Nebraska, newspaper, then moved to Pittsburgh and finally to New York City. There she joined McClure’s magazine, a popular muckraking periodical that encouraged the writing of new young authors. After meeting the author Sarah Orne Jewett, she decided to quit journalism and devote herself full time to fiction. Her first novel, Alexander’s Bridge, appeared in serial form in McClure’s in 1912. But her place in American literature was established with her first Nebraska novel, O Pioneers!, published in 1913, which was followed by her most famous pioneer novel, My Antonia, in 1918. In 1922 she won the Pulitzer Prize for one of her lesser-known books. One of Ours. Death Comes for the Archbishop (1927), her masterpiece, and Shadows on the Rock (1931) also celebrated the pioneer spirit, but in the Southwest and French Canada. Her other novels include The Song of the Lark (1915), The Professor’s House (1925), My Mortal Enemy (1926), and Lucy Gayheart (1935). Wila Cather died in 1947.

Date of Birth:

December 7, 1873

Date of Death:

April 27, 1947

Place of Birth:

Winchester, Virginia

Place of Death:

New York, New York

Education:

B.A., University of Nebraska, 1895

Read an Excerpt

I

I first heard of Antonia on what seemed to me an interminable journey across the great midland plain of North America. I was ten years old then; I had lost both my father and mother within a year, and my Virginia relatives were sending me out to my grandparents, who lived in Nebraska. I travelled in the care of a mountain boy, Jake Marpole, one of the "hands" on my father's old farm under the Blue Ridge, who was now going West to work for my grandfather. Jake's experience of the world was not much wider than mine. He had never been in a railway train until the morning when we set out together to try our fortunes in a new world.

We went all the way in day-coaches, becoming more sticky and grimy with each stage of the journey. Jake bought everything the newsboys offered him: candy, oranges, brass collar buttons, a watchcharm, and for me a Life of Jesse James, which I remember as one of the most satisfactory books I have ever read. Beyond Chicago we were under the protection of a friendly passenger conductor, who knew all about the country to which we were going and gave us a great deal of advice in exchange for our confidence. He seemed to us an experienced and worldly man who had been almost everywhere; in his conversation he threw out lightly the names of distant states and cities. He wore the rings and pins and badges of different fraternal orders to which he belonged. Even his cuff-buttons were engraved with hieroglyphics, and he was more inscribed than an Egyptian obelisk.

Once when he sat down to chat, he told us that in the immigrant car ahead there was a family from "across the water" whose destination was the same as ours.

"They can't any of them speak English, except one little girl, and all she can say is 'We go Black Hawk, Nebraska.' She's not much older than you, twelve or thirteen, maybe, and she's as bright as a new dollar. Don't you want to go ahead and see her, Jimmy? She's got the pretty brown eyes, too!"

This last remark made me bashful, and I shook my head and settled down to Jesse James. Jake nodded at me approvingly and said you were likely to get diseases from foreigners.

I do not remember crossing the Missouri River, or anything about the long day's journey through Nebraska. Probably by that time I had crossed so many rivers that I was dull to them. The only thing very noticeable about Nebraska was that it was still, all day long, Nebraska.

I had been sleeping, curled up in a red plush seat, for a long while when we reached Black Hawk. Jake roused me and took me by the hand. We stumbled down from the train to a wooden siding, where men were running about with lanterns. I couldn't see any town, or even distant lights; we were surrounded by utter darkness. The engine was panting heavily after its long run. In the red glow from the fire-box, a group of people stood huddled together on the platform, encumbered by bundles and boxes. I knew this must be the immigrant family the conductor had told us about. The woman wore a fringed shawl tied over her head, and she carried a little tin trunk in her arms, hugging it as if it were a baby. There was an old man, tall and stooped. Two half-grown boys and a girl stood holding oilcloth bundles, and a little girl clung to her mother's skirts. Presently a man with a lantern approached them and began to talk, shouting and exclaiming. I pricked up my ears, for it was positively the first time I had ever heard a foreign tongue.

Another lantern came along. A bantering voice called out: "Hello, are you Mr. Burden's folks? If you are, it's me you're looking for. I'm Otto Fuchs. I'm Mr. Burden's hired man, and I'm to drive you out. Hello, Jimmy, ain't you scared to come so far west?"

I looked up with interest at the new face in the lanternlight. He might have stepped out of the pages of Jesse James. He wore a sombrero hat, with a wide leather band and a bright buckle, and the ends of his moustache were twisted up stiffly, like little horns. He looked lively and ferocious, I thought, and as if he had a history. A long scar ran across one cheek and drew the corner of his mouth up in a sinister curl. The top of his left ear was gone, and his skin was brown as an Indian's. Surely this was the face of a desperado. As he walked about the platform in his high-heeled boots, looking for our trunks, I saw that he was a rather slight man, quick and wiry, and light on his feet. He told us we had a long night drive ahead of us, and had better be on the hike. He led us to a hitching-bar where two farm-wagons were tied, and I saw the foreign family crowding into one of them. The other was for us. Jake got on the front seat with Otto Fuchs, and I rode on the straw in the bottom of the wagon-box, covered up with a buffalo hide. The immigrants rumbled off into the empty darkness, and we followed them.

I tried to go to sleep, but the jolting made me bite my tongue, and I soon began to ache all over. When the straw settled down, I had a hard bed. Cautiously I slipped from under the buffalo hide, got up on my knees and peered over the side of the wagon. There seemed to be nothing to see; no fences, no creeks or trees, no hills or fields. If there was a road, I could not make it out in the faint starlight. There was nothing but land: not a country at all, but the material out of which countries are made. No, there was nothing but land-slightly undulating, I knew, because often our wheels ground against the brake as we went down into a hollow and lurched up again on the other side. I had the feeling that the world was left behind, that we had got over the edge of it, and were outside man's jurisdiction. I had never before looked up at the sky when there was not a familiar mountain ridge against it. But this was the complete dome of heaven, all there was of it. I did not believe that my dead father and mother were watching me from up there; they would still be looking for me at the sheepfold down by the creek, or along the white road that led to the mountain pastures. I had left even their spirits behind me. The wagon jolted on, carrying me I knew not whither. I don't think I was homesick. If we never arrived anywhere, it did not matter. Between that earth and that sky I felt erased, blotted out. I did not say my prayers that night: here, I felt, what would be would be.

II

I do not remember our arrival at my grandfather's farm sometime before daybreak, after a drive of nearly twenty miles with heavy work-horses. When I awoke, it was afternoon. I was lying in a little room, scarcely larger than the bed that held me, and the window-shade at my head was flapping softly in a warm wind. A tall woman, with wrinkled brown skin and black hair, stood looking down at me; I knew that she must be my grandmother. She had been crying, I could see, but when I opened my eyes she smiled, peered at me anxiously, and sat down on the foot of my bed.

"Had a good sleep, Jimmy?" she asked briskly. Then in a very different tone she said, as if to herself, "My, how you do look like your father!" I remembered that my father had been her little boy; she must often have come to wake him like this when he overslept. "Here are your clean clothes," she went on, stroking my coverlid with her brown hand as she talked. "But first you come down to the kitchen with me, and have a nice warm bath behind the stove. Bring your things; there's nobody about."

"Down to the kitchen" struck me as curious; it was always "out in the kitchen" at home. I picked up my shoes and stockings and followed her through the living-room and down a flight of stairs into a basement. This basement was divided into a dining-room at the right of the stairs and a kitchen at the left. Both rooms were plastered and whitewashed-the plaster laid directly upon the earth walls, as it used to be in dugouts. The floor was of hard cement. Up under the wooden ceiling there were little halfwindows with white curtains, and pots of geraniums and wandering Jew in the deep sills. As I entered the kitchen, I sniffed a pleasant smell of gingerbread baking. The stove was very large, with bright nickel trimmings, and behind it there was a long wooden bench against the wall, and a tin washtub, into which grandmother poured hot and cold water. When she brought the soap and towels, I told her that I was used to taking my bath without help.

"Can you do your ears, Jimmy? Are you sure? Well, now, I call you a right smart little boy."

It was pleasant there in the kitchen. The sun shone into my bath-water through the west half-window, and a big Maltese cat came up and rubbed himself against the tub, watching me curiously. While I scrubbed, my grandmother busied herself in the dining-room until I called anxiously, "Grandmother, I'm afraid the cakes are burning!" Then she came laughing, waving her apron before her as if she were shooing chickens.

She was a spare, tall woman, a little stooped, and she was apt to carry her head thrust forward in an attitude of attention, as if she were looking at something, or listening to something, far away. As I grew older, I came to believe that it was only because she was so often thinking of things that were far away. She was quick-footed and energetic in all her movements. Her voice was high and rather shrill, and she often spoke with an anxious inflection, for she was exceedingly desirous that everything should go with due order and decorum. Her laugh, too, was high, and perhaps a little strident, but there was a lively intelligence in it. She was then fifty-five years old, a strong woman, of unusual endurance.

After I was dressed, I explored the long cellar next the kitchen. It was dug out under the wing of the house, was plastered and cemented, with a stairway and an outside door by which the men came and went. Under one of the windows there was a place for them to wash when they came in from work.

While my grandmother was busy about supper, I settled myself on the wooden bench behind the stove and got acquainted with the cat-he caught not only rats and mice, but gophers, I was told. The patch of yellow sunlight on the floor travelled back toward the stairway, and grandmother and I talked about my journey, and about the arrival of the new Bohemian family; she said they were to be our nearest neighbours. We did not talk about the farm in Virginia, which had been her home for so many years. But after the men came in from the fields, and we were all seated at the supper table, then she asked Jake about the old place and about our friends and neighbours there.

My grandfather said little. When he first came in he kissed me and spoke kindly to me, but he was not demonstrative. I felt at once his deliberateness and personal dignity, and was a little in awe of him. The thing one immediately noticed about him was his beautiful, crinkly, snow-white beard. I once heard a missionary say it was like the beard of an Arabian sheik. His bald crown only made it more impressive.

Grandfather's eyes were not at all like those of an old man; they were bright blue, and had a fresh, frosty sparkle. His teeth were white and regular-so sound that he had never been to a dentist in his life. He had a delicate skin, easily roughened by sun and wind. When he was a young man his hair and beard were red; his eyebrows were still coppery.

As we sat at the table, Otto Fuchs and I kept stealing covert glances at each other. Grandmother had told me while she was getting supper that he was an Austrian who came to this country a young boy and had led an adventurous life in the Far West among mining-camps and cow outfits. His iron constitution was somewhat broken by mountain pneumonia, and he had drifted back to live in a milder country for a while. He had relatives in Bismarck, a German settlement to the north of us, but for a year now he had been working for grandfather.

The minute supper was over, Otto took me into the kitchen to whisper to me about a pony down in the barn that had been bought for me at a sale; he had been riding him to find out whether he had any bad tricks, but he was a "perfect gentleman," and his name was Dude. Fuchs told me everything I wanted to know: how he had lost his ear in a Wyoming blizzard when he was a stage-driver, and how to throw a lasso. He promised to rope a steer for me before sundown next day. He got out his "chaps" and silver spurs to show them to Jake and me, and his best cowboy boots, with tops stitched in bold design-roses, and true-lover's knots, and undraped female figures. These, he solemnly explained, were angels.

Before we went to bed, Jake and Otto were called up to the living-room for prayers. Grandfather put on silver-rimmed spectacles and read several Psalms. His voice was so sympathetic and he read so interestingly that I wished he had chosen one of my favourite chapters in the Book of Kings. I was awed by his intonation of the word "Selah." "He shall choose our inheritance for us, the excellency of Jacob whom He loved. Selah." I had no idea what the word meant; perhaps he had not. But, as he uttered it, it became oracular, the most sacred of words.

Early the next morning I ran out-of-doors to look about me. I had been told that ours was the only wooden house west of Black Hawk-until you came to the Norwegian settlement, where there were several. Our neighbours lived in sod houses and dugouts-comfortable, but not very roomy. Our white frame house, with a storey and half-storey above the basement, stood at the east end of what I might call the farmyard, with the windmill close by the kitchen door. From the windmill the ground sloped westward, down to the barns and granaries and pig-yards. This slope was trampled hard and bare, and washed out in winding gullies by the rain. Beyond the corncribs, at the bottom of the shallow draw, was a muddy little pond, with rusty willow bushes growing about it. The road from the post-office came directly by our door, crossed the farmyard, and cruved round this little pond, beyond which it began to climb the gentle swell of unbroken prairie to the west. There, along the western sky-line, it skirted a great cornfield, much larger than any field I had ever seen. This cornfield, and the sorghum patch behind the barn, were the only broken land in sight. Everywhere, as far as the eye could reach, there was nothing but rough, shaggy, red grass, most of it as tall as I.

Table of Contents

Acknowledgements
Introduction
Willa Cather: A Brief Chronology
A Note on the Text

My Ántonia

Appendix A: Cather’s Revised Introduction to the 1926 Edition of My Ántonia

Appendix B: Cather’s “Mesa Verde Wonderland is Easy to Reach”

Appendix C: Cather’s “Nebraska:The End of the First Cycle”

Appendix D: Cather’s “Peter”

Appendix E: Interviews and Commentary by Cather on My Ántonia

  1. Latrobe Carroll, “Willa Sibert Cather,” Bookman, 3 May 1921
  2. “A Talk with Miss Cather,” Webster County Argus, 29 September 1921
  3. Eleanor Hinman, “Willa Cather,” Lincoln Sunday Star, 6 November 1921
  4. Rose C. Field, “Restlessness Such as Ours Does Not Make for Beauty,” New York Times Book Review, 21 December 1924

Appendix F: Contemporary Reviews of the Novel

  1. Randolph Bourne, The Dial, 14 December 1918
  2. H.W. Boynton, Bookman, December 1918
  3. C.L.H., New York Call, 13 November 1918
  4. A.L.A. Booklist, 1918
  5. Book Review Digest, 1918
  6. Independent, 25 January 1919
  7. New York Times, 6 October 1918
  8. Nation, 2 November 1918
  9. The Globe and Commercial Advertiser, 11 January 1919
  10. H.L. Mencken, The Smart Set, 17 February 1919

Appendix G: Photographs of Nebraska

  1. Primitive Dugout
  2. Sod House
  3. Threshing Scene
  4. The Pavelka Farm
  5. Anna Sadilek
  6. Blind Boone
  7. The University of Nebraska

Appendix H: Immigration to and Migration Across America

  1. Nebraska Land Company, Czech Language Immigration Poster
  2. Welcome to the Land of Freedom
  3. Emigrants Coming to the “Land of Promise”
  4. Crossing the Great American Desert in Nebraska

Appendix I: Music from My Ántonia

  1. “Oh, Promise Me”
  2. “O Bury Me Not on the Lone Prairie”

Select Bibliography

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Reading Group Guide

INTRODUCTION

In part an elegy for a way of life almost vanished at the time of its writing, Willa Cather's novel My Ántonia is also an inquiry into what it means to be an American. Cather explores characteristically American questions of identity through the novel's central relationship, the friendship between transplanted Virginian Jim Burden and Bohemian immigrant Ántonia Shimerda. The novel begins with an introduction by an unnamed narrator, a woman who grew up in Nebraska with Jim and Ántonia. This introduction emphasizes the themes that shape the novel—movement, discontinuous identity, and romantic hopefulness. The narrator unexpectedly meets the adult Jim Burden on a train crossing Iowa, and the two renew their acquaintance and reminisce about Ántonia, who represents for both of them "the country, the conditions, the whole adventure of our childhood" (p. 5). At the narrator's suggestion, Jim agrees to write a portrait of Ántonia. As he describes it, Jim's portrait is impulsive, written without notes and without "any form" (p. 6). It is the spontaneous overflow of Jim's recollected emotion, in keeping with his "naturally romantic and ardent disposition" (p. 4). Before giving the manuscript to the narrator, Jim titles it "Ántonia"; after frowning a moment, he adds "my." The narrator notes that this "seemed to satisfy him," without suggesting whether Jim's title is a gesture of possessiveness, an acknowledgment of bias, or indicative of some other meaning (p. 6).

Jim begins his story, at age ten, with his first hearing of Ántonia on what seems to him "an interminable journey across the great midland plain of North America" (p. 9). The recently orphaned Jim, who is going to live with his grandparents, feels that "there was nothing but land: not a country at all, but the material out of which countries are made" (p. 12). Jim and Ántonia, passengers on the same train, are each challenged to feel at home in this land that initially produces the feeling of being "erased, blotted out" (p. 13).

It is Jim's friendship with Ántonia that enables him to feel at home on the prairie farm. Mr. Shimerda's plea to Jim to "Te-e-ach, te-e-ach my Ántonia!" gives Jim a purpose and a sense of competence (p. 26). His relationship with "Tony" and the adventures they share become the most important part of his life. What makes people who they are is one of the mysteriesMy Ántonia plumbs. To what extent is personality born, and to what extent made? Cather suggests that Jim is shaped by his early friendship with Ántonia, and also that he is drawn to her because they are fundamentally alike. Jim shares Ántonia's love for her father, who comes to represent the culture and sensitivity that life on the prairie tends to crush. Like Mr. Shimerda and Mrs. Steavens, Jim recognizes that Ántonia is special and refers to her as "my Ántonia" (p. 171). Ántonia becomes a touchstone in the novel: other characters reveal themselves through their responses to her. Those who are generous and compassionate—Jim's grandparents, Mrs. Harling, and the Widow Steavens—love and try to defend her. Those who are selfish and corrupt—Ambrosch, Wick Cutter, and Larry Donovan—seek to take advantage of her.

Although she is in this respect the novel's still center, Ántonia is also an image of American freedom and mobility, as evidenced by her choosing to become a "hired girl" at the Harlings, and then by her leaving the Harlings when they object to her going dancing. Ántonia's romance with Larry Donovan points up both Donovan's corruption—he is happy to use and abandon her, as a lower-class immigrant girl—and Ántonia's idealism. Her subsequent embrace of motherhood and farming highlights her vibrant and indomitable nature, the nature that Jim has always felt sets apart the Bohemian "hired girls" from the town girls. When Jim finds her again, she is married to a fellow countryman and has so many children that Jim is made "dizzy" by the sight of them (p. 252). He sees Ántonia's return to farming as a return to a world of timeless realities that has escaped the corruption he associates with small-town life. Her life stands in implicit contrast to Jim's own, which includes a childless marriage to a brittle socialite.

The past that Jim recalls so passionately is not only his own past, but also the past of the West. When we meet him in the introduction, he is working for the railroads that are transforming the West; the industrialized nation is encroaching on the agrarian world of Jim's childhood. Cather suggests that Jim is looking back with longing on a time when the entire country (and he as well) was more innocent and hopeful. The novel's epigram from Virgil's Georgics, "Optima dies prima fugit," is translated by Jim as, "in the lives of mortals, the best days are the first to flee" (p. 199). Each of Jim's moves, after the first move to Nebraska, entails a loss—from the farm to Black Hawk, from Black Hawk to college, from college to work and a wife who does not share his past or his passion. Cather depicts a man who is eager to move away and contend with the larger world, but then spends his emotional energy attempting to recapture the past. Jim describes some memories as "realities" that are "better than anything that can ever happen to one again" (p. 245). The book ends with him going back over the road he and Ántonia traveled the night they first saw each other, giving him a sense of "what a little circle man's experience is" (p. 273). Is Jim's absorption in his childhood memories more a flight from adult disappointments or a valid recognition that those early days were more vital and meaningful? This deeply American novel, which engages the ideas of upward mobility and remaking identity, asks whether we can—or should—ever leave the past behind.


ABOUT WILLA CATHER

Willa Cather was born near Winchester, Virginia, in 1873. When she was nine, her family moved to Nebraska to join her paternal grandparents and uncle. Cather was profoundly affected by moving from the settled Virginia landscape to the untamed Nebraska prairie. On the farm, her neighbors included immigrants from Bohemia (now most of the Czech Republic), Sweden, Norway, and Denmark. Their pioneering lives and stories of the old country were among her strongest influences.

Taught at home by her grandmothers, Cather read Latin and the English classics. In later life, she cited Virgil as her first literary influence. While she was a schoolgirl, Cather's family moved to the town of Red Cloud, the model for Black Hawk in My Ántonia, and she attended high school there. She worked her way through the University of Nebraska, planning to study medicine until a professor secretly submitted one of her essays to the Nebraska State Journal. Seeing her work in print convinced her to become a writer. After graduating, she worked for Pittsburgh's Daily Leader and taught high school English. In 1905, she published a collection of short stories, and favorable reviews inspired her to move with her companion Isabelle McClung to New York City, where she became managing editor of McClure's Magazine.

In 1912, Cather left McClure's and published her first novel, Alexander's Bridge, responding to author Sarah Orne Jewett's urging that she make time to fulfill her creative gifts. With her novel O Pioneers! (1913), set on the Nebraska frontier, Cather achieved artistic and critical success as a novelist. In 1916, Isabelle McClung announced her intention to marry, and Cather visited Nebraska in an effort to regain her emotional equilibrium and artistic inspiration. There she renewed her friendship with Annie Sadilek Pavelka, the inspiration for Ántonia. My Ántonia, generally regarded as Cather's masterpiece, was published in 1918.

Cather's simple yet lyrical style and uniquely American subject matter led critics to recognize her as a major author during her lifetime. A Lost Lady (1923), The Professor's House (1925), Death Comes for the Archbishop (1927), and Sapphira and the Slave Girl (1940) are among her most acclaimed books, as well as One of Ours (1922), which won the Pulitzer Prize. She was living with her companion Edith Lewis in New York City when she died on April 24, 1947.


DISCUSSION QUESTIONS
  • Why is getting "a picture" of Ántonia important enough to Jim and the narrator of the introduction that they decide to write about her? (p. 5)
     
  • When Jim and Ántonia meet as children, why do they become such close friends?
     
  • Why does Pavel's story about the wolves and the wedding party affect Jim and Ántonia so deeply?
     
  • Who or what does Cather intend us to see as responsible for Mr. Shimerda's suicide?
     
  • Why does Cather repeatedly include images of people and objects silhouetted against the sun? What does the vision of the plough mean to Jim?
     
  • Why does Jim prefer "the hired girls" to the Black Hawk girls? Is Frances right when she says that Jim puts "a kind of glamour" over the hired girls? (p. 175)
     
  • What is Cather suggesting about gender roles with the characters Frances, Ántonia, and Lena?
     
  • Why is Ántonia so determined to keep going to the dancing tent that she would rather leave her job with the Harlings than stop dancing?
     
  • Why does the incident at Wick Cutter's house make Jim feel that he never wants to see Ántonia again and that he hated her almost as much as he hated Cutter?
     
  • Why does Jim leave Lena Lingard in the end, despite how much he enjoys being with her?
     
  • Why does Jim tell Ántonia, "I'd have liked to have you for a sweetheart, or a wife, or my mother or my sister—anything that a woman can be to a man"? (p. 240)
     
  • What does Jim mean when he says that "Cuzak had been made the instrument of Ántonia's special mission" (p. 270)? What is her mission?
     
  • Why is remembering the past so important to Jim? Why does he agree with Virgil that "optima dies prima fugit"? (p. 199)

  • FOR FURTHER REFLECTION
  • How have immigrants enriched American culture? How have they been transformed by it?
     
  • Would you agree with Virgil and Jim that the earliest days are the best and the most quickly gone?
     
  • Do you agree that happiness consists of being "dissolved into something complete and great" (p. 20)?

  • RELATED TITLES

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    Jewett's sketches and tales of life in a rural Maine community lyrically depict the pleasures of living close to nature. Cather considered it a classic of the same rank as The Adventures of Huckleberry Finn and The Scarlet Letter.

    Sinclair Lewis, Main Street (1920)
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    Carson McCullers, The Heart Is a Lonely Hunter (1940)
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    Virgil, Georgics (37-30 BCE)
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