Editorial Policy
Introduction: Willa Cather as Icon
Guy Reynolds
A Commentary on An Explanation of America
Robert Pinsky
What Happens to Criticism When the Artist Becomes an Icon?
Elsa Nettels
Advertising Cather during the Transition Years (1914-1922)
Erika Hamilton
Willa Cather and Her Public in 1922
Janis P. Stout
A Portrait of an Artist as a Cultural Icon: Edward Steichen, Vanity Fair, and Willa Cather
Michael Schueth
Willa Cather and the Book-of-the-Month Club
Mark J. Madigan
"Two or Three Human Stories": O Pioneers! and the Old Testament
Jessica G. Rabin
Barbusse's L'enfer: A Source for "Coming, Aphrodite!" and "The Novel Démeublé"
Richard C. Harris
Recollecting Emotion in Tranquility: Wordsworth and Byron in Cather's My Ántonia and Lucy Gayheart
Jonathan D. Gross
"Have I Changed So Much?": Jim Burden, Intertextuality, and the Ending of My Ántonia
Timothy C. Blackburn
Shadows on the Rock: Against Interpretation
Richard H. Millington
Cather's Shadows: Solid Rock and Sacred Canopy
John J. Murphy
Cather's Secular Humanism: Writing Anacoluthon and Shooting Out into the Eternities
Joseph R. Urgo
Subsequent Reflections on Shadows on the Rock
Richard H. Millington, John J. Murphy, and Joseph R. Urgo
Cather, Freudianism, and Freud
John N. Swift
Cather's Medical Icon: Euclide Auclair, Healing Art, and the Cultivated Physician
Joshua Dolezal
The Dialectics of Seeing in Cather's Pittsburgh: "Double Birthday" and Urban Allegory
Joseph C. Murphy
Antithetical Icons? Willa Cather, Ernest Hemingway, and the First World War
Steven Trout
Icons and Willa Cather
Merrill Maguire Skaggs
"A Critic Who Was Worthy of Her": The Writing of Willa Cather: A Critical Biography
Robert Thacker
Contributors
Index
