Stout identifies five basic, recurring patterns of the journey narrative: exploration and escape; homeseeking; return; heroic quest; and wandering. Discussion of these patterns is based on considerations such as the direction of the journey, its motivation, and reference to historical precedents. Stout considers works that demonstrate the complex and interwoven patterns of the journey narrative. The more complex the work, the more intricately interwoven these patterns are. To illustrate the all-inclusiveness of the journey motif in American literature Stout pursues the theme into the realm of poetry and relates the fictional journey narrative to the American historical experience.

This volume situates My Antonia as a novel that stands the test of time by including in its pages an extraordinarily wide range of historical, cultural, literary, psychological, thematic, perceptual, and stylistic issues. The volume provides an analysis and assessment of complexities in the novel as well as its reception and legacy. The essays as a whole situate the novel at the cusp of the modern period, marking in myriad ways the novel's transitional role between nineteenth and twentieth-century literature and culture. The first section "Translation" features writers that reflect on Cather's curious devaluation of My Antonia's reception over time; translation issues in Germany, Italty, France, and Russia; and linguistic issues in the novel's vision of Antonia's acculturation. The second section "Tradition" defines Cather's relationship to modernism and regionalism through her career shifts and changes to the Introduction as well as her narrative technique in marginalizing violence and darkness to the edges of Jim's consicousness. The third section "Transgender" analyzes Cather's relationship to Hamlin Garland's Life on the Prairie, J. M. Barrie's Peter Pan and the Neverland, and the work of Truman Capote, especially his gay protagoanist Joel Knox in Other Voices, Other Rooms. The fourth section "Transhuman" deploys work on hysteria to situate Cather's vision of genderless desire and ecocritical lenses to understand Jim and nature. Finally the last section "Transition" discusses Lena Lingard's presence as a New Woman and gift economies in the novel that underscore the community's uneasy transition to twentieth-century capitalism. Gathered in the volume are an international group of scholars who demonstrate the novel's centrality to women's studies, American studies, queer studies, childhood studies, psychoanalysis, ecology, translation and reception, Marxism, narratology, and intertextuality.

Katherine Anne Porter's life closely paralleled that of her century not only in its span (1890-1980) but in its interests and contradictions. A communist sympathizer who became a quasi fascist, a cosmopolitan who embraced southern agrarianism, a femme fatale whose writings nonetheless evince feminist feeling, Porter embodied, often at their extremes, the major currents of her time and ours. In this new biography Janis P. Stout argues that these inconsistencies can be viewed as part and parcel of modernism itself.

The volume situates My Ántonia as a novel that stands the test of time by including in its pages an extraordinarily wide range of historical, cultural, literary, psychological, thematic, perceptual, and stylistic issues. The volume provides an analysis and assessment of complexities in the novel as well as its reception and legacy. The essays as a whole situate the novel at the cusp of the modern period, marking in myriad ways the novel’s transitional role between nineteenth and twentieth-century literature and culture. The first section “Translation” features writers that reflect on Cather’s curious devaluation of My Ántonia’s reception over time; translation issues in Germany, Italty, France, and Russia; and linguistic issues in the novel’s vision of Ántonia’s acculturation. The second section “Tradition” defines Cather’s relationship to modernism and regionalism through her career shifts and changes to the Introduction as well as her narrative technique in marginalizing violence and darkness to the edges of Jim’s consicousness. The third section “Transgender” analyzes Cather’s relationship to Hamlin Garland’s Life on the Prairie, J. M. Barrie’s Peter Pan and the Neverland, and the work of Truman Capote, especially his gay protagoanist Joel Knox in Other Voices, Other Rooms. The fourth section “Transhuman” deploys work on hysteria to situate Cather’s vision of genderless desire and ecocritical lenses to understand Jim and nature. Finally the last section “Transition” discusses Lena Lingard’s presence as a New Woman and gift economies in the novel that underscore the community’s uneasy transition to twentieth-century capitalism. Gathered in the volume are an international group of scholars who demonstrate the novel’s centrality to women’s studies, American studies, queer studies, childhood studies, psychoanalysis, ecology, translation and reception, Marxism, narratology, and intertextuality.

Memoirs are tricky, especially when the author isn't widely known. But Janis Stout tackles the memoir with a new and inventive approach-she organizes her memories around the houses she's lived in. "Sometimes," she wrote, "I picture my life as a long row of houses." Houses, she claims, are metaphors for the structures of our lives, and Stout's houses twine their way through this memoir along with reflections on work and retirement, marriages good and bad, and quietness for engaging in the important last work of life. She is, she says, a little different in each house-but each house shaped who she became as she prepared to move into the last house, the house of retirement. A college professor, mother of four sons, and wife, she writes of her early life through the lens of the houses she lived in at the time of events. There was the rock house of her early childhood from which she escaped to a failed early marriage that produced her sons. Other houses enfold her determination to finish college and her PhD; her concern for a son who is blind and brain-damaged; and, finally, a new, happy and enduring marriage. Stout recounts the planning and building of the dream house in the New Mexico mountains, where she and her husband, Loren, would build new lives in retirement. And then their lives take a sudden turn when health issues made the house impractical. New Mexico wasn't, after all, the last house.

An infamous clause in Willa Cather's will, forbidding publication of her letters and other papers, has long caused consternation among Cather scholars. For Cather, a complex and private person who seldom made revelatory public pronouncements, personal letters provide-or would provide-an especially valuable key to understanding. But because of the terms of her will, that key is not readily available. Cather's letters will not come into public domain until the year 2017. Until then, even quotation, let alone publication in full, is prohibited.

Janis P. Stout has gathered over eighteen hundred of Cather's letters--all the letters currently known to be available--and provides a brief summary of each, as well as a biographical directory identifying correspondents and a multisection index of the widely scattered letters organized by location, by correspondent, and by names and titles mentioned. This book will be an essential resource for Cather scholars.