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• W2005693733 abstract "LATOUR'S SCHISMATIC CHURCH: THE RADICAL MEANING IN THE PICTORIAL METHODS OF DEATH COMES FOR THE ARCHBISHOP Jean Schwind* Shortly after Death Comes for the Archbishop completed its serialized run in Forum magazine in 1927, Willa Cather expressed doubts about the novel's reception. In a letter to Dorothy Canfield Fisher, an old Nebraska friend and fellow writer, Cather cynically wondered: Could a novel featuring the Virgin Mary as its leading lady hope to survive in a world of motion picture romance and glamour?1 Although it had been widely read in Forum, Cather evidently had become less certain about the novel's popular appeal by the time it was due to be published in book form than she had been when she first delivered her manuscript to Knopf. Alfred Knopf recalls that Cather was initially so convinced that Death Comes for the Archbishop would sell longer and better than any of her previous novels that for the first time she insisted upon higher royalties.2 However uncertain she may have been about its public success, Cather never doubted her artistic success in the novel. An earlier letter to Fisher confirms what Cather told her biographer, E. K. Brown, shortly before her death: Death Comes for the Archbishop was not only her best book but the book she found most pleasure in writing and rereading .3 That Cather regarded this novel so highly is not surprising, for it clearly represents a culmination of the experiments in literary pictorialism which Cather pursued throughout her career, from Alexander's Bridge (Cather's first novel, which she described as her studio picture) to such mature later works as The Professor's House (with its unusual narrative composition inspired by Dutch genre painting).4 More specifically , Death Comes for the Archbishop perfects the painterly methods of spatial composition Cather first explored in the simple juxtaposition of two separate stories—Alexandra and The White Mulberry Tree—in O Pioneers'.5 In an interview published in Bookman in 1921, Cather explained O Pioneers! in pictorial terms that vividly anticipate Death Comes for the Archbishop. Working to develop a kind of writing suited to the vast silence and space of the western frontier, Cather *Jean Schwind is an Assistant Professor of English at the University of Minnesota. She has published articles on American literature in PMLA and Modern Fiction Studies and is currently working on a book on Cather's use of the forms and iconography of the visual arts. 72Jean Schwind discovered a model for her new narrative form in the spatial dynamics of still-life arrangements: From the first chapter [of O Pioneers!], I decided not to write at all . . . in order to make things and people tell their own story simply by juxtaposition, without any persuasion or explanation on my part. Just as if I put here on the table a green vase, and beside it a yellow orange. Now, those two things affect each other. Side by side, they produce a reaction which neither of them will produce alone. ... I want the reader to see the orange and the vase—beyond that, I am out of it. Mere cleverness must go. I'd like the writing to be so lost in the object, that it doesn't exist for the reader. . . .6 The vases and oranges in Death Comes for the Archbishop—the multiple religious legends, biographical sketches, and historic and fictional stories within the novel's nine books—are juxtaposed like a series of implicitly related but individually isolated pictures. Dispensing with the narrative manipulations that would connect her diverse characters and scenes into a single, continuous story or plot, Cather allows the things and people in this novel to tell their own story through the appositions of her spatial design. The story that Cather tells through the strategically juxtaposed things and people is immediately suggested by her Prologue (At Rome), in which Cather hints that pictorial art informs the subject as well as the style of her novel. Essentially, the Prologue introduces Cather 's story of Archbishop Latour as a story about the artistic perception of a painterly arranger or composer.7 Pictorial art not only dominates the central action of..." @default.
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• W2005693733 date "1985-01-01" @default.
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• W2005693733 title "Latour's Schismatic Church: The Radical Meaning in the Pictorial Methods of Death Comes for the Archbishop" @default.
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• W2005693733 doi "https://doi.org/10.1353/saf.1985.0024" @default.
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