My Mortal Enemy

by Willa Cather

  “Why is it, do you suppose, Nellie, that candles are in themselves religious? Not when they are covered by shades, of course—I mean the flame of a candle. Is it because the Church began in the catacombs, perhaps?”

  At another time, when she had been lying like a marble figure for a long while, she said in a gentle, reasonable voice:

  “Ah, Father Fay, that isn’t the reason! Religion is different from everything else; because in religion seeking is finding.”

  She accented the word “seeking” very strongly, very deeply. She seemed to say that in other searchings it might be the object of the quest that brought satisfaction, or it might be something incidental that one got on the way; but in religion, desire was fulfillment, it was the seeking itself that rewarded.

  One of those nights of watching stands out in my memory as embracing them all, as being the burden and telling the tale of them all. Myra had had a very bad day, so both Oswald and I were sitting up with her. After midnight she was quiet. The candles were burning as usual, one in her alcove. From my chair by the open window I could see her bed. She had been motionless for more than an hour, lying on her back, her eyes closed. I thought she was asleep. The city outside was as still as the room in which we sat. The sick woman began to talk to herself, scarcely above a whisper, but with perfect distinctness; a voice that was hardly more than a soft, passionate breath. I seemed to hear a soul talking.

  “I could bear to suffer … so many have suffered. But why must it be like this? I have not deserved it. I have been true in friendship; I have faithfully nursed others in sickness.… Why must I die like this, alone with my mortal enemy?”

  Oswald was sitting on the sofa, his face shaded by his hand. I looked at him in affright, but he did not move or shudder. I felt my hands grow cold and my forehead grow moist with dread. I had never heard a human voice utter such a terrible judgment upon all one hopes for. As I sat on through the night, after Oswald had gone to catch a few hours of sleep, I grew calmer; I began to understand a little what she meant, to sense how it was with her. Violent natures like hers sometimes turn against themselves … against themselves and all their idolatries.

  SIX

  On the following day Mrs. Henshawe asked to be given the Sacrament. After she had taken it she seemed easier in mind and body. In the afternoon she told Henshawe to go to his office and begged me to leave her and let her sleep. The nurse we had sent away that day at her urgent request. She wanted to be cared for by one of the nursing Sisters from the convent from now on, and Father Fay was to bring one to-morrow.

  I went to my room, meaning to go back to her in an hour, but once on my bed I slept without waking. It was dark when I heard Henshawe knocking on my door and calling to me. As I opened it, he said in a despairing tone: “She’s gone, Nellie, she’s gone!”

  I thought he meant she had died. I hurried after him down the corridor and into her room. It was empty. He pointed to her empty bed. “Don’t you see? She has gone, God knows where!”

  “But how could she? A woman so ill? She must be somewhere in the building.”

  “I’ve been all over the house. You don’t know her, Nellie. She can do anything she wills. Look at this.”

  On the desk lay a sheet of note paper scribbled in lead pencil: Dear Oswald: my hour has come. Don’t follow me. I wish to be alone. Nellie knows where there is money for masses.” That was all. There was no signature.

  We hurried to the police station. The chief sent a messenger out to the men on the beat to warn them to be on the watch for a distraught woman who had wandered out in delirium. Then we went to Father Fay. “The Church has been on her mind for a long while,” said Henshawe. “It is one of her delusions that I separated her from the Church. I never meant to.”

  The young priest knew nothing. He was distressed, and offered to help us in our search, but we thought he had better stay at home on the chance that she might come to him.

  When we got back to the hotel it was after eleven o’clock. Oswald said he could not stay indoors; I must be there within call, but he would go back to help the police.

  After he left I began to search Mrs. Henshawe’s room. She had worn her heavy coat and her furs, though the night was warm. When I found that the pair of Austrian blankets was missing, I felt I knew where she had gone. Should I try to get Oswald at the police station? I sat down to think it over. It seemed to me that she ought to be allowed to meet the inevitable end in the way she chose. A yearning strong enough to lift that ailing body and drag it out into the world again should have its way.

  At five o’clock in the morning Henshawe came back with an officer and a Negro cabman. The driver had come to the station and reported that at six last night a lady, with her arms full of wraps, had signalled him at the side door of the hotel, and told him to drive her to the boat landing. When they were nearing the landing, she said she did not mean to stop there, but wanted to go farther up the shore, giving him clear directions. They reached the cliff she had indicated. He helped her out of the cab, put her rugs under the tree for her, and she gave him a ten-dollar gold piece and dismissed him. He protested that the fare was too much, and that he was afraid of getting into trouble if he left her there. But she told him a friend was going to meet her, and that it would be all right. The lady had, he said, a very kind, coaxing way with her. When he went to the stable to put up his horse, he heard that the police were looking for a woman who was out of her head, and he was frightened. He went home and talked it over with his wife, who sent him to report at headquarters.

  The cabman drove us out to the headland, and the officer insisted upon going along. We found her wrapped in her blankets, leaning against the cedar trunk, facing the sea. Her head had fallen forward; the ebony crucifix was in her hands. She must have died peacefully and painlessly. There was every reason to believe she had lived to see the dawn. While we watched beside her, waiting for the undertaker and Father Fay to come, I told Oswald what she had said to me about longing to behold the morning break over the sea, and it comforted him.

  SEVEN

  Although she had returned so ardently to the faith of her childhood, Myra Henshawe never changed the clause in her will, which requested that her body should be cremated, and her ashes buried “in some lonely and unfrequented place in the mountains, or in the sea.”

  After it was all over, and her ashes sealed up in a little steel box, Henshawe called me into her room one morning, where he was packing her things, and told me he was going to Alaska.

  “Oh, not to seek my fortune,” he said, smiling. “That is for young men. But the steamship company have a place for me in their office there. I have always wanted to go, and now there is nothing to hold me. This poor little box goes with me; I shall scatter her ashes somewhere in those vast waters. And this I want you to keep for remembrance.” He dropped into my hands the necklace of carved amethysts she had worn on the night I first saw her.

  “And, Nellie—” He paused before me with his arms folded, standing exactly as he stood behind Modjeska’s chair in the moonlight on that New Year’s night; standing like a statue, or a sentinel, I had said then, not knowing what it was I felt in his attitude; but now I knew it meant indestructible constancy … almost indestructible youth. “Nellie,” he said, “I don’t want you to remember her as she was here. Remember her as she was when you were with us on Madison Square, when she was herself, and we were happy. Yes, happier than it falls to the lot of most mortals to be. After she was stricken, her recollection of those things darkened. Life was hard for her, but it was glorious, too; she had such beautiful friendships. Of course, she was absolutely unreasonable when she was jealous. Her suspicions were sometimes—almost fantastic.” He smiled and brushed his forehead with the tips of his fingers, as if the memory of her jealousy was pleasant still, and perplexing still. “But that was just Molly Driscoll! I’d rather have been clawed by her, as she used to say, than petted by any other woman I’ve ever known. These last years it’s seemed to me that I
was nursing the mother of the girl who ran away with me. Nothing ever took that girl from me. She was a wild, lovely creature, Nellie. I wish you could have seen her then.”

  Several years after I said good-bye to him, Oswald Henshawe died in Alaska. I have still the string of amethysts, but they are unlucky. If I take them out of their box and wear them, I feel all evening a chill over my heart. Sometimes, when I have watched the bright beginning of a love story, when I have seen a common feeling exalted into beauty by imagination, generosity, and the flaming courage of youth, I have heard again that strange complaint breathed by a dying woman into the stillness of night, like a confession of the soul: “Why must I die like this, alone with my mortal enemy!”

  Read an excerpt from

  THE SELECTED LETTERS OF WILLA CATHER

  By Willa Cather

  Available from Knopf

  April 2013

  Introduction

  BEFORE WILLA CATHER DIED, she did what she could to prevent this book from ever existing. She made a will that clearly forbade all publication of her letters, in full or in part. And now we flagrantly defy Cather’s will in the belief that her decision, made in the last, dark years of her life and honored for more than half a century, is outweighed by the value of making these letters available to readers all over the world.

  Why did she put such restrictions in her will? Various answers have been proposed. Some believe that Cather was guarding her privacy, perhaps worried that the letters she dashed off over the years, not thinking of herself as a public figure, would compromise her literary reputation. Some have wondered if she sought to conceal a secret buried in her years of correspondence, some sign of an indiscretion or uncontrolled passion. Many people, following James Woodress’s characterization of her in Willa Cather: A Literary Life, are convinced that Cather was obsessed with her privacy and that the will—together with her supposed systematic collecting and burning of letters—was simply an expression of a personality seeking to control all access to itself. Many have believed she actually did burn all her letters, or almost all, and the will was a kind of backstop.

  Our research on Willa Cather’s letters calls into question all of these assumptions about Cather, her character, and her motivations. Except for an isolated incident or two, there is no evidence that she systematically collected and destroyed her correspondence. This claim is overwhelmingly demonstrated by the large volume of surviving documents: about three thousand Cather letters are now known to exist, and new caches continue to appear. If Cather or Edith Lewis, her partner and first literary executor, really and systematically sought to destroy all correspondence, would so many letters have survived? Moreover, at the end of Cather’s life, people who were quite close to her and would have undoubtedly known about any preference for wholesale destruction did not destroy the letters in their possession; on the contrary, they were concerned, as her niece Virginia Cather Brockway wrote, to be “very careful of everything of Aunt Willies” and protect it from “fire or something unexpected.”* Indeed, some of the largest and richest collections of existing Cather letters are those that have been protected for decades by members of her family. The episodes of destruction that have given rise to the supposition that Cather destroyed her letters—for example, Elizabeth Sergeant’s report in her memoir that all of the letters Cather wrote to her dear friend Isabelle McClung Hambourg were shoved into her apartment’s incinerator after Hambourg’s death†—appear to be isolated incidents rather than part of a larger pattern of obliteration.

  Nevertheless, Cather’s testamentary restriction on the publication of her letters was clearly driven by a desire to restrict the readership of them. We do not believe that desire emerged from a need to shield herself or protect a secret, but instead was an act consistent with her long-held desire to shape her own public identity. In her maturity, Cather was a skillful self-marketer, and a major element of her marketing strategy was to limit her publicly available texts to those she had meticulously prepared. She did not fill shelves with hastily written novels or fleeting topical essays, but toiled over each book until it succeeded to the best of her ability. Sometimes she delayed the publication of a novel by months or even years in order to achieve her artistic goals. She even contributed to the design of the physical books, considering each element that might communicate something of her work to the reader. She specified her margin preferences for My Ántonia, had ideas about the font type for Death Comes for the Archbishop, and thwarted most efforts to create paperback editions during her lifetime. Her strategy was extremely successful. By positioning herself not as a “popular” writer but as a literary artist, she was able to give herself the space to be such an artist while also financially succeeding in the marketplace. Her lovely, quiet, episodic novel about seventeenth-century Quebec, Shadows on the Rock, was one of the top-selling books of 1931. It was not a success because readers were rushing to read a novel about colonial Canada, but because the novel was written by the celebrated author Willa Cather.

  We can guess that Cather may have believed that an edition of her letters would shift focus away from her novels and onto her private self. She was impatient with writers who managed to sell their books by constructing dramatic images of themselves. Although she did at times contribute to publicity efforts by providing stories of her early life, her goal was to create a persona that practically disappeared behind the work; she sought to meld the art and the artist into one indivisible package. She wrote to her brother Roscoe in 1940 that she was satisfied to do what James M. Barrie and Thomas Hardy did: they “left no ‘representatives’ but their own books,—and that is best.”* In this way, the resistance to the publication of her letters was consistent with her resistance, in her later years, to lecturing, interviews, and other forms of exposing her self to the public.

  Cather’s suppression of the publication of her letters may indeed have helped cement her reputation as a true artist, and today that reputation is virtually unchallenged. In the nearly seven decades since her death, her works have continued to be read, studied, and celebrated, and both general readers and contemporary writers as diverse as A. S. Byatt and David Mamet celebrate her fine artistry and her absolute dedication to her craft. And rightly so: many of Cather’s novels and stories are among the finest writings of the twentieth century, rich and complex in their meaning-making, yet elegant and pristine on their surfaces. She manages both to enchant readers with her prose and to move them with her insights into human experience.

  We fully realize that in producing this book of selected letters we are defying Willa Cather’s stated preference that her letters remain hidden from the public eye. But even her will itself envisions a moment when her preferences would not rule the day; acknowledging her inability to govern publication decisions indefinitely from beyond the grave, it leaves the decision for publication “to the sole and uncontrolled discretion of my Executors and Trustee.”† Observing this part of Cather’s will, Norman Holmes Pearson noted more than half a century ago that the document recognizes “certain difficulties in regard to the future.” “The future must make its own decisions,” he wrote. “All Miss Cather could do was to make the future as remote as possible.”‡

  The concerns that we believe motivated her to assert her preference are no longer valid. Cather’s reputation is now as secure as artistic reputations can ever be, and her works will continue to speak for themselves. These lively, illuminating letters will do nothing to damage her reputation. Instead, we can see from our twenty-first-century perspective that her letters heighten our sense of her complex personality, provide insights into her methods and artistic choices as she worked, and reveal Cather herself to be a complicated, funny, brilliant, flinty, sensitive, sometimes confounding human being. Such an identity is far more satisfying—and more honest—than that of a “pure” artist, unmoved by commercial motivations, who devoted herself strictly to her creations and nothing else.

  In the past—unless they were lucky enough to have suffici
ent resources of time and money to travel to the almost seventy-five archives that house the letters themselves—readers and scholars interested in Cather’s life and works were able to read only summaries and paraphrasings of her letters, not her actual words. Having ourselves summarized thousands of letters for the original or the expanded Calendar of the Letters of Willa Cather, we can attest to the inadequacy of such paraphrases. Substituting our words (or anyone else’s) for Cather’s own expressions of her meaning is never satisfactory. Secondhand approximations can never precisely convey what she said herself. Could a summary ever communicate the cheeky, alliterative fun of a postscript like “Fremstad flees on Friday to the inclement wood of Maine,” at the end of a 1914 letter to Elizabeth Sergeant?* Cather’s restrictions in her will, then, by making paraphrases the only option available to scholars and biographers, created a situation that even Cather herself would surely consider far worse than the publication of her letters. Readers have been forced to encounter what she “said” in her letters through words supplied by scholars seeking to convey what they understood her to mean. Now we will all be able to read and interpret her letters for ourselves. We will also be able to draw more accurate connections between the letters and the fiction. By forcing a delay of many years in publishing a volume of her letters, Cather’s restrictions did, however, ensure that there is no longer any possibility of harming or embarrassing the people who appear in her correspondence.

  Cather is now a part of our cultural history. Her works belong to something greater than herself. It is time to let the letters speak for themselves.