by Willa Cather
Bennett, Mildred R., ed. Early Stories of Willa Cather. New York: Dodd, Mead, 1957; Apollo, 1966.
Bohlke, L. Brent, ed. Willa Cather in Person. Lincoln: University of Nebraska Press, 1986.
Byrne, Kathleen D., and Richard Snyder. Chrysalis: Willa Cather in Pittsburgh, 1896-1906. Pittsburgh: Historical Society of Western Pennsylvania, 1980.
Carlin, Deborah. “Obscuring Destinies: Threading the Narrative of ‘Old Mrs. Harris,’ ” in Deborah Carlin, ed. Cather, Canon, and the Politics of Reading. Amherst: University of Massachusetts Press, 1992, pp. 89-115.
Crane, Joan. Willa Cather: A Bibliography. Lincoln: University of Nebraska Press, 1982.
Faulkner, Virginia, ed. Willa Cather: Collected Short Fiction, 1892- 1912. Introduction by Mildred R. Bennett. Lincoln: University of Nebraska Press, 1965; rev. ed., 1970.
Garden, Mary, and Louis Biancolli. Mary Garden’s Story. New York: Simon and Schuster, 1951.
Gerber, Philip. Willa Cather. Boston: Twayne, 1975; rev. ed., New York: Twayne, 1995.
Giannone, Richard. Music in Willa Cather’s Fiction. Lincoln: University of Nebraska Press, 1968.
Jones, Howard Mumford. The Bright Medusa. Urbana: University of Illinois Press, 1952.
Kasson, John F. Amusing the Million: Coney Island at the Turn of the Century. New York: Hill and Wang, 1978.
Lewis, Edith. Willa Cather Living: A Personal Record. 1953; repr. with a foreword by Marilyn Arnold. Athens: Ohio University Press, 1989.
Lee, Hermione. Willa Cather: Double Lives. New York: Pantheon, 1990.
Lee, Hermione, ed. Short Stories of Willa Cather. London: Virago Press, 1989.
March, John. A Reader’s Companion to the Fiction of Willa Cather. Marilyn Arnold, ed., with Debra Lynn Thornton. Westport, Conn.: Greenwood Press, 1993.
Meyering, Sheryl L. A Reader’s Guide to the Short Stories of Willa Cather. New York: G. K. Hall, 1994.
O’Brien, Sharon. Willa Cather: The Emerging Voice. New York: Oxford University Press, 1987.
O’Brien, Sharon, ed. Willa Cather: Stories, Poems, and Other Writings. New York: Library of America, 1991.
Rosowski, Susan J. The Voyage Perilous: Willa Cather’s Romanticism. Lincoln: University of Nebraska Press, 1986.
Ryder, Mary Ruth. Willa Cather and Classical Myth: The Search for a New Parnassus. Lewiston, N.Y.: Edwin Mellen Press, 1990.
Sadie, Stanley, ed. New Grove Dictionary of Opera, 4 vols. London: Macmillan Press, 1992.
Schroeter, James, ed. Willa Cather and Her Critics. Ithaca, N.Y.: Cornell University Press, 1967.
Slote, Bernice, ed. Uncle Valentine and Other Stories: Willa Cather’s Uncollected Short Fiction, 1915-1929. Lincoln: University of Nebraska Press, 1973. (Includes “Variants in ‘Coming, Eden Bower!’ and ‘Coming, Aphrodite!’ ”)
Sutherland, Donald. “Willa Cather: The Classical Voice,” in Bernice Slote and Virginia Faulkner, eds. The Art of Willa Cather. Lincoln: University of Nebraska Press, 1974, pp. 156-79.
Thurin, Erik Ingvar. The Humanization of Willa Cather: Classicism in an American Classic. Lund, Sweden: Lund University Press, 1990.
Wagenknecht, Edward. “Willa Cather’s Uncollected Short Stories,” in Willa Cather. New York: Continuum, 1994, pp. 163-75.
Wasserman, Loretta. Willa Cather: A Study of the Short Fiction. Boston: Twayne, 1991.
Willa Cather’s “Paul’s Case.” Videocassette. Lamont Jackson, dir. PBS American Short Story Series, Learning in Focus; distributed by Monterey Home Video through International Video Entertainment, 1980, 52 minutes.
Woodress, James. Willa Cather: A Literary Life. Lincoln: University of Nebraska Press, 1987.
Woodress, James, ed. The Troll Garden: A Definitive Edition. Lincoln: University of Nebraska Press, 1983.
A NOTE ON THE TEXT
THE EIGHT STORIES in Youth and the Bright Medusa in this edition were taken from the Alfred A. Knopf edition of 1920. All the stories had appeared previously in magazines, and the last four—“Paul’s Case,” “A Wagner Matinée,” “The Sculptor’s Funeral,” and “‘A Death in the Desert’ ”—were in Willa Cather’s first story collection, The Troll Garden (New York: McClure) of 1905. In 1937 Houghton Mifflin began publishing a twelve-volume Autograph Edition of Cather’s book-length works, and Youth and the Bright Medusa was volume 6. “ ‘A Death in the Desert’ ” was dropped completely in this version of the collection. The greatest change in each story was the addition of a date of completion for each, and these dates are given in this edition in the Explanatory Notes. Textual variants among these versions are discussed by the editors Virginia Faulkner in Willa Cather: Collected Short Fiction, 1892-1912; Bernice Slote in Uncle Valentine and Other Stories: Willa Cather’s Uncollected Short Fiction, 1915-1929; James Woodress in The Troll Garden: A Definitive Edition; and Joan Crane in Willa Cather: A Bibliography . The five uncollected stories that follow are printed here as in their magazine appearance, with occasional typographical errors or spelling inconsistencies regularized. All five also appear in Willa Cather: Collected Short Fiction, 1892-1912.
The final story, “Old Mrs. Harris,” appeared as the central piece in the 1932 collection Obscure Destinies (New York: Knopf).
YOUTH AND THE BRIGHT MEDUSA (1920)
We must not look at Goblin men,
We must not buy their fruits;
Who knows upon what soil they fed
Their hungry, thirsty roots?
“GOBLIN MARKET”1
Coming, Aphrodite!1
I
DON HEDGER had lived for four years on the top floor of an old house on the south side of Washington Square, and nobody had ever disturbed him. He occupied one big room with no outside exposure except on the north, where he had built in a many-paned studio window that looked upon a court and upon the roofs and walls of other buildings. His room was very cheerless, since he never got a ray of direct sunlight; the south corners were always in shadow. In one of the corners was a clothes closet, built against the partition, in another a wide divan, serving as a seat by day and a bed by night. In the front corner, the one farther from the window, was a sink, and a table with two gas burners where he sometimes cooked his food. There, too, in the perpetual dusk, was the dog’s bed, and often a bone or two for his comfort.
The dog was a Boston bull terrier, and Hedger explained his surly disposition by the fact that he had been bred to the point where it told on his nerves. His name was Caesar III, and he had taken prizes at very exclusive dog shows. When he and his master went out to prowl about University Place or to promenade along West Street, Caesar III was invariably fresh and shining. His pink skin showed through his mottled coat, which glistened as if it had just been rubbed with olive oil, and he wore a brass-studded collar, bought at the smartest saddler’s. Hedger, as often as not, was hunched up in an old striped blanket coat, with a shapeless felt hat pulled over his bushy hair, wearing black shoes that had become grey, or brown ones that had become black, and he never put on gloves unless the day was biting cold.
Early in May, Hedger learned that he was to have a new neighbour in the rear apartment—two rooms, one large and one small, that faced the west. His studio was shut off from the larger of these rooms by double doors, which, though they were fairly tight, left him a good deal at the mercy of the occupant. The rooms had been leased, long before he came there, by a trained nurse who considered herself knowing in old furniture. She went to auction sales and bought up mahogany and dirty brass and stored it away here, where she meant to live when she retired from nursing. Meanwhile, she sub-let her rooms, with their precious furniture, to young people who came to New York to “write” or to “paint”—who proposed to live by the sweat of the brow rather than of the hand, and who desired artistic surroundings. When Hedger first moved in, these rooms were occupied by a young man who tried to write plays,—and who kept on trying until a week ago, when the nurse had put him out for unpaid rent.
A few days after the playwright left, Hedger heard an ominous m
urmur of voices through the bolted double doors: the lady-like intonation of the nurse—doubtless exhibiting her treasures—and another voice, also a woman’s, but very different; young, fresh, unguarded, confident. All the same, it would be very annoying to have a woman in there. The only bath-room on the floor was at the top of the stairs in the front hall, and he would always be running into her as he came or went from his bath. He would have to be more careful to see that Caesar didn’t leave bones about the hall, too; and she might object when he cooked steak and onions on his gas burner.
As soon as the talking ceased and the women left, he forgot them. He was absorbed in a study of paradise fish at the Aquarium, staring out at people through the glass and green water of their tank. It was a highly gratifying idea; the incommunicability of one stratum of animal life with another,—though Hedger pretended it was only an experiment in unusual lighting. When he heard trunks knocking against the sides of the narrow hall, then he realized that she was moving in at once. Toward noon, groans and deep gasps and the creaking of ropes, made him aware that a piano was arriving. After the tramp of the movers died away down the stairs, somebody touched off a few scales and chords on the instrument, and then there was peace. Presently he heard her lock her door and go down the hall humming something; going out to lunch, probably. He stuck his brushes in a can of turpentine and put on his hat, not stopping to wash his hands. Caesar was smelling along the crack under the bolted doors; his bony tail stuck out hard as a hickory withe, and the hair was standing up about his elegant collar.
Hedger encouraged him. “Come along, Caesar. You’ll soon get used to a new smell.”
In the hall stood an enormous trunk, behind the ladder that led to the roof, just opposite Hedger’s door. The dog flew at it with a growl of hurt amazement. They went down three flights of stairs and out into the brilliant May afternoon.
Behind the Square, Hedger and his dog descended into a basement oyster house where there were no tablecloths on the tables and no handles on the coffee cups, and the floor was covered with sawdust, and Caesar was always welcome,—not that he needed any such precautionary flooring. All the carpets of Persia would have been safe for him. Hedger ordered steak and onions absentmindedly, not realizing why he had an apprehension that this dish might be less readily at hand hereafter. While he ate, Caesar sat beside his chair, gravely disturbing the sawdust with his tail.
After lunch Hedger strolled about the Square for the dog’s health and watched the stages2 pull out;—that was almost the very last summer of the old horse stages on Fifth Avenue. The fountain had but lately begun operations for the season and was throwing up a mist of rainbow water which now and then blew south and sprayed a bunch of Italian babies that were being supported on the outer rim by older, very little older, brothers and sisters. Plump robins were hopping about on the soil; the grass was newly cut and blindingly green. Looking up the Avenue through the Arch, one could see the young poplars with their bright, sticky leaves, and the Brevoort 3 glistening in its spring coat of paint, and shining horses and carriages,—occasionally an automobile, mis-shapen and sullen, like an ugly threat in a stream of things that were bright and beautiful and alive.
While Caesar and his master were standing by the fountain, a girl approached them, crossing the Square. Hedger noticed her because she wore a lavender cloth suit and carried in her arms a big bunch of fresh lilacs. He saw that she was young and handsome, —beautiful, in fact, with a splendid figure and good action. She, too, paused by the fountain and looked back through the Arch up the Avenue. She smiled rather patronizingly as she looked, and at the same time seemed delighted. Her slowly curving upper lip and half-closed eyes seemed to say: “You’re gay, you’re exciting, you are quite the right sort of thing; but you’re none too fine for me!”
In the moment she tarried, Caesar stealthily approached her and sniffed at the hem of her lavender skirt, then, when she went south like an arrow, he ran back to his master and lifted a face full of emotion and alarm, his lower lip twitching under his sharp white teeth and his hazel eyes pointed with a very definite discovery. He stood thus, motionless, while Hedger watched the lavender girl go up the steps and through the door of the house in which he lived.
“You’re right, my boy, it’s she! She might be worse looking, you know.”
When they mounted to the studio, the new lodger’s door, at the back of the hall, was a little ajar, and Hedger caught the warm perfume of lilacs just brought in out of the sun. He was used to the musty smell of the old hall carpet. (The nurse-lessee had once knocked at his studio door and complained that Caesar must be somewhat responsible for the particular flavour of that mustiness, and Hedger had never spoken to her since.) He was used to the old smell, and he preferred it to that of the lilacs, and so did his companion, whose nose was so much more discriminating. Hedger shut his door vehemently, and fell to work.
Most young men who dwell in obscure studios in New York have had a beginning, come out of something, have somewhere a home town, a family, a paternal roof. But Don Hedger had no such background. He was a foundling, and had grown up in a school for homeless boys, where book-learning was a negligible part of the curriculum. When he was sixteen, a Catholic priest took him to Greensburg, Pennsylvania, to keep house for him. The priest did something to fill in the large gaps in the boy’s education,—taught him to like “Don Quixote”4 and “The Golden Legend,”5 and encouraged him to mess with paints and crayons in his room up under the slope of the mansard. When Don wanted to go to New York to study at the Art League, the priest got him a night job as packer in one of the big department stores. Since then, Hedger had taken care of himself; that was his only responsibility. He was singularly unencumbered; had no family duties, no social ties, no obligations toward any one but his landlord. Since he travelled light, he had travelled rather far. He had got over a good deal of the earth’s surface, in spite of the fact that he never in his life had more than three hundred dollars ahead at any one time, and he had already outlived a succession of convictions and revelations about his art.
Though he was now but twenty-six years old, he had twice been on the verge of becoming a marketable product; once through some studies of New York streets he did for a magazine, and once through a collection of pastels he brought home from New Mexico, which Remington,6 then at the height of his popularity, happened to see, and generously tried to push. But on both occasions Hedger decided that this was something he didn’t wish to carry further,—simply the old thing over again and got nowhere,—so he took enquiring dealers experiments in a “later manner,” that made them put him out of the shop. When he ran short of money, he could always get any amount of commercial work; he was an expert draughtsman and worked with lightning speed. The rest of his time he spent in groping his way from one kind of painting into another, or travelling about without luggage, like a tramp, and he was chiefly occupied with getting rid of ideas he had once thought very fine.
Hedger’s circumstances, since he had moved to Washington Square, were affluent compared to anything he had ever known before. He was now able to pay advance rent and turn the key on his studio when he went away for four months at a stretch. It didn’t occur to him to wish to be richer than this. To be sure, he did without a great many things other people think necessary, but he didn’t miss them, because he had never had them. He belonged to no clubs, visited no houses, had no studio friends, and he ate his dinner alone in some decent little restaurant, even on Christmas and New Year’s. For days together he talked to nobody but his dog and the janitress and the lame oysterman.
After he shut the door and settled down to his paradise fish on that first Tuesday in May, Hedger forgot all about his new neighbour. When the light failed, he took Caesar out for a walk. On the way home he did his marketing on West Houston Street, with a one-eyed Italian woman who always cheated him. After he had cooked his beans and scallopini, and drunk half a bottle of Chianti, he put his dishes in the sink and went up on the roof to smoke. He was
the only person in the house who ever went to the roof, and he had a secret understanding with the janitress about it. He was to have “the privilege of the roof,” as she said, if he opened the heavy trapdoor on sunny days to air out the upper hall, and was watchful to close it when rain threatened. Mrs. Foley was fat and dirty and hated to climb stairs,—besides, the roof was reached by a perpendicular iron ladder, definitely inaccessible to a woman of her bulk, and the iron door at the top of it was too heavy for any but Hedger’s strong arm to lift. Hedger was not above medium height, but he practised with weights and dumbbells, and in the shoulders he was as strong as a gorilla.
So Hedger had the roof to himself. He and Caesar often slept up there on hot nights, rolled in blankets he had brought home from Arizona. He mounted with Caesar under his left arm. The dog had never learned to climb a perpendicular ladder, and never did he feel so much his master’s greatness and his own dependence upon him, as when he crept under his arm for this perilous ascent. Up there was even gravel to scratch in, and a dog could do whatever he liked, so long as he did not bark. It was a kind of Heaven, which no one was strong enough to reach but his great, paint-smelling master.
On this blue May night there was a slender, girlish looking young moon in the west, playing with a whole company of silver stars. Now and then one of them darted away from the group and shot off into the gauzy blue with a soft little trail of light, like laughter. Hedger and his dog were delighted when a star did this. They were quite lost in watching the glittering game, when they were suddenly diverted by a sound,—not from the stars, though it was music. It was not the Prologue to Pagliacci,7 which rose ever and anon on hot evenings from an Italian tenement on Thompson Street, with the gasps of the corpulent baritone who got behind it; nor was it the hurdy-gurdy man, who often played at the corner in the balmy twilight. No, this was a woman’s voice, singing the tempestuous, over-lapping phrases of Signor Puccini,8 then comparatively new in the world, but already so popular that even Hedger recognized his unmistakable gusts of breath. He looked about over the roofs; all was blue and still, with the well-built chimneys that were never used now standing up dark and mournful. He moved softly toward the yellow quadrangle where the gas from the hall shone up through the half-lifted trapdoor. Oh yes! It came up through the hole like a strong draught, a big, beautiful voice, and it sounded rather like a professional’s. A piano had arrived in the morning, Hedger remembered. This might be a very great nuisance. It would be pleasant enough to listen to, if you could turn it on and off as you wished; but you couldn’t. Caesar, with the gas light shining on his collar and his ugly but sensitive face, panted and looked up for information. Hedger put down a reassuring hand.
