Female Perspective that Recognized the Views of Renowned Literature

The key to effective compose by wo workforce seems to be to "transmit emotion without impediment" (Woolf 102), and so Woolf wants to establish a tradition in which feminist writers abbreviate to task a world in which this has been possible for unaccompanied half the population. One senses, too, that Woolf intends to position herself at the start of this tradition.

Undoubtedly, Willa Cather was certain of her contemporary Woolf. But how would Woolf explain Cather, magazine editor rancid novelist, a selfsupporting woman (rather than heir to a family fortune) possessed of a stateuniversity education whose reputation as a respected Ameri laughingstock novelist placed her on a short list of outstanding woman novelists. If there is a female literary tradition, surely Cather is a part of it, non merely because as a woman writer she is admire but because women characterstheir psychology, hopes, dreams, fears, power, weakness, anger, and the restare so often at the center of her fiction. This does not mean that what could be c altogethered "women's issues" in the sociopolitical or economic sense are Cather's chief concern. Indeed, on the alone critics take far more note of her status as chronicler of regional America or her interest in the bearing of the artist. Nevertheless, Cather's women reveal something more than the fact that, say, women were around when the American prairies were universe settled or that talented women could develop operatic careers.

done her novels, Cather obliges the rea

. A Lost Lady. unfermented York: Alfred A. Knopf, 1923.

is not equipped, for if what we find describes only

The pivotal position of Alexandra as an American emblem is also suggested by Philip Gerber, who says that she "is equated with the artists who seek the Bright medusa" (Gerber 77). The ultimate point, of course, is that she is a person of uncommon say-so. She can contend a farm as well as go the town with regard to keeping Crazy Ivar as her gaffer and her brothers with regard to keeping Carl Linstrum as a friend and potential husband despite his pennilessness.

Above all, she acknowledges her connection with the pioneer landscape, which she says " fake to be poor because nobody knew how to work it right; and then, all at once, it worked itself. . . . I began to buy land. For years after that I was always squeezing and borrowing . . . And then, all at once, men began to come to me offering to lend me moneyand I didn't imply it!" (Cather, O Pioneers 116). Later, Carl reminds her that she belongs to the land (307).

This does not mean Thea gives up naught important in declining the rewards of ordinary domestic life. Inevitably, this must accept a life governed by the expectation of personal internal and domestic fulfillment. But as Freud comments in reference to the shortcomings of an aesthetical attitude as the primary goal in life, it "offers small-minded protection against the threat of suffering, but it can compensate for a great deal. The enjoyment of beauty has a peculiar, mildly foolhardy quality of feeling" (Freud 29). This notion that artistic fulfillment can be a substitute for and/or adjunct to sexual fulfillment appears to be Cather's attitude as well, as suggested by the description of Thea's performance of Sieglinde:

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