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  Willa Cather

  COLLECTED STORIES

  Willa Cather was born near Winchester, Virginia, in 1873. When she was ten years old, her family moved to the prairies of Nebraska, later the setting for a number of her novels. At the age of twenty-one, she graduated from the University of Nebraska and spent the next few years doing newspaper work and teaching high school in Pittsburgh. In 1903 her first book, April Twilights, a collection of poems, was published, and two years later The Troll Garden, a collection of stories, appeared in print. After the publication of her first novel, Alexander’s Bridge, in 1912, Cather devoted herself fulltime to writing, and, over the years, completed eleven more novels (including O Pioneers!, My Ántonia, The Professor’s House, and Death Comes for the Archbishop), four collections of short stories, and two volumes of essays. Cather won the Pulitzer Prize for One of Ours in 1923. She died in 1947.

  ALSO BY WILLA CATHER

  Alexander’s Bridge

  Death Comes for the Archbishop

  A Lost Lady

  Lucy Gayheart

  My Ántonia

  My Mortal Enemy

  O Pioneers!

  The Professor’s House

  One of Ours

  Sapphira and the Slave Girl

  Shadows on the Rock

  The Song of the Lark

  A Vintage Classics Original, December 1992

  Publisher’s Note and Compilation copyright © 1992 by Random House, Inc.

  Copyright © 1920, 1925, 1930, 1932 by Willa Cather

  Copyright © 1948 by Alfred A. Knopf, Inc.

  Copyright © 1956 by Edith Lewis and The City Bank Farmer’s Trust Co.

  Copyright renewed 1948, 1953, 1958, 1959 by Edith Lewis and The City Bank Farmer’s Trust Co.

  Copyright renewed 1976 by Charles E. Cather

  Excerpt from The Selected Letters of Willa Cather copyright © 2013 by The Willa Cather Literary Trust.

  All rights reserved under International and Pan-American Copyright Conventions. Published in the United States of America by Vintage Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto.

  Library of Congress Cataloging-in-Publication Data

  Cather, Willa, 1873–1947.

  [Short stories]

  Collected stories / Willa Cather.

  p. cm.—(Vintage classics)

  eISBN: 978-0-307-83169-9

  I. Title. II. Series.

  PS3505.A87A6 1992

  813’.52—dc20 92-50061

  The stories in this work were originally published in the following collections:

  The Troll Garden, Youth and the Bright Medusa, Obscure Destinies,

  The Old Beauty and Others, and Five Stories.

  “Tom Outland’s Story” was previously published as

  Book Two of The Professor’s House.

  79B8

  v3.1_r1

  CONTENTS

  Cover

  About the Author

  Other Books by This Author

  Title Page

  Copyright

  Publisher’s Note

  THE TROLL GARDEN (1905)

  Flavia and Her Artists

  The Garden Lodge

  The Marriage of Phaedra

  YOUTH AND THE BRIGHT MEDUSA (1920)

  Coming, Aphrodite!

  The Diamond Mine

  A Gold Slipper

  Scandal

  Paul’s Case

  A Wagner Matinée

  The Sculptor’s Funeral

  “A Death in the Desert”

  OBSCURE DESTINIES (1932)

  Neighbour Rosicky

  Old Mrs. Harris

  Two Friends

  THE OLD BEAUTY AND OTHERS (1948)

  The Old Beauty

  The Best Years

  Before Breakfast

  FIVE STORIES (1956)

  The Enchanted Bluff

  Tom Outland’s Story

  Willa Cather’s Unfinished Avignon Story,

  an article by George N. Kates

  Excerpt from The Selected Letters of Willa Cather

  PUBLISHER’S NOTE

  This collection brings together all of Willa Cather’s short fiction published in book form in her lifetime, along with two volumes of stories that were compiled after her death and published with the approval of the literary executor of her estate.

  The Troll Garden (1905) was Willa Cather’s first book of prose and consisted of seven short stories. Four of these stories—“The Sculptor’s Funeral,” “A Death in the Desert,” “A Wagner Matinée,” and “Paul’s Case”—were later revised and rearranged (the revised versions appear in this volume) and were included in Youth and the Bright Medusa (1920) with four others that Cather had written between 1916 and 1920. The three stories of her next collection, Obscure Destinies (1932), were written between 1924 and the time of the book’s publication.

  Willa Cather completed three additional stories, which were published for the first time in The Old Beauty and Others (1948) in the year following her death. A final collection, Five Stories, published by Vintage Books in 1956, brought together short fiction spanning Cather’s career. It consisted of three previously published stories (“Neighbour Rosicky,” “The Best Years,” and the revised “Paul’s Case”); “The Enchanted Bluff,” an early work, previously uncollected; “Tom Outland’s Story,” which forms Book II of The Professor’s House; and George N. Kate’s article on Willa Cather’s unfinished Avignon story.

  “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

  Flavia and Her Artists

  As the train neared Tarrytown, Imogen Willard began to wonder why she had consented to be one of Flavia’s house party at all. She had not felt enthusiastic about it since leaving the city, and was experiencing a prolonged ebb of purpose, a current of chilling indecision, under which she vainly sought for the motive which had induced her to accept Flavia’s invitation.

  Perhaps it was a vague curiosity to see Flavia’s husband, who had been the magician of her childhood and the hero of innumerable Arabian fairy tales. Perhaps it was a desire to see M. Roux, whom Flavia had announced as the especial attraction of the occasion. Perhaps it was a wish to study that remarkable woman in her own setting.

  Imogen admitted a mild curiosity concerning Flavia. She was in the habit of taking people rather seriously, but somehow found it impossible to take Flavia so, because of the very vehemence and insistence with which Flavia demanded it. Submerged in her studies, Imogen had, of late years, seen very little of Flavia; but Flavia, in her hurried visits to New York, between her excursions from studio to studio—her luncheons with this lady who had to play at a matinée, and her dinners with that singer who had an evening concert—had seen enough of her friend’s handsome daughter to conceive for her an inclination of such violence and assurance as only Flavia could afford. The fact that Imogen had shown rather marked capacity in certain esoteric lines of scholarship, and had decided to specialize in a well-sounding branch of philology at the Ecole des Chartes, had fairly placed her in that category of “interesting people” whom Flavia considered her natural affinities, and lawful prey.

  When Imogen stepped upon the station platform she was immediately appropriated by her hostess, whose commanding figure and assurance of attire she had recognized from a distance. She was hurried into a high tilbury and Flavia, taking the driver’s cushion beside her, gathered up the reins with an experienced hand.

  “My dear girl,” she remarked, as she turned the horses up the street, “I was afraid the train might be late. M. Roux insiste
d upon coming up by boat and did not arrive until after seven.”

  “To think of M. Roux’s being in this part of the world at all, and subject to the vicissitudes of river boats! Why in the world did he come over?” queried Imogen with lively interest. “He is the sort of man who must dissolve and become a shadow outside of Paris.”

  “Oh, we have a houseful of the most interesting people,” said Flavia, professionally. “We have actually managed to get Ivan Schemetzkin. He was ill in California at the close of his concert tour, you know, and he is recuperating with us, after his wearing journey from the coast. Then there is Jules Martel, the painter; Signor Donati, the tenor; Professor Schotte, who has dug up Assyria, you know; Rest zhoff, the Russian chemist; Alcée Buisson, the philologist; Frank Wellington, the novelist; and Will Maidenwood, the editor of Woman. Then there is my second cousin, Jemima Broadwood, who made such a hit in Pinero’s comedy last winter, and Frau Lichtenfeld. Have you read her?”

  Imogen confessed her utter ignorance of Frau Lichtenfeld, and Flavia went on.

  “Well, she is a most remarkable person; one of those advanced German women, a militant iconoclast, and this drive will not be long enough to permit of my telling you her history. Such a story! Her novels were the talk of all Germany when I was there last, and several of them have been suppressed—an honour in Germany, I understand. ‘At Whose Door’ has been translated. I am so unfortunate as not to read German.”

  “I’m all excitement at the prospect of meeting Miss Broadwood,” said Imogen. “I’ve seen her in nearly everything she does. Her stage personality is delightful. She always reminds me of a nice, clean, pink-and-white boy who has just had his cold bath, and come down all aglow for a run before breakfast.”

  “Yes, but isn’t it unfortunate that she will limit herself to those minor comedy parts that are so little appreciated in this country? One ought to be satisfied with nothing less than the best, ought one?” The peculiar, breathy tone in which Flavia always uttered that word “best,” the most worn in her vocabulary, always jarred on Imogen and always made her obdurate.

  “I don’t at all agree with you,” she said reservedly. “I thought every one admitted that the most remarkable thing about Miss Broadwood is her admirable sense of fitness, which is rare enough in her profession.”

  Flavia could not endure being contradicted; she always seemed to regard it in the light of a defeat, and usually coloured unbecomingly. Now she changed the subject.

  “Look, my dear,” she cried, “there is Frau Lichtenfeld now, coming to meet us. Doesn’t she look as if she had just escaped out of Walhalla? She is actually over six feet.”

  Imogen saw a woman of immense stature, in a very short skirt and a broad, flapping sun hat, striding down the hillside at a long, swinging gait. The refugee from Walhalla approached, panting. Her heavy, Teutonic features were scarlet from the rigour of her exercise, and her hair, under her flapping sun hat, was tightly befrizzled about her brow. She fixed her sharp little eyes upon Imogen and extended both her hands.

  “So this is the little friend?” she cried, in a rolling baritone.

  Imogen was quite as tall as her hostess; but everything, she reflected, is comparative. After the introduction Flavia apologized.

  “I wish I could ask you to drive up with us, Frau Lichtenfeld.”

  “Ah, no!” cried the giantess, drooping her head in humorous caricature of a time-honoured pose of the heroines of sentimental romances. “It has never been my fate to be fitted into corners. I have never known the sweet privileges of the tiny.”

  Laughing, Flavia started the ponies, and the colossal woman, standing in the middle of the dusty road, took off her wide hat and waved them a farewell which, in scope of gesture, recalled the salute of a plumed cavalier.

  When they arrived at the house, Imogen looked about her with keen curiosity, for this was veritably the work of Flavia’s hands, the materialization of hopes long deferred. They passed directly into a large, square hall with a gallery on three sides, studio fashion. This opened at one end into a Dutch breakfast-room, beyond which was the large dining-room. At the other end of the hall was the music-room. There was a smoking-room, which one entered through the library behind the staircase. On the second floor there was the same general arrangement; a square hall, and, opening from it, the guest chambers, or, as Miss Broadwood termed them, the “cages.”

  When Imogen went to her room, the guests had begun to return from their various afternoon excursions. Boys were gliding through the halls with ice-water, covered trays, and flowers, colliding with maids and valets who carried shoes and other articles of wearing apparel. Yet, all this was done in response to inaudible bells, on felt soles, and in hushed voices, so that there was very little confusion about it.

  Flavia had at last builded her house and hewn out her seven pillars; there could be no doubt, now, that the asylum for talent, the sanatorium of the arts, so long projected, was an accomplished fact. Her ambition had long ago outgrown the dimensions of her house on Prairie Avenue; besides, she had bitterly complained that in Chicago traditions were against her. Her project had been delayed by Arthur’s doggedly standing out for the Michigan woods, but Flavia knew well enough that certain of the aves rares—“the best”—could not be lured so far away from the seaport, so she declared herself for the historic Hudson and knew no retreat. The establishing of a New York office had at length overthrown Arthur’s last valid objection to quitting the lake country for three months of the year; and Arthur could be wearied into anything, as those who knew him knew.

  Flavia’s house was the mirror of her exultation; it was a temple to the gods of Victory, a sort of triumphal arch. In her earlier days she had swallowed experiences that would have unmanned one of less torrential enthusiasm or blind pertinacity. But, of late years, her determination had told; she saw less and less of those mysterious persons with mysterious obstacles in their path and mysterious grievances against the world, who had once frequented her house on Prairie Avenue. In the stead of this multitude of the unarrived, she had now the few, the select, “the best.” Of all that band of indigent retainers who had once fed at her board like the suitors in the halls of Penelope, only Alcée Buisson still retained his right of entrée. He alone had remembered that ambition hath a knapsack at his back, wherein he puts alms to oblivion, and he alone had been considerate enough to do what Flavia had expected of him, and give his name a current value in the world. Then, as Miss Broadwood put it, “he was her first real one,”—and Flavia, like Mahomet, could remember her first believer.

  The “House of Song,” as Miss Broadwood had called it, was the outcome of Flavia’s more exalted strategies. A woman who made less a point of sympathizing with their delicate organisms, might have sought to plunge these phosphorescent pieces into the tepid bath of domestic life; but Flavia’s discernment was deeper. This must be a refuge where the shrinking soul, the sensitive brain, should be unconstrained; where the caprice of fancy should outweigh the civil code, if necessary. She considered that this much Arthur owed her; for she, in her turn, had made concessions. Flavia, had, indeed, quite an equipment of epigrams to the effect that our century creates the iron genii which evolve its fairy tales: but the fact that her husband’s name was annually painted upon some ten thousand threshing machines, in reality contributed very little to her happiness.

  Arthur Hamilton was born, and had spent his boyhood in the West Indies, and physically he had never lost the brand of the tropics. His father, after inventing the machine which bore his name, had returned to the States to patent and manufacture it. After leaving college, Arthur had spent five years ranching in the West and travelling abroad. Upon his father’s death he had returned to Chicago and, to the astonishment of all his friends, had taken up the business,—without any demonstration of enthusiasm, but with quiet perseverance, marked ability, and amazing industry. Why or how a self-sufficient, rather ascetic man of thirty, indifferent in manner, wholly negative in all other personal relatio
ns, should have doggedly wooed and finally married Flavia Malcolm, was a problem that had vexed older heads than Imogen’s.

  While Imogen was dressing she heard a knock at her door, and a young woman entered whom she at once recognized as Jemima Broadwood—“Jimmy” Broadwood, she was called by people in her own profession. While there was something unmistakably professional in her frank savoir-faire, “Jimmy’s” was one of those faces to which the rouge never seems to stick. Her eyes were keen and grey as a windy April sky, and so far from having been seared by calcium lights, you might have fancied they had never looked on anything less bucolic than growing fields and country fairs. She wore her thick, brown hair short and parted at the side; and, rather than hinting at freakishness, this seemed admirably in keeping with her fresh, boyish countenance. She extended to Imogen a large, well-shaped hand which it was a pleasure to clasp.

  “Ah! you are Miss Willard, and I see I need not introduce myself. Flavia said you were kind enough to express a wish to meet me, and I preferred to meet you alone. Do you mind if I smoke?”

  “Why, certainly not,” said Imogen, somewhat disconcerted and looking hurriedly about for matches.

  “There, be calm, I’m always prepared,” said Miss Broadwood, checking Imogen’s flurry with a soothing gesture, and producing an oddly-fashioned silver match-case from some mysterious recess in her dinner-gown. She sat down in a deep chair, crossed her patent-leather Oxfords, and lit her cigarette. “This match-box,” she went on meditatively, “once belonged to a Prussian officer. He shot himself in his bath-tub, and I bought it at the sale of his effects.”

  Imogen had not yet found any suitable reply to make to this rather irrelevant confidence, when Miss Broadwood turned to her cordially: “I’m awfully glad you’ve come, Miss Willard, though I’ve not quite decided why you did it. I wanted very much to meet you. Flavia gave me your thesis to read.”

  “Why, how funny!” ejaculated Imogen.

  “On the contrary,” remarked Miss Broadwood. “I thought it decidedly lacked humour.”