The Professor's House (Annotated) E-Book

Willa Cather

• Herausgeber: ePembaBooks
• Kategorie: Für Kinder und Jugendliche
• Sprache: Englisch
• Veröffentlichungsjahr: 2022

Beschreibung

• This edition includes the following editor's introduction: Willa Cather, an analysis of the literature of a free and empowered woman

First published in 1925, “The Professor's House” is a tale by American novelist Willa Cather about dealing with loss and change.
“The Professor's House” is a novel in three parts and was written over the course of several years. Cather first wrote the centrepiece, “Tom Outland's Story,” and then later wrote the two framing chapters “The Family” and “The Professor” as a continuation of the original plot.

“The Professor's House” follows Godfrey St. Peter, an author and professor, struggling with grief, conflict, and change within his family after the death of a beloved student and his daughter's ex-fiancé, Tom Outland. The events of the book are precipitated by the professor moving from the house where he wrote a series of novels, which were inspired by Tom Outland's adventures in New Mexico...

Leseprobe

Table of contents

Willa Cather, an analysis of the literature of a free and empowered woman

THE PROFESSOR'S HOUSE

Part 1 - "The Family"

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Part 2 - "Tom Outland's Story"

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Part 3 - The Professor

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Willa Cather, an analysis of the literature of a free and empowered woman

Willa Cather never fully identified herself as either a feminist or a lesbian. Cather portrayed the Nebraska wilderness, the pioneers in the US who came from lands where other languages are spoken and some did not survive the clash of cultures, like the grandfather of "My Ántonia" (1918), in a fluid prose full of vigour, cultured and precise. Cather seems most comfortable when the protagonist of her novel is a man, although their names and positions in society have attracted much attention: thus, in stories such as "Paul's Case" (1905), she introduces us to a young dandy (described by Butler as an anti-hero worthy of Wilde) who must flee the provincial town where he is singled out by his classmates. In "One of Ours" (1922) she steps into the shoes of a farmer who is eventually killed in the First World War, described with starkness and fatalism. In "My Ántonia," the at first shy Paul must teach his idolised Antonia and her family of Czech and Scandinavian immigrants who are reluctant to lose the best of their ways. In the novels featuring women, such as "A Lost Lady" (1923) or "The Song of the Lark" (1915) (where one notices more a closeness to the writing of the likes of Henry James) she chooses refinement and ambiguity over the poetic realism of his "O Pioneers!" (1913) or the sadness that pervades works where subtle homoeroticism and refined irony are mixed, such as “ The Professor's House” (1925), or her atypical western, “Death Comes for the Archbishop” (1927), where shepherds take their mission to evangelise the Aborigines to the extreme. Cather does not seem to take an ideological stance, but almost all of her novels are a refusal to conform to gender roles, with the Claude of "One of Ours" shunning the typical school games and the protagonist of "The Song of the Lark" never allowing herself to be intimidated by her male rivals.

Mixing landscape description, lyricism, harshness, psychological introspection, romantic traits and a sort of gentle yet disenchanted look at the towns and cities she portrays, mixing cruelty and nostalgia, Cather has proved to be a pioneer in American literature willing not to submit to the dictates of gender and race in defining her characters. It can be said that the American writer was one of the most powerful voices of her time who in her own subtle and very personal way was able to capture the vindication of gender equality in her literature.

The Editor, P.C. 2022

THE PROFESSOR'S HOUSE

Willa Cather

Part 1 - "The Family"

Chapter 1

The moving was over and done. Professor St. Peter was alone in the dismantled house where he had lived ever since his marriage, where he had worked out his career and brought up his two daughters. It was almost as ugly as it is possible for a house to be; square, three stories in height, painted the colour of ashes—the front porch just too narrow for comfort, with a slanting floor and sagging steps. As he walked slowly about the empty, echoing rooms on that bright September morning, the Professor regarded thoughtfully the needless inconveniences he had put up with for so long; the stairs that were too steep, the halls that were too cramped, the awkward oak mantles with thick round posts crowned by bumptious wooden balls, over green-tiled fire-places.

Certain wobbly stair treads, certain creaky boards in the upstairs hall, had made him wince many times a day for twenty-odd years—and they still creaked and wobbled. He had a deft hand with tools, he could easily have fixed them, but there were always so many things to fix, and there was not time enough to go round. He went into the kitchen, where he had carpentered under a succession of cooks, went up to the bath-room on the second floor, where there was only a painted tin tub; the taps were so old that no plumber could ever screw them tight enough to stop the drip, the window could only be coaxed up and down by wriggling, and the doors of the linen closet didn't fit. He had sympathized with his daughters' dissatisfaction, though he could never quite agree with them that the bath should be the most attractive room in the house. He had spent the happiest years of his youth in a house at Versailles where it distinctly was not, and he had known many charming people who had no bath at all. However, as his wife said: "If your country has contributed one thing, at least, to civilization, why not have it?" Many a night, after blowing out his study lamp, he had leaped into that tub, clad in his pyjamas, to give it another coat of some one of the many paints that were advertised to behave like porcelain, and didn't.

The Professor in pyjamas was not an unpleasant sight; for looks, the fewer clothes he had on, the better. Anything that clung to his body showed it to be built upon extremely good bones, with the slender hips and springy shoulders of a tireless swimmer. Though he was born on Lake Michigan, of mixed stock (Canadian French on one side, and American farmers on the other), St. Peter was commonly said to look like a Spaniard. That was possibly because he had been in Spain a good deal, and was an authority on certain phases of Spanish history. He had a long brown face, with an oval chin over which he wore a close trimmed Van-Dyke, like a tuft of shiny black fur. With this silky, very black hair, he had a tawny skin with gold lights in it, a hawk nose, and hawk-like eyes—brown and gold and green. They were set in ample cavities, with plenty of room to move about, under thick, curly, black eyebrows that turned up sharply at the outer ends, like military moustaches. His wicked-looking eyebrows made his students call him Mephistopheles—and there was no evading the searching eyes underneath them; eyes that in a flash could pick out a friend or an unusual stranger from a throng. They had lost none of their fire, though just now the man behind them was feeling a diminution of ardour.

His daughter Kathleen, who had done several successful studies of him in water-colour, had once said:—"The thing that really makes Papa handsome is the modelling of his head between the top of his ear and his crown; it is quite the best thing about him." That part of his head was high, polished, hard as bronze, and the close-growing black hair threw off a streak of light along the rounded ridge where the skull was fullest. The mould of his head on the side was so individual and definite, so far from casual, that it was more like a statue's head than a man's.

From one of the dismantled windows the Professor happened to look out into his back garden, and at that cheerful sight he went quickly downstairs and escaped from the dusty air and brutal light of the empty rooms.

His walled-in garden had been the comfort of his life—and it was the one thing his neighbours held against him. He started to make it soon after the birth of his first daughter, when his wife began to be unreasonable about his spending so much time at the lake and on the tennis court. In this undertaking he got help and encouragement from his landlord, a retired German farmer, good-natured and lenient about everything but spending money. If the Professor happened to have a new baby at home, or a faculty dinner, or an illness in the family, or any unusual expense, Appelhoff cheerfully waited for the rent; but pay for repairs he would not. When it was a question of the garden, however, the old man sometimes stretched a point. He helped his tenant with seeds and slips and sound advice, and with his twisted old back. He even spent a little money to bear half the expense of the stucco wall.

The Professor had succeeded in making a French garden in Hamilton. There was not a blade of grass; it was a tidy half-acre of glistening gravel and glistening shrubs and bright flowers. There were trees, of course; a spreading horse-chestnut, a row of slender Lombardy poplars at the back, along the white wall, and in the middle two symmetrical, round-topped linden-trees. Masses of green-brier grew in the corners, the prickly stems interwoven and clipped until they were like great bushes. There was a bed for salad herbs. Salmon-pink geraniums dripped over the wall. The French marigolds and dahlias were just now at their best—such dahlias as no one else in Hamilton could grow. St. Peter had tended this bit of ground for over twenty years, and had got the upper hand of it. In the spring, when home-sickness for other lands and the fret of things unaccomplished awoke, he worked off his discontent here. In the long hot summers, when he could not go abroad, he stayed at home with his garden, sending his wife and daughters to Colorado to escape the humid prairie heat, so nourishing to wheat and corn, so exhausting to human beings. In those months when he was a bachelor again, he brought down his books and papers and worked in a deck chair under the linden-trees; breakfasted and lunched and had his tea in the garden. And it was there he and Tom Outland used to sit and talk half through the warm, soft nights.

On this September morning, however, St. Peter knew that he could not evade the unpleasant effects of change by tarrying among his autumn flowers. He must plunge in like a man, and get used to the feeling that under his work-room there was a dead, empty house. He broke off a geranium blossom, and with it still in his hand went resolutely up two flights of stairs to the third floor where, under the slope of the mansard roof, there was one room still furnished—that is, if it had ever been furnished.

The low ceiling sloped down on three sides, the slant being interrupted on the east by a single square window, swinging outward on hinges and held ajar by a hook in the sill. This was the sole opening for light and air. Walls and ceiling alike were covered with a yellow paper which had once been very ugly, but had faded into inoffensive neutrality. The matting on the floor was worn and scratchy. Against the wall stood an old walnut table, with one leaf up, holding piles of orderly papers. Before it was a cane-backed office chair that turned on a screw. This dark den had for many years been the Professor's study.

Downstairs, off the back parlour, he had a show study, with roomy shelves where his library was housed, and a proper desk at which he wrote letters. But it was a sham. This was the place where he worked. And not he alone. For three weeks in the fall, and again three in the spring, he shared his cuddy with Augusta, the sewing-woman, niece of his old landlord, a reliable, methodical spinster, a German Catholic and very devout.

Since Augusta finished her day's work at five o'clock, and the Professor, on week-days, worked here only at night, they did not elbow each other too much. Besides, neither was devoid of consideration. Every evening, before she left, Augusta swept up the scraps from the floor, rolled her patterns, closed the sewing-machine, and picked ravellings off the box-couch, so that there would be no threads to stick to the Professor's old smoking-jacket if he should happen to lie down for a moment in working-hours.

St. Peter, in his turn, when he put out his lamp after midnight, was careful to brush away ashes and tobacco crumbs—smoking was very distasteful to Augusta—and to open the hinged window back as far as it would go, on the second hook, so that the night wind might carry away the smell of his pipe as much as possible. The unfinished dresses which she left hanging on the forms, however, were often so saturated with smoke that he knew she found it a trial to work on them the next morning.

These "forms" were the subject of much banter between them. The one which Augusta called "the bust" stood in the darkest corner of the room, upon a high wooden chest in which blankets and winter wraps were yearly stored. It was a headless, armless female torso, covered with strong black cotton, and so richly developed in the part for which it was named that the Professor once explained to Augusta how, in calling it so, she followed a natural law of language, termed, for convenience, metonymy. Augusta enjoyed the Professor when he was risqué since she was sure of his ultimate delicacy. Though this figure looked so ample and billowy (as if you might lay your head upon its deep-breathing softness and rest safe forever), if you touched it you suffered a severe shock, no matter how many times you had touched it before. It presented the most unsympathetic surface imaginable. Its hardness was not that of wood, which responds to concussion with living vibration and is stimulating to the hand, nor that of felt, which drinks something from the fingers. It was a dead, opaque, lumpy solidity, like chunks of putty, or tightly packed sawdust—very disappointing to the tactile sense, yet somehow always fooling you again. For no matter how often you had bumped up against that torso, you could never believe that contact with it would be as bad as it was.

The second form was more self-revelatory; a full-length female figure in a smart wire skirt with a trim metal waist line. It had no legs, as one could see all too well, no viscera behind its glistening ribs, and its bosom resembled a strong wire bird-cage. But St. Peter contended that it had a nervous system. When Augusta left it clad for the night in a new party dress for Rosamond or Kathleen, it often took on a sprightly, tricky air, as if it were going out for the evening to make a great show of being harum-scarum, giddy, folle. It seemed just on the point of tripping downstairs, or on tiptoe, waiting for the waltz to begin. At times the wire lady was most convincing in her pose as a woman of light behaviour, but she never fooled St. Peter. He had his blind spots, but he had never been taken in by one of her kind!

Augusta had somehow got it into her head that these forms were unsuitable companions for one engaged in scholarly pursuits, and she periodically apologized for their presence when she came to install herself and fulfil her "time" at the house.

"Not at all, Augusta," the Professor had often said. "If they were good enough for Monsieur Bergeret, they are certainly good enough for me."

This morning, as St. Peter was sitting in his desk chair, looking musingly at the pile of papers before him, the door opened and there stood Augusta herself. How astonishing that he had not heard her heavy, deliberate tread on the now uncarpeted stair!

"Why, Professor St. Peter! I never thought of finding you here, or I'd have knocked. I guess we will have to do our moving together."

St. Peter had risen—Augusta loved his manners—but he offered her the sewing-machine chair and resumed his seat.

"Sit down, Augusta, and we'll talk it over. I'm not moving just yet—don't want to disturb all my papers. I'm staying on until I finish a piece of writing. I've seen your uncle about it. I'll work here, and board at the new house. But this is confidential. If it were noised about, people might begin to say that Mrs. St. Peter and I had—how do they put it, parted, separated?"

Augusta dropped her eyes in an indulgent smile. "I think people in your station would say separated."

"Exactly; a good scientific term, too. Well, we haven't, you know. But I'm going to write on here for a while."

"Very well, sir. And I won't always be getting in your way now. In the new house you have a beautiful study downstairs, and I have a light, airy room on the third floor."

"Where you won't smell smoke, eh?"

"Oh, Professor, I never really minded!" Augusta spoke with feeling. She rose and took up the black bust in her long arms.

The Professor also rose, very quickly. "What are you doing?"

She laughed. "Oh, I'm not going to carry them through the street, Professor! The grocery boy is downstairs with his cart, to wheel them over."

"Wheel them over?"

"Why, yes, to the new house, Professor. I've come a week before my regular time, to make curtains and hem linen for Mrs. St. Peter. I'll take everything over this morning except the sewing-machine—that's too heavy for the cart, so the boy will come back for it with the delivery wagon. Would you just open the door for me, please?"

"No, I won't! Not at all. You don't need her to make curtains. I can't have this room changed if I'm going to work here. He can take the sewing-machine—yes. But put her back on the chest where she belongs, please. She does very well there." St. Peter had got to the door, and stood with his back against it.

Augusta rested her burden on the edge of the chest.

"But next week I'll be working on Mrs. St. Peter's clothes, and I'll need the forms. As the boy's here, he'll just wheel them over," she said soothingly.

"I'm damned if he will! They shan't be wheeled. They stay right there in their own place. You shan't take away my ladies. I never heard of such a thing!"

Augusta was vexed with him now, and a little ashamed of him. "But, Professor, I can't work without my forms. They've been in your way all these years, and you've always complained of them, so don't be contrary, sir."

"I never complained, Augusta. Perhaps of certain disappointments they recalled, or of cruel biological necessities they imply—but of them individually, never! Go and buy some new ones for your airy atelier, as many as you wish—I'm said to be rich now, am I not?—Go buy, but you can't have my women. That's final."

Augusta looked down her nose as she did at church when the dark sins were mentioned. "Professor," she said severely, "I think this time you are carrying a joke too far. You never used to." From the tilt of her chin he saw that she felt the presence of some improper suggestion.

"No matter what you think, you can't have them." They considered, both were in earnest now. Augusta was first to break the defiant silence.

"I suppose I am to be allowed to take my patterns?"

"Your patterns? Oh, yes, the cut-out things you keep in the couch with my old note-books? Certainly, you can have them. Let me lift it for you." He raised the hinged top of the box-couch that stood against the wall, under the slope of the ceiling. At one end of the upholstered box were piles of notebooks and bundles of manuscript tied up in square packages with mason's cord. At the other end were many little rolls of patterns, cut out of newspapers and tied with bits of ribbon, gingham, silk, georgette; notched charts which followed the changing stature and figures of the Misses St. Peter from early childhood to womanhood. In the middle of the box, patterns and manuscripts interpenetrated.

"I see we shall have some difficulty in separating our life work, Augusta. We've kept our papers together a long while now."

"Yes, Professor. When I first came to sew for Mrs. St. Peter, I never thought I should grow grey in her service."

He started. What other future could Augusta possibly have expected? This disclosure amazed him.

"Well, well, we mustn't think mournfully of it, Augusta. Life doesn't turn out for any of us as we plan." He stood and watched her large slow hands travel about among the little packets, as she put them into his waste-basket to carry them down to the cart. He had often wondered how she managed to sew with hands that folded and unfolded as rigidly as umbrellas—no light French touch about Augusta; when she sewed on a bow, it stayed there. She herself was tall, large-boned, flat and stiff, with a plain, solid face, and brown eyes not destitute of fun. As she knelt by the couch, sorting her patterns, he stood beside her, his hand on the lid, though it would have stayed up unsupported. Her last remark had troubled him.

"What a fine lot of hair you have, Augusta! You know I think it's rather nice, that grey wave on each side. Gives it character. You'll never need any of this false hair that's in all the shop windows."

"There's altogether too much of that, Professor. So many of my customers are using it now—ladies you wouldn't expect would. They say most of it was cut off the heads of dead Chinamen. Really, it's got to be such a frequent thing that the priest spoke against it only last Sunday."

"Did he, indeed? Why, what could he say? Seems such a personal matter."

"Well, he said it was getting to be a scandal in the Church, and a priest couldn't go to see a pious woman any more without finding switches and rats and transformations lying about her room, and it was disgusting."

"Goodness gracious, Augusta! What business has a priest going to see a woman in the room where she takes off these ornaments—or to see her without them?"

Augusta grew red, and tried to look angry, but her laugh narrowly missed being a giggle. "He goes to give them the Sacrament, of course, Professor! You've made up your mind to be contrary today, haven't you?"

"You relieve me greatly. Yes, I suppose in cases of sudden illness the hair would be lying about where it was lightly taken off. But as you first quoted the priest, Augusta, it was rather shocking. You'll never convert me back to the religion of my fathers now, if you're going to sew in the new house and I'm going to work on here. Who is ever to remind me when it's All Souls' day, or Ember day, or Maundy Thursday, or anything?"

Augusta said she must be leaving. St. Peter heard her well-known tread as she descended the stairs. How much she reminded him of, to be sure! She had been most at the house in the days when his daughters were little girls and needed so many clean frocks. It was in those very years that he was beginning his great work; when the desire to do it and the difficulties attending such a project strove together in his mind like Macbeth's two spent swimmers—years when he had the courage to say to himself: "I will do this dazzling, this beautiful, this utterly impossible thing!"

During the fifteen years he had been working on his Spanish Adventures in North America, this room had been his centre of operations. There had been delightful excursions and digressions; the two Sabbatical years when he was in Spain studying records, two summers in the Southwest on the trail of his adventurers, another in Old Mexico, dashes to France to see his foster-brothers. But the notes and the records and the ideas always came back to this room. It was here they were digested and sorted, and woven into their proper place in his history.

Fairly considered, the sewing-room was the most inconvenient study a man could possibly have, but it was the one place in the house where he could get isolation, insulation from the engaging drama of domestic life. No one was tramping over him, and only a vague sense, generally pleasant, of what went on below came up the narrow stairway. There were certainly no other advantages. The furnace heat did not reach the third floor. There was no way to warm the sewing-room, except by a rusty, round gas stove with no flue—a stove which consumed gas imperfectly and contaminated the air. To remedy this, the window must be left open—otherwise, with the ceiling so low, the air would speedily become unfit to breathe. If the stove were turned down, and the window left open a little way, a sudden gust of wind would blow the wretched thing out altogether, and a deeply absorbed man might be asphyxiated before he knew it. The Professor had found that the best method, in winter, was to turn the gas on full and keep the window wide on the hook, even if he had to put on a leather jacket over his working-coat. By that arrangement he had somehow managed to get air enough to work by.

He wondered now why he had never looked about for a better stove, a newer model; or why he had not at least painted this one, flaky with rust. But he had been able to get on only by neglecting negative comforts. He was by no means an ascetic. He knew that he was terribly selfish about personal pleasures, fought for them. If a thing gave him delight, he got it, if he sold his shirt for it. By doing without many so-called necessities he had managed to have his luxuries. He might, for instance, have had a convenient electric drop-light attached to the socket above his writing table. Preferably he wrote by a faithful kerosene lamp which he filled and tended himself. But sometimes he found that the oil-can in the closet was empty; then, to get more, he would have had to go down through the house to the cellar, and on his way he would almost surely become interested in what the children were doing or in what his wife was doing—or he would notice that the kitchen linoleum was breaking under the sink where the maid kicked it up, and he would stop to tack it down. On that perilous journey down through the human house he might lose his mood, his enthusiasm, even his temper. So when the lamp was empty—and that usually occurred when he was in the middle of a most important passage—he jammed an eyeshade on his forehead and worked by the glare of that tormenting pear-shaped bulb, sticking out of the wall on a short curved neck just about four feet above his table. It was hard on eyes even as good as his. But once at his desk, he didn't dare quit it. He had found that you can train the mind to be active at a fixed time, just as the stomach is trained to be hungry at certain hours of the day.

If someone in the family happened to be sick, he didn't go to his study at all. Two evenings of the week he spent with his wife and daughters, and one evening he and his wife went out to dinner, or to the theatre or a concert. That left him only four. He had Saturdays and Sundays, of course, and on those two days he worked like a miner under a landslide. Augusta was not allowed to come on Saturday, though she was paid for that day. All the while that he was working so fiercely by night, he was earning his living during the day; carrying full university work and feeding himself out to hundreds of students in lectures and consultations. But that was another life.

St. Peter had managed for years to live two lives, both of them very intense. He would willingly have cut down on his university work, would willingly have given his students chaff and sawdust—many instructors had nothing else to give them and got on very well—but his misfortune was that he loved youth—he was weak to it, it kindled him. If there was one eager eye, one doubting, critical mind, one lively curiosity in a whole lecture-room full of commonplace boys and girls, he was its servant. That ardour could command him. It hadn't worn out with years, this responsiveness, any more than the magnetic currents wear out; it had nothing to do with Time.

But he had burned his candle at both ends to some purpose—he had got what he wanted. By many petty economies of purse, he had managed to be extravagant with not a cent in the world but with his professor's salary—he didn't, of course, touch his wife's small income from her father. By eliminations and combinations so many and subtle that it now made his head ache to think of them, he had done full justice to his university lectures, and at the same time carried on an engrossing piece of creative work. A man can do anything if he wishes to enough, St. Peter believed. Desire is creation, is the magical element in that process. If there were an instrument by which to measure desire, one could foretell achievement. He had been able to measure it, roughly, just once, in his student Tom Outland,—and he had foretold.