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By Willa Cather


Willa Cather (1873-1947) used to be offered the 1922 Pulitzer Prize for this stirring novel approximately global warfare I. She brings to existence the straightforward Nebraska farm people and their tranquil rural way of life, displaying how the nice struggle, possible up to now away at the outdated Continent, finally touches them all.

Protagonist Claude Wheeler, a robust, fit farm boy, is bodily regular of his strong sodbuster kinfolk and hard-working associates. yet mentally the boy has little in universal with their slender outlooks, and the constrained horizons of his parochial neighborhood make him stressed and full of a slightly suppressed discontent. while the USA ultimately enters the clash in Europe, Claude is without doubt one of the first to enlist, seeing function, event, and dedication to a few better beliefs within the name to arms.

One of Ours is a memorable testomony to the shattering results of warfare on early life and beliefs, a robust depiction of mechanized conflict and the war's life-changing results on one Nebraska farm boy and the folks he left in the back of.

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7 Exalting him as a kind of father god, she naturally passed through phases of worship and rebellion, followed by painful loss after his death from cholera in 1835. Her losses became all the more grievous as she faced repeated disappointment in her friendships and overtures toward erotic intimacy, a path of abandonment that reached its nadir when not one but two cherished soul mates, Samuel Ward and Anna Barker, married each other rather than her in 1840. 8 As outward loss drove her to exploit every interior resource, she searched to express her emerging self-renewal through mythological delineations of the Goddess.

If she does not succeed in mediating any final salvation for Donatello, neither does she retain any final office in the story as siren or temptress. In pagan archetypal terms, too, it is Miriam rather than Hilda who embodies the primal, creative, and regenerative force of womanhood. As such, Miriam appears as a newly re-embodied water nymph or lady of the fountain—both in the "Faun and Nymph" engagement at the Villa Borghese and later in association with Count Donatello's ancestral estate at Monte Beni.

And what the rose woman inevitably signifies is love. Love in the form of eroticism? Yes, certainly as regards Zenobia, the core of whose personality Coverdale for once rightly identifies as "passionate love" (102). Yet the rose symbol can traditionally encompass a variety of loves, both sacred and profane, in addition to sexual passion. We recall, for example, that Hawthorne's Endicott crowns Edgar and Edith with a wreath of roses in "The Maypole of Merrymount," thereby recognizing a devout nexus between their marital union and the Christian God of love.

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