I love the introduction to Willa Cather’s masterpiece so much that it’s actually hindered my completion of the book, so often do I return to read it. It’s a little long to type out here in full, but here’s the first paragraph:
“Last summer I happened to be crossing the plains of Iowa in a season of intense heat, and it was my good fortune to have for a traveling companion James Quayle Burden–Jim Burden , as we still call him in the West. He and I are old friends–we grew up together in the same Nebraska town–and we had much to say to each other. While the train flashed through never-ending miles of ripe wheat, by country towns and bright-flowered pastures and oak groves wilting in the sun, we say in the observation car, where the woodwork was hot to touch and red dust lay deep over everything. The dust and heat, the burning wind, reminded us of many things. We were talking about what it was like to spend one’s childhood in little towns like these, buried in wheat and corn, under stimulating extremes of climate: burning summers when the world lies green and billowy beneath a brilliant sky, when one is fairly stifled in vegetation, in the color and smell of strong weeds and heavy harvests; blustery winters with little snow, when the whole country is stripped bare and gray as sheet-iron. We agreed that no one who had not grown up in a little prairie town could know anything about it. It was a kind of freemasonry, we said.”
I suppose the first thing to say is just how remarkably Cather strikes precisely the appropriate tone for her Virgilian epgraph: “Optima dies…prima fugit”, from Georgics 3. Life springs seamlessly from descriptions passionately evocative of death; the mere repetition of “burning” is so well employed as to avoid all sense of redundancy and instead to imply the insurmountable rift between language and experience, the unbridgeable memorial gap between the past and the present. Death as well as life lie in those hidden interstices and yield to one another: Nature,by virtue of its bounty “stifles”, yet remains as stimulating as the otherwise sterile ground “stripped bare and gray as sheet-iron”. This burning unknown desire, this animating principle seeking for something, searching for some kind of expression, dying to live and living to die, ultimately finds its answer in attempted reconstruction of another human being, an act of artistic creation, of memorial parturition. The best days have fled; the Golden Age has past. How can we keep alive within us its burning splendor?
UPDATE: Here is the extended quote from Georgics 3. I think it more or less supports my interpretation:
Optuma quaeque dies miseris mortalibus aevi
prima fugit; subeunt morbi tristisque senectus
et labor, et durae rapit inclementia mortis.
“Ah! life’s best hours are ever first to fly
From hapless mortals; in their place succeed
Disease and dolorous eld; till travail sore
And death unpitying sweep them from the scene.”
(J. B. Greenough, trans.)
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