The Song of the Lark by Willa Cather (best reads .TXT) 📕
Description
The Song of the Lark, Willa Cather’s third novel, was written in 1915. It is said to have been inspired by the real-life soprano Olive Fremstad, a celebrated Swedish-American singer who, like the protagonist, was active in New York and Europe during the time period depicted in the novel.
The work explores how an artist’s early life influences their work. In the novel, Thea Kronborg discovers her talent as a singer, and goes on to achieve great fame and success once she leaves her tiny village of Moonstone. Cather eschewed depicting rural life as being idyllic, instead focusing on the conservative, restricted, patriarchal structures that its inhabitants live by. Her work is thus considered to be one of the earliest so-called “Revolt Novels.” She depicts a time at the end of the 19th century when the American West was expanding rapidly and Americans were gaining sophistication in their understanding of culture and artists, particularly compared to Europe. The title of the novel comes from the name of a 1884 painting by Jules Breton, which is described and considered in the book itself.
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- Author: Willa Cather
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Mrs. Kronborg was frying doughnuts for her husband’s supper. She laughed as she dropped a new lot into the hot grease. “It’s wonderful, the way some people are made,” she declared. “But I wouldn’t let that upset me if I was you. Think what it would be to live with it all the time. You look in the black pocketbook inside my handbag and take a dime and go downtown and get an ice-cream soda. That’ll make you feel better. Thor can have a little of the ice-cream if you feed it to him with a spoon. He likes it, don’t you, son?” She stooped to wipe his chin. Thor was only six months old and inarticulate, but it was quite true that he liked ice-cream.
VISeen from a balloon, Moonstone would have looked like a Noah’s ark town set out in the sand and lightly shaded by gray-green tamarisks and cottonwoods. A few people were trying to make soft maples grow in their turfed lawns, but the fashion of planting incongruous trees from the North Atlantic States had not become general then, and the frail, brightly painted desert town was shaded by the light-reflecting, wind-loving trees of the desert, whose roots are always seeking water and whose leaves are always talking about it, making the sound of rain. The long porous roots of the cottonwood are irrepressible. They break into the wells as rats do into granaries, and thieve the water.
The long street which connected Moonstone with the depot settlement traversed in its course a considerable stretch of rough open country, staked out in lots but not built up at all, a weedy hiatus between the town and the railroad. When you set out along this street to go to the station, you noticed that the houses became smaller and farther apart, until they ceased altogether, and the board sidewalk continued its uneven course through sunflower patches, until you reached the solitary, new brick Catholic Church. The church stood there because the land was given to the parish by the man who owned the adjoining waste lots, in the hope of making them more salable—“Farrier’s Addition,” this patch of prairie was called in the clerk’s office. An eighth of a mile beyond the church was a washout, a deep sand-gully, where the board sidewalk became a bridge for perhaps fifty feet. Just beyond the gully was old Uncle Billy Beemer’s grove—twelve town lots set out in fine, well-grown cottonwood trees, delightful to look upon, or to listen to, as they swayed and rippled in the wind. Uncle Billy had been one of the most worthless old drunkards who ever sat on a store box and told filthy stories. One night he played hide-and-seek with a switch engine and got his sodden brains knocked out. But his grove, the one creditable thing he had ever done in his life, rustled on. Beyond this grove the houses of the depot settlement began, and the naked board walk, that had run in out of the sunflowers, again became a link between human dwellings.
One afternoon, late in the summer, Dr. Howard Archie was fighting his way back to town along this walk through a blinding sandstorm, a silk handkerchief tied over his mouth. He had been to see a sick woman down in the depot settlement, and he was walking because his ponies had been out for a hard drive that morning.
As he passed the Catholic Church he came upon Thea and Thor. Thea was sitting in a child’s express wagon, her feet out behind, kicking the wagon along and steering by the tongue. Thor was on her lap and she held him with one arm. He had grown to be a big cub of a baby, with a constitutional grievance, and he had to be continually amused. Thea took him philosophically, and tugged and pulled him about, getting as much fun as she could under her encumbrance. Her hair was blowing about her face, and her eyes were squinting so intently at the uneven board sidewalk in front of her that she did not see the doctor until he spoke to her.
“Look out, Thea. You’ll steer that youngster into the ditch.”
The wagon stopped. Thea released the tongue, wiped her hot, sandy face, and pushed back her hair. “Oh, no, I won’t! I never ran off but once, and then he didn’t get anything but a bump. He likes this better than a baby buggy, and so do I.”
“Are you going to kick that cart all the way home?”
“Of course. We take long trips; wherever there is a sidewalk. It’s no good on the road.”
“Looks to me like working pretty hard for your fun. Are you going to be busy tonight? Want to make a call with me? Spanish Johnny’s come home again, all used up. His wife sent me word this morning, and I said I’d go over to see him tonight. He’s an old chum of yours, isn’t he?”
“Oh, I’m glad. She’s been crying her eyes out. When did he come?”
“Last night, on Number Six. Paid his fare, they tell me. Too sick to beat it. There’ll come a time when that boy won’t get back, I’m afraid. Come around to my office about eight o’clock—and you needn’t bring that!”
Thor seemed to understand that he had been insulted, for he scowled and began to kick the side of the wagon, shouting, “Go-go, go-go!” Thea leaned forward and grabbed the wagon tongue. Dr. Archie stepped in front of her and blocked the way. “Why don’t you make him wait? What do you let him boss you like that for?”
“If he gets mad he throws himself, and then I can’t do anything with him. When he’s mad he’s lots stronger than me, aren’t you,
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