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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One Sunday afternoon late in July old Henry Biltmer was rheumatically descending into the head of the canyon. The Sunday before had been one of those cloudy days—fortunately rare—when the life goes out of that country and it becomes a gray ghost, an empty, shivering uncertainty. Henry had spent the day in the barn; his canyon was a reality only when it was flooded with the light of its great lamp, when the yellow rocks cast purple shadows, and the resin was fairly cooking in the corkscrew cedars. The yuccas were in blossom now. Out of each clump of sharp bayonet leaves rose a tall stalk hung with greenish-white bells with thick, fleshy petals. The niggerhead cactus was thrusting its crimson blooms up out of every crevice in the rocks.
Henry had come out on the pretext of hunting a spade and pickaxe that young Ottenburg had borrowed, but he was keeping his eyes open. He was really very curious about the new occupants of the canyon, and what they found to do there all day long. He let his eye travel along the gulf for a mile or so to the first turning, where the fissure zigzagged out and then receded behind a stone promontory on which stood the yellowish, crumbling ruin of the old watchtower.
From the base of this tower, which now threw its shadow forward, bits of rock kept flying out into the open gulf—skating upon the air until they lost their momentum, then falling like chips until they rang upon the ledges at the bottom of the gorge or splashed into the stream. Biltmer shaded his eyes with his hand. There on the promontory, against the cream-colored cliff, were two figures nimbly moving in the light, both slender and agile, entirely absorbed in their game. They looked like two boys. Both were hatless and both wore white shirts.
Henry forgot his pickaxe and followed the trail before the cliff-houses toward the tower. Behind the tower, as he well knew, were heaps of stones, large and small, piled against the face of the cliff. He had always believed that the Indian watchmen piled them there for ammunition. Thea and Fred had come upon these missiles and were throwing them for distance. As Biltmer approached he could hear them laughing, and he caught Thea’s voice, high and excited, with a ring of vexation in it. Fred was teaching her to throw a heavy stone like a discus. When it was Fred’s turn, he sent a triangular-shaped stone out into the air with considerable skill. Thea watched it enviously, standing in a half-defiant posture, her sleeves rolled above her elbows and her face flushed with heat and excitement. After Fred’s third missile had rung upon the rocks below, she snatched up a stone and stepped impatiently out on the ledge in front of him. He caught her by the elbows and pulled her back.
“Not so close, you silly! You’ll spin yourself off in a minute.”
“You went that close. There’s your heel-mark,” she retorted.
“Well, I know how. That makes a difference.” He drew a mark in the dust with his toe. “There, that’s right. Don’t step over that. Pivot yourself on your spine, and make a half turn. When you’ve swung your length, let it go.”
Thea settled the flat piece of rock between her wrist and fingers, faced the cliff wall, stretched her arm in position, whirled round on her left foot to the full stretch of her body, and let the missile spin out over the gulf. She hung expectantly in the air, forgetting to draw back her arm, her eyes following the stone as if it carried her fortunes with it. Her comrade watched her; there weren’t many girls who could show a line like that from the toe to the thigh, from the shoulder to the tip of the outstretched hand. The stone spent itself and began to fall. Thea drew back and struck her knee furiously with her palm.
“There it goes again! Not nearly so far as yours. What is the matter with me? Give me another.” She faced the cliff and whirled again. The stone spun out, not quite so far as before.
Ottenburg laughed. “Why do you keep on working after you’ve thrown it? You can’t help it along then.”
Without replying, Thea stooped and selected another stone, took a deep breath and made another turn. Fred watched the disk, exclaiming, “Good girl! You got past the pine that time. That’s a good throw.”
She took out her handkerchief and wiped her glowing face and throat, pausing to feel her right shoulder with her left hand.
“Ah—ha, you’ve made yourself sore, haven’t you? What did I tell you? You go at things too hard. I’ll tell you what I’m going to do, Thea,” Fred dusted his hands and began tucking in the blouse of his shirt, “I’m going to make some singlesticks and teach you to fence. You’d be all right there. You’re light and quick and you’ve got lots of drive in you. I’d like to have you come at me with foils; you’d
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