Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=ucpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Signs.
http://www.jstor.org
S haron O' Br i en
Sometimes critics who generalize like this make me uneasy when they deal,
in any detail, with writers I know well. I look admiringly up at the canopy
of their overarching theories but balk when they turn to the specifics, too
aware of the evidence they leave out, the details from the life and work
that don't prove their points. Then I begin to wonder whether the theoreti-
cal canopy is resting on unstable supports, about to spin off in a high wind.
Reading Ellen Moers on Willa Gather,I do not feel this disquiet. Usu-
ally she's right on target, as when she says, of Gather'stransformativetrip
to the Southwest in 1912, "from it we date her serious beginnings as a nov-
elist" (259). Or when she gives us her brilliantdescription of Cather'sland-
scapes, suggesting--long before we were talking about camouflage, sub-
texts, displacement--how much "unguarded sexuality" Cather projected
into the topography of canyon, mesa, desert, plateau (258). How many of
us could read The Song of the Lark again without being influenced by
Moers's reading of the Panther Canyon sequences, which she gives us sim-
ply by making the remarkabout sexuality and then quoting Gatherwithout
comment: "One of those abrupt fissureswith which the earth in the South-
west is riddled. ... It was accessible only at its head. The canyon walls, for
the first two hundred feet below the surface, were perpendicular cliffs,
striped with even-running strataof rock. From there on to the bottom the
sides were less abrupt, were shelving, and lightly fringed with pinons and
dwarf cedars. The effect was that of a gentler canyon within a wilder one.
The dead city lay at the point where the perpendicular outer wall ceased
and the V-shaped inner gorge began" (258).
In reading Moers on Gather,I sometimes confront generalizations that
make me uneasy, times when the theoretical canopy begins to slip from its
moorings. "All the fiction from Willa Gather'sgreatest period centers on
the death of a mother-figure" she writes (239). All the fiction?MyMortal
Enemy, yes, A LostLady, yes, but what about The ProfessorsHouse?Death
ComesfortheArchbishop? These are not novels featuring prominent mother
figures. But then I start to think metaphorically,because I know Moers is
worth listening to, and wonder if she's thinking of the sewing dummies
we meet at the beginning of TheProfessor's House, the "forms"to which the
professor is inordinately attached. Are these representations of the child's
thwarted desire for the mother who would never abandon her? One form
seems "ample and billowy (as if you might lay your head upon its deep-
breathing softness and rest safe forever)," yet "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 ... very
disappointing to the tactile sense, yet always fooling you again" (Cather
1990, 107). Could there be any better description of our desire for the
760 1 O'Brien
er's life, which I have yet to write, will be more illuminated if I ask more
questions about spirituality than about gender. It's impressive to me that
in this early feminist study- devoted, after all, to the question of gender -
Moers could make that observation, acknowledging that important terri-
tory exists outside her paradigms.
Moers's refusal to qualify her exuberant and insightful generalizations
in part seems strategic: she knew she was taking a risk in grouping women
writers by gender and she believed this was a risk worth taking. She had
the confidence to support her claims, and she did not want to weaken a
work that I believe she also knew was groundbreaking by offering too
many "on the other hands."And in part her generalizations connect to the
historical moment at which she was writing: not having a long tradition
of feminist literary scholarship that mapped out the territory, Moers was
conveying to her readers the widespread patterns she had discovered that
linked the work of women writers.
Moers considered her book a "celebration"of women writers' lives and
work. "I have made no effort at all to avoid praise,"she writes (xvi). I find
that statement refreshing, having been brought up in a critical era when
we are supposed to expose writers' blind spots, ideological compromises,
and unconscious contradictions. In writing of Ellen Moers I also have
made no effort to avoid praise. In fact, I want to walk right up to praise
and offer it to her, along with my gratitude. She wrote an important book,
inspiring and provoking and challenging, a book that made a difference
for me and other feminist literary scholars who came of age in the 1970s
and 1980s. I am thankful that LiteraryWomenwas there for us, one of the
lanterns guiding the way and letting us know we were on the right path.
DepartmentofEnglish
DickinsonCollege
References
Cather,Willa.1990. TheProfessor'sHouse.New York:Vintage.
Chodorow,Nancy.1978. TheReproduction ofMothering: andtheSoci-
Psychoanalysis
ologyofGenderBerkeley:Universityof CaliforniaPress.
Gilbert, SandraM., and Susan Gubar. 1979. TheMadwomanin theAttic: The
WomanWriterand theNineteenth-Century LiteraryImagination.New Haven,
Conn.: YaleUniversityPress.
Millett,Kate. 1970. SexualPolitics.
GardenCity,N.Y.:Doubleday.
Moers, Ellen. 1976. LiteraryWomen:The GreatWriters.Garden City, N.Y.:
Doubleday.