PrepTest 57, Section 4, Question 18

The following passages are adapted from critical essays on the American writer Willa Cather (1873�1947).

Passage A

When Cather gave examples of high quality in fiction, she invariably cited Russian writers Ivan Turgenev or Leo Tolstoy or both. Indeed, Edmund Wilson noted in 1922 that Cather followed the manner of Turgenev, not depicting her characters' emotions directly but telling us how they behave and letting their "inner blaze of glory shine through the simple recital." Turgenev's method was to select details that described a character's appearance and actions without trying to explain them. A writer, he said, "must be a psychologist�but a secret one; he must know and feel the roots of phenomena, but only present the phenomena themselves." Similarly, he argued that a writer must have complete knowledge of a character so as to avoid overloading the work with unnecessary detail, concentrating instead on what is characteristic and typical.

Here we have an impressionistic aesthetic that anticipates Cather's: what Turgenev referred to as secret knowledge Cather called "the thing not named." In one essay she writes that "whatever is felt upon the page without being specifically named there�that, one might say, is created." For both writers, there is the absolute importance of selection and simplification; for both, art is the fusing of the physical world of setting and actions with the emotional reality of the characters. What synthesizes all the elements of narrative for these writers is the establishment of a prevailing mood.

Passage B

 In a famous 1927 letter, Cather writes of her novel Death Comes for the Archbishop, "Many [reviewers] assert vehemently that it is not a novel. Myself, I prefer to call it a narrative." Cather's preference anticipated an important reformulation of the criticism of fiction: the body of literary theory, called "narratology," articulated by French literary theorists in the 1960s. This approach broadens and simplifies the fundamental paradigms according to which we view fiction: they ask of narrative only that it be narrative, that it tell a story. Narratologists tend not to focus on the characteristics of narrative's dominant modern Western form, the "realistic novel": direct psychological characterization, realistic treatment of time, causal plotting, logical closure. Such a model of criticism, which takes as its object "narrative" rather than the "novel," seems exactly appropriate to Cather's work.

Indeed, her severest critics have always questioned precisely her capabilities as a novelist. Morton Zabel argued that "[Cather's] themes...could readily fail to find the structure and substance that might have given them life or redeemed them from the tenuity of a sketch"; Leon Edel called one of her novels "two inconclusive fragments." These critics and others like them treat as failures some of the central features of Cather's impressionistic technique: unusual treatment of narrative time, unexpected focus, ambiguous conclusions, a preference for the bold, simple, and stylized in character as well as in landscape. These "non-novelistic" structures indirectly articulate the essential and conflicting forces of desire at work throughout Cather's fiction.

The following passages are adapted from critical essays on the American writer Willa Cather (1873�1947).

Passage A

When Cather gave examples of high quality in fiction, she invariably cited Russian writers Ivan Turgenev or Leo Tolstoy or both. Indeed, Edmund Wilson noted in 1922 that Cather followed the manner of Turgenev, not depicting her characters' emotions directly but telling us how they behave and letting their "inner blaze of glory shine through the simple recital." Turgenev's method was to select details that described a character's appearance and actions without trying to explain them. A writer, he said, "must be a psychologist�but a secret one; he must know and feel the roots of phenomena, but only present the phenomena themselves." Similarly, he argued that a writer must have complete knowledge of a character so as to avoid overloading the work with unnecessary detail, concentrating instead on what is characteristic and typical.

Here we have an impressionistic aesthetic that anticipates Cather's: what Turgenev referred to as secret knowledge Cather called "the thing not named." In one essay she writes that "whatever is felt upon the page without being specifically named there�that, one might say, is created." For both writers, there is the absolute importance of selection and simplification; for both, art is the fusing of the physical world of setting and actions with the emotional reality of the characters. What synthesizes all the elements of narrative for these writers is the establishment of a prevailing mood.

Passage B

 In a famous 1927 letter, Cather writes of her novel Death Comes for the Archbishop, "Many [reviewers] assert vehemently that it is not a novel. Myself, I prefer to call it a narrative." Cather's preference anticipated an important reformulation of the criticism of fiction: the body of literary theory, called "narratology," articulated by French literary theorists in the 1960s. This approach broadens and simplifies the fundamental paradigms according to which we view fiction: they ask of narrative only that it be narrative, that it tell a story. Narratologists tend not to focus on the characteristics of narrative's dominant modern Western form, the "realistic novel": direct psychological characterization, realistic treatment of time, causal plotting, logical closure. Such a model of criticism, which takes as its object "narrative" rather than the "novel," seems exactly appropriate to Cather's work.

Indeed, her severest critics have always questioned precisely her capabilities as a novelist. Morton Zabel argued that "[Cather's] themes...could readily fail to find the structure and substance that might have given them life or redeemed them from the tenuity of a sketch"; Leon Edel called one of her novels "two inconclusive fragments." These critics and others like them treat as failures some of the central features of Cather's impressionistic technique: unusual treatment of narrative time, unexpected focus, ambiguous conclusions, a preference for the bold, simple, and stylized in character as well as in landscape. These "non-novelistic" structures indirectly articulate the essential and conflicting forces of desire at work throughout Cather's fiction.