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Willa Cather moved to the forms of art that would get to the actual transference and the true desire of art without those cultural or artistic boundaries—and in that the Being itself and the vitalness of the art would be the cultural structure, not by-passed in missed direction. Seeded in the strongest, most vital, individualistic earth, and grow her beyond the boundaries into Beingness was the ancient and the newly-realized complete strength and freedom of life itself.

  After Willa Cather published The Professor’s House in 1925 which contains her “Tom Outland’s Story” about the cultural grounding treasure (and not its surface monetary value) to be known of the realization of the feet upon the immense cliff rock at Mesa Verde—its ancientness, strength, and formidability undaunted by human thought, and wrote a letter back to F. Scott Fitzgerald about writing the ineffable cause internally of the feminine that had to be expressed, she knew she would take this to its realization, the embodiment—in herself and in creation to give solidity to Presence of what was not yet understood or even thought about the truer possibilities of American culture rooted in and from that feminine. In an interview...

At the time in NYC when Willa Cather was surrounded in a social and literary environment where the up and coming boys like Fitzgerald, Hemingway, Faulkner, and perhaps even George Bernard Shaw after her “London Roses,” were freely taking her understated and ground-breaking words as their own and giving extremely-minimal-to-non-existent credit to her—she an accomplished novelist, poet and top magazine editor—and what after her passing Truman Capote would do to her in culling together Breakfast at Tiffany’s from her vision, characters, and stories and making it about his dark self instead of her extraordinary vision—intrepidly reinstated by Audrey Hepburn—Willa impelled herself further into deep, careful contemplation of how to take her revolutionary insight of the feminine and the possibilities of...