Sending her publisher's pamphlet with biographical information and a list of books with information about her and her work. Has marked the two best. Hard to answer his question about French influence. From adolescence and for many years thereafter read and liked French prose writers from Hugo to Maupassant. Read all of Balzac more than once before the age of twenty, though not much now. Doesn't believe she ever imitated any French writer, but did admire them more than their English contemporaries because of freer experimentation and greater thematic range. Tone of British writers of that period, before Hardy, sometimes mechanical or patronizing, though it doesn't really bother her. Believes French language itself more exciting to her than English when she was younger. Now prefers Prosper Merimée to the others. Likes his reserve, as well as other qualities. P.S.: Suggests he read "The Novel Démeublé." Willa Cather [Stout #988]
Is pleased with his article on her books. Interesting that the first he read was Death Comes for the Archbishop. Would like to read the article he mentioned on Mérimée, who was also a fine critic, especially his essay on Gogol. Willa Cather [Stout #995]
Does not lecture anymore, so must refuse his invitation. Has been meaning to write an extended letter to him about his book, which she read closely. Concurs with him generally, but feels he inflates the importance of many of the New York critics. Only Randolph Bourne and, to a degree, Mr. Canby had the essential innate sense of quality needed by critics. Consider, for example, Stuart Sherman (nothing personal to Sherman, as he always treated her well), who did not have such a sensibility. He could research a writer and say many valid things about him or her, but it was an external product of scholarship. To put it another way: if she mixed up a few pages of Nigger of the Narcissus with some of Joseph Conrad's respectable imitators (like Francis Brett Young), Sherman wouldn't know the difference. A critic must be more than idealistic and hardworking. In fact, a good deal of first-rate criticism was done by non-professional critics like Henry James, Walter Pater, and Prosper Mérimée (particularly his essay on Gogol). Not all good writers are good critics; Turgenev was not. That said, writers are the best at evaluating new writing and composers are the top critics of new music, or at least they are better than scholars. Since she wants to say this and so much more, she knows that his book was successful, as a reader's fierce engagement with a book's ideas is always a mark of accomplishment. P. S.: [dated January 20] After writing letter, was asked not to send it by secretary, who thought it would needlessly offend people. Secretary is now on vacation in Cuba, and has decided to risk sending it. Feels that he won't be indiscreet with the letter, even to his talkative publisher. Willa Cather
