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tapestry than in “the big pattern of dramatic action” enacted by its knights and heroes (Professor’s House 100

on the point of being brought together, on the eve of being arranged into mountain, plain, plateau” (100

the pagan/Judeo-Christian symbol of the spherical censer to the mesas and their “attendant clouds” (100

seemed fluid to the eye under this constant change of accent, the ever varying distribution of light” (100

Lincoln: U of Nebraska P, 1996. 100–114.Slote, Bernice, and Virginia Faulkner, ed.

Moreover, he employs art (145), an artist (177), and a novelist (100) in other philosophical comparisons

lets itself live, when it refrains from separating its present state from its former states” (Time 100

Bloom(81-89), and Grumbach.For representative nonbiographical interpretations, see Stouck(Imagination 100

common stereotypes of circus dressing rooms as "a sort of 'vision of sin'" and a "torture chamber" (100

mentions widespread rumors of "the blows and kicks of brutal managers" and "iniquity and champagne" (100

confess I felt a little queer when the lady overseer of the ladies' dressing room asked me to walk in" (100

Lincoln: U of Nebraska P, 1970. 2: 100-102. Print.———. "The Way of the World."

on him”; his mother, too, feels that circumstances have conspired to ensnare her son in “a net” (99–100

” (written 1916), whom managers chose less for her artistry than for her conscientious reliability (100

The human brain is the world's most complex biological phenomenon, with 100 billion neurons and 100 trillion

PMLA 100 (1985): 51-67.Sergeant, Elizabeth Shepley. Willa Cather: A Memoir. 1953.

One of Ours 421–22 with Cather’s earlier description in Willa Cather in Europe 93–100).

absolute and infinitely sweet,” “vested with a peace that passes understanding” (Willa Cather in Europe 100

New York: Knopf, 1956. 93–100.Cather, Willa. Letters to Dorothy Canfield Fisher.

New York: Knopf, 1956. 90–100.Lewis, Edith. Willa Cather Living.

PMLA 100 (1985): 51–67.Smetanova, J. “Beloved Artist.” Art and Artists 13 (1978): 53.Stouck, David.

Peter, with the "playful pattern" of domestic life (100) and the "curious experience" of Tom Outland

that it seemed only men possessed, such women decided to cross rather than to blur gender boundaries. (100

discussions of the revisions and publishing history of The Renaissance, see Donoghue 65-69; Dowling 98-100

continual circling” and freedom to “go backward and forward” from one pole to its opposite (“Joseph” 100

like the stealthy cadet, stalks the Forresters as they “come down in the world like the rest” (Lost 100

the fact that he is “just mean enough to like to shoot along” their creek more than anywhere else (100

Merrill Skaggs likewise stresses Nellie's limited vision (99-100), as do those who see Nellie as an unreliable

seemed fluid to the eye under this constant change of accent, this ever-varying distribution of light” (100

as noted, was Pyle’s second medieval book, Otto of the Silver Hand, published in 1888 (fig. 4.2, p. 100

’s survival has to do with his final conscious transcendence of this conflict (Cather’s Imagination 100

Enemy 23), while the church at Ácoma "was more like a fortress than a place of worship" (Archbishop 100

the Pacific has now, literally, entered its twilight: "there was no West, in that sense, anymore" (100

The circumstances leading to the discovery, restoration, and display of these tapestries (Cavallo 100

In The Professor’s House, Cather comments on this aspect of the Bayeux tapestry (100).

See Boudet 5–7.The Bayeux tapestry is mentioned in The Professor’s House (100).Relative to these virtues

Goethe, the Lyrist: 100 Poems in Translation. Introduction by Edwin H. Zeydel.