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The parents, now aged and a bit penniless, take their last journey to the grave in Mrs. Englehardt’s carriage. The parents’ suffering is evident. We sense that more is involved than any Protestant’s condemnation of pleasure, especially in such a way that it is squandered. One cannot stop grieving as one has ceased to grieve. The tired faces of the woman and her son are the faces of silent, suffering, hidden grief. Throughout the family’s long history, there had been money, and yet, with money, people had lost their souls.
Hammersley identifies for Albert’s uncle something he could not identify with himself. He had always known that he was an educated man, proud of his status in the world. He had always been highly respected, but until he knew what Mr. Englehardt was getting from life, he was not conscious of his own importance. He, too, has the face of silent, suffering, unacknowledged grief. Uncle Henry’s whole life was a claim that he was a gentleman. He had never been in trouble with the law, he had never been drunk, there had been no talk of his misbehavior. His father’s friends did not know, but they had been proud, not of his wealth, but of his responsibilities to family and community. An educated man has nothing, but his capacity to listen to others’ sufferings. He listens deeply, knowing, perhaps, his own suffering.
The atmosphere of the Virginia mountains was the one she felt closest to in her memories; she grew up just east of the Blue Ridge Mountains, and the mountains were her first glimpse of the great world beyond their forested hills. Later she thought of them as an emblem of the world of her poetry. In her first novel, A Lost Lady, she had used the mountains to symbolize the world from which she had escaped, and in Judith of Bethulia she had defined the view from her childhood as that of “a steely gray mist, / A fog of crumpled fantasies, / Out of which a mountain range (quarried of storms) Palls in the noonday.”
Several more of her stories followed in the August and September numbers: A Stained Glass Window, her first “real” story about the West, appeared in the August number, illustrated by the pictures of William H. Johnson. It was one of the earlier attempts by her to create a realistic portrait of the American West. Three years later she returned to this character who was to become one of the main characters in O Pioneers!. The August number also contained More Men Than Women, a story about Mrs. Farrington, but Cather had to change the name, as the site was called Silent Hill. This she did, and her modified story contained more talk about the West and is filled with optimistic rural morality. In September came A Respectable Trade, a picture of an old, famous Western town. As it turned out, this was the last story Cather would write for her own magazine.
In The Long Valley Cather describes a dusty little town, “shut in at both ends by hills, a dead flat, rolling, tangled, and dry” near the Missouri line. “In 1867,” the narrator of the story says, “it was a stage-stop on the Borderland Santa Fe Railroad. Most of the fine houses were built in the next century, when the young state needed a capital. Though the town itself, so small, so airless, so dry, is dead now, the Capitol in Washington has named the oldest house, on the square, to distinguish it from other fine old villas that are not on the Capital grounds…. That is the house where my grandfather ruled and made the state politics; and I remember, when I was ten years old, one day I came into the parlor and there sat my grandmother, reading to her from a book that was new, and unknown, and that all my aunts and uncles said she should have burned on the day she read it to me. It was The Autocrat of the Breakfast Table.” She read this story, written when she was nineteen, to Frank Swinnerton, the stage-struck youth who loved her for a while in New York, and who now is her biographer. The popularity of the book, and of Cather’s life story, marked the revival of interest in the West following the forty-year prairie war. Cather never made another book that was so well reviewed, and in her lifetime it sold more than 350,000 copies.