On the Road of Destiny
Every one of Cather’s protagonists starts out, in his own way, a “stranger in a strange land.” But each character’s struggle to find a sense of place is crucial in illustrating the blurred lines Cather envisions between place, character, and past. As the author shows us through the result of her protagonists’ choices, living environment reflects one’s vision of “the good life,” which, in turn, is defined either by one’s embrace, or lack thereof, of heritage.
Lena Lingard likes to believe that she has left her past behind. If the past is so inextricably bound to place, leaving the land must be enough to say good-bye to the people we used to be. But even Lena’s determination to go to a city, any city, is reflective of the grip her past has on her. To Lena, her mother’s life on the farm appeared to be one of hard work and meager rewards, and marriage the obligation that tied her to it. Furthermore, Lena’s father was forever reliant upon his eldest daughter for assistance, leaving Lena unable to see men as dependable partners. In short, Lena Lingard decides never to marry and have a family, a life choice unavailable to a girl on the Nebraska prairie. But Lena does not choose the city simply out of necessity—while the city does have a niche for the “independent businesswoman,” it also offers the “finer things in life” that Lena so craves. From adopting the mannerisms of city women to frequenting the theater, Lena is driven by a desire to make up for lost time and lost culture. As Lena’s parents never instilled a strong sense of Norwegian heritage in her, Lena sets out to create a culture of her own- that of a woman who has made her own way in life.
Ántonia Shimerda finds that the land is the source of her vitality. She is, in many ways, the opposite of Lena Lingard, choosing to return to the land despite her status as a “fallen woman.” In this choice, she seems greatly influenced by Mr. Shimerda, whose death by nostalgia demonstrates to his daughter just how devastating a change in place can be. But the male figures of Ántonia’s childhood affect more than one aspect of her vision of “the good life.” Ántonia’s admiration for her father and brother leads her to envision for herself a large, traditional family unit, which belongs the most on the prairie. Furthermore, Ántonia’s early admiration for “men’s work” defines her attitude towards the farm life—from childhood, she appreciates, rather than scorns, just how tightly bound the survival of a country family can be to the fruits of their physical labor. Mr. Shimerda’s greatest gift to Ántonia, however, is undoubtedly the Bohemian heritage he takes pride in to his very last days. Every inch of Mr. Shimerda’s carriage, from his dress to his mannerisms, reflected his love of the “old land,” and Ántonia forever seeks to honor his memory by preserving Bohemian music, food, and native tongue on the Cuzak homestead. But the most important part of the Shimerda heritage lies in the mission statement that defines Tony in adulthood: the immigrant desire to provide a better future for one’s children, even at the price of sacrifice.
When Jim visits the little Bohemia that Ántonia has built for herself in the middle of the Nebraska prairie, he comes to learn that the past need not be mourned. It is always alive in our vision of “the good life,” and therefore in the places that we call “home.” Whether one strives to recreate the past or to leave it behind, the people and places of one’s memories will always stay a shadow of the present. Perhaps this is why Jim speaks of a road of Destiny—“… those early accident of fortune… predetermine for us all that we can ever be.”[1]
[1] My Ántonia, Book V, Chapter III
Every one of Cather’s protagonists starts out, in his own way, a “stranger in a strange land.” But each character’s struggle to find a sense of place is crucial in illustrating the blurred lines Cather envisions between place, character, and past. As the author shows us through the result of her protagonists’ choices, living environment reflects one’s vision of “the good life,” which, in turn, is defined either by one’s embrace, or lack thereof, of heritage.
Lena Lingard likes to believe that she has left her past behind. If the past is so inextricably bound to place, leaving the land must be enough to say good-bye to the people we used to be. But even Lena’s determination to go to a city, any city, is reflective of the grip her past has on her. To Lena, her mother’s life on the farm appeared to be one of hard work and meager rewards, and marriage the obligation that tied her to it. Furthermore, Lena’s father was forever reliant upon his eldest daughter for assistance, leaving Lena unable to see men as dependable partners. In short, Lena Lingard decides never to marry and have a family, a life choice unavailable to a girl on the Nebraska prairie. But Lena does not choose the city simply out of necessity—while the city does have a niche for the “independent businesswoman,” it also offers the “finer things in life” that Lena so craves. From adopting the mannerisms of city women to frequenting the theater, Lena is driven by a desire to make up for lost time and lost culture. As Lena’s parents never instilled a strong sense of Norwegian heritage in her, Lena sets out to create a culture of her own- that of a woman who has made her own way in life.
Ántonia Shimerda finds that the land is the source of her vitality. She is, in many ways, the opposite of Lena Lingard, choosing to return to the land despite her status as a “fallen woman.” In this choice, she seems greatly influenced by Mr. Shimerda, whose death by nostalgia demonstrates to his daughter just how devastating a change in place can be. But the male figures of Ántonia’s childhood affect more than one aspect of her vision of “the good life.” Ántonia’s admiration for her father and brother leads her to envision for herself a large, traditional family unit, which belongs the most on the prairie. Furthermore, Ántonia’s early admiration for “men’s work” defines her attitude towards the farm life—from childhood, she appreciates, rather than scorns, just how tightly bound the survival of a country family can be to the fruits of their physical labor. Mr. Shimerda’s greatest gift to Ántonia, however, is undoubtedly the Bohemian heritage he takes pride in to his very last days. Every inch of Mr. Shimerda’s carriage, from his dress to his mannerisms, reflected his love of the “old land,” and Ántonia forever seeks to honor his memory by preserving Bohemian music, food, and native tongue on the Cuzak homestead. But the most important part of the Shimerda heritage lies in the mission statement that defines Tony in adulthood: the immigrant desire to provide a better future for one’s children, even at the price of sacrifice.
When Jim visits the little Bohemia that Ántonia has built for herself in the middle of the Nebraska prairie, he comes to learn that the past need not be mourned. It is always alive in our vision of “the good life,” and therefore in the places that we call “home.” Whether one strives to recreate the past or to leave it behind, the people and places of one’s memories will always stay a shadow of the present. Perhaps this is why Jim speaks of a road of Destiny—“… those early accident of fortune… predetermine for us all that we can ever be.”[1]
[1] My Ántonia, Book V, Chapter III