From romantic aestheticism to aesthetic Christianity
Weatherford, John Golden
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The Professor’s House (1925), My Mortal Enemy (1927), and Death Comes for the Archbishop (1928), three of Willa Cather’s most important works, collectively comprise Cather’s transition from Romantic Aestheticism to Aesthetic Christianity. Though critics have set forth many competing readings of the three works, none have considered them as a cohesive unit of Cather’s output. By examining together these three disparate-seeming works, one can observe and better understand the intimate and deep, though not initially obvious, connections that unify this period of Cather’s career.