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 chief pioneer is a woman. Alexandra is one of several children on a poor Nebraska farm. On the death of her father she alone of the brood reacts positively and creatively to the new demands of circumstances. Her brothers plod in the old ruts. She strikes out. She has enough vital energy to shape a little the terms of her struggle for survival, to make of it a big thing, an inspiring and rewarding activity. She finds what "romance" life has for her in buying up unvalued and forsaken farms, adding quarter-section to quarter-section, and competing with men in all the details of farm management. In this she is a notable predecessor of Ellen Glasgow's heroine in "Barren Ground."

Alexandra is not inhuman, not emotionally stolid. She feels the normal woman's desires and needs. In the end she takes a husband. But in the end the husband's place in her life is perforce incidental. Before the time comes when he seems to fit in, she herself has already done, fully accomplished, what we used to call "a man's work in the world." Marriage for her is a side enterprise—as it is for a man. It cannot now fill her life to the exclusion of everything else. Her life is already full—all but full. She will live out her personal and domestic potentialities without interrupting the big constructive "romance," which for many years has occupied her mind and her imagination.

From the pioneers, Miss Cather turns to her second major theme in "The Song of the Lark," 1915, and in her collection of short stories, "Youth and the Bright Medusa," 1920. One theme develops, when it develops vitally, out of the other, as the pattern comes out on the waterpots of the cliff-dwellers. Vital romance has its roots in necessity. For Miss Cather there are two great things in the world, the struggle for existence,