O Pioneers! Visions of The Prairie Quotes

How we cite our quotes: (Part.Chapter.Paragraph)

Quote #1

The dwelling-houses were set about haphazard on the tough prairie sod; some of them looked as if they had been moved in overnight, and others as if they were straying off by themselves, headed straight for the open plain. None of them had any appearance of permanence, and the howling wind blew under them as well as over them. (1.1.1)

Just about everything in this passage tells us how ramshackle life on the frontier is. The way the houses look "as if they were straying off by themselves," makes them seem less like homes and more like a herd of nomadic cattle. Little House on the Prairie? Think again.

Quote #2

The little town behind them had vanished as if it had never been, had fallen behind the swell of the prairie, and the stern frozen country received them into its bosom. The homesteads were few and far apart; here and there a windmill gaunt against the sky, a sod house crouching in a hollow. But the great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its somber wastes. (1.1.18)

Cather's vision of prairieland is overwhelmed by the sheer fact of the flat, empty stern country. O Pioneers! might wax poetic about the Divide, but it's not exactly advertising America's "heartland." 

Quote #3

The record of the plow was insignificant, like the feeble scratches on stone left by prehistoric races, so indeterminate that they may, after all, be only the markings of glaciers, and not a record of human strivings. (1.2.1)

This comes up again and again: all that flat, expressionless land seems to remind the narrator of a blank page, and the inhabitants of the Divide are pictured as writers leaving their "feeble scratches."

Quote #4

It was a still, deep-breathing summer night, full of the smell of the hay fields. Sounds of laughter and splashing came up from the pasture, and when the moon rose rapidly above the bare rim of the prairie, the pond glittered like polished metal, and she could see the flash of white bodies as the boys ran about the edge, or jumped into the water. Alexandra watched the shimmering pool dreamily, but eventually her eyes went back to the sorghum patch south of the barn, where she was planning to make her new pig corral. (1.3.56)

Okay, so things aren't all that bad. O Pioneers! has no shortage of pastoral passages like this one, in which the prairieland appears warm and inviting. 

Quote #5

For the first time, perhaps, since that land emerged from the waters of geologic ages, a human face was set toward it with love and yearning. It seemed beautiful to her, rich and strong and glorious. Her eyes drank in the breadth of it, until her tears blinded her. Then the Genius of the Divide, the great, free spirit which breathes across it, must have bent lower than it ever bent to a human will before. The history of every country begins in the heart of a man or a woman. (1.5.3)

And then there's that whole thing about the Divide's "Genius." What's up with that? The narrator's vision of the Divide often instills the land with the qualities of a superhuman or deity. And like many gods, the Divide brings both abundance and misery. 

Quote #6

There is something frank and joyous and young in the open face of the country. It gives itself ungrudgingly to the moods of the season, holding nothing back. Like the plains of Lombardy, it seems to rise a little to meet the sun. The air and the earth are curiously mated and intermingled, as if the one were the breath of the other. You feel in the atmosphere the same tonic, puissant quality that is in the tilth, the same strength and resoluteness. (2.1.3)

Not only does the land appear like some sort of god, it also seems to mirror the youth and vitality of its human inhabitants. Here, it's hard not to think about the budding romance between Emil and Marie. 

Quote #7

"And now the old story had begun to write itself over there," said Carl softly. "Isn't it queer: there are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, they have been singing the same five notes over for thousands of years." (2.4.13)

Hey, maybe Nebraska really is "for lovers." Carl thinks human dramas and love stories are basically just more of the same, over and over again. They're basically just part of nature.

Quote #8

That summer the rains had been so many and opportune that it was almost more than Shabata and his man could do to keep up with the corn; the orchard was a neglected wilderness. All sorts of weeds and herbs and flowers had grown up there; splotches of wild larkspur, pale green-and-white spikes of hoarhound, plantations of wild cotton, tangles of foxtail and wild wheat. South of the apricot trees, cornering on the wheatfield, was Frank's alfalfa, where myriads of white and yellow butterflies were always fluttering above the purple blossoms. When Emil reached the lower corner by the hedge, Marie was sitting under her white mulberry tree, the pailful of cherries beside her, looking off at the gentle tireless swelling of the wheat. (2.8.9)

Whew. Let's stop and take in this pastoral passage. The land has gone from cold and barren to out-of-control fertile. But check out that last sentence: the hookup between Marie and Emil is foreshadowed in the land's outburst of growth and energy. 

Quote #9

Winter has settled down over the Divide again; the season in which Nature recuperates, in which she sinks to sleep between the fruitfulness of autumn and the passion of spring. The birds have gone. The teeming life that goes on down in the long grass is exterminated. The prairie-dog keeps his hole. The rabbits run shivering from one frozen garden patch to another and are hard put to it to find frost-bitten cabbage-stalks. At night the coyotes roam the wintry waste, howling for food. The variegated fields are all one color now; the pastures, the stubble, the roads, the sky are the same leaden gray. The hedgerows and trees are scarcely perceptible against the bare earth, whose slaty hue they have taken on. The ground is frozen so hard that it bruises the foot to walk in the roads or in the ploughed fields. It is like an iron country, and the spirit is oppressed by its rigor and melancholy. One could easily believe that in that dead landscape the germs of life and fruitfulness were extinct forever. (3.1.1)

Here's another long, pastoral passage, but one that also makes an important point for the novel. In wintertime, the Divide seems to die, and even when everyone knows that spring will come again, it's pretty hard not to feel down. But spring will come. The way the seasons repeat reminds us of Carl's sentiment that love stories are just the same thing, over and over (see above). The natural environment becomes something like a blueprint for human dramas.

Quote #10

Her mind was a white book, with clear writing about weather and beasts and growing things. Not many people would have cared to read it; only a happy few. She had never been in love, she had never indulged in sentimental reveries. Even as a girl she had looked upon men as work-fellows. She had grown up in serious times. (3.2.3)

Alexandra's mind seems to be a record of the Divide, and not much else. It's supposed to be hard to get a sense who she really is, because she's pretty much part of the land, just as the land is all we find imprinted in her. But by the end of the novel, we know better, right? Or do we?