The Setting of Death Comes, the D. H. Lawrence Ranch in San Cristobal, NM

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Aside from the connections between D.H. Lawrence and Mabel Dodge Luhan—and between the Kiowa Ranch near San Cristobal that Mabel Dodge Luhan traded for the manuscript of Sons and Lovers and her famous adobe compound in Taos—I chose to use the D.H. Lawrence ranch as one of the main settings in Death Comes because Willa Cather and Edith Lewis visited Lawrence there in the summer of 1925, because it was remote—twenty miles from Taos and the Mabel Dodge Luhan house—and because it could easily be mysterious.

Gallery: The D. H. Lawrence Ranch in San Cristobal, NM

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Cather and Lewis’ visit to the ranch in 1925 was actually the second time they met D. H. Lawrence. The first occurred the previous year in New York City, when Lawrence was in negotiations with Alfred Knopf, Cather’s publisher. Knopf began publishing Lawrence in 1925, starting with St. Mawr, followed by The Plumed Serpent in 1926, and in 1928, a heavily abridged edition of Lady Chatterley’s Lover. Cather’s books had experienced a dramatic increase in sales after she signed with Knopf and so would Lawrence’s. But even before Knopf released St. Mawr, Cather improved Lawrence’s financial situation by suggesting to Knopf that he send Lawrence a “royalties advance,” for which Lawrence thanked Knopf in a May 4, 1925 letter.

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Portraits of Willa Cather by Lèon Bakst and Nicolai Fechin

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Lèon Bakst (1866-1924) and Nicolai Fechin (1881-1955), both born and educated in Russia, produced the two portraits of Willa Cather known to have been painted during her lifetime.

Bakst was already well-known as a scene and costume designer associated with Sergei Diaghilev and the Ballets Russe in Paris. He was also a portrait painter. When the Omaha Society of Fine Arts asked Cather to choose a painter for a portrait they wanted to hang in the Omaha Public Library to commemorate her 1923 Pulitzer Prize, she happened to be in Ville d’Avray for a long visit with Isabelle and Jan Hambourg. Ville d’Avray is close to Paris, and the Hambourgs suggested she ask Bakst to do the portrait.

Cather enjoyed Bakst during the approximately twenty sittings it took for him to finish the portrait in his Paris studio, but she was not feeling well at the time and found the process difficult. In fact, she took three weeks off near the end to go to Aix-les-Bains for a restorative break. She already thought the “likeness” of her face “unusual” when she left for Aix-les-Bains and worried that people in Nebraska would not like Bakst’s portrait when it was finished (August 27, [1923] letter to Duncan Vinsonhaler, Selected Letters of Willa Cather, University of Nebraska Press, 2013, p. 344.). And the truth is, neither Cather nor the good people of Nebraska were pleased by the finished product.

Portrait of Willa Cather by Lèon Bakst (1866-1924)

Courtesy Omaha Public Library, Omaha, Nebraska.

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