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Som e time in 1931 or 1932, about thirty years into her relationship with Willa Cather, Edith Lewis sat down with pen in hand to edit a working typescript o f Cather’s short story “ Neighbor Rosicky.” First published in 1930 in the Womans Home Companion, the story was to be included in Obscure Destinies, a volume of three Cather stories that had all first appeared in women’s magazines. Lewis, the evidence suggests, was working with a carbon of the typescript originally submitted for magazine publication.1 O n the typescript and in the magazine publica tion, Cather describes Mary, A nton Rosicky’s wife, checking her baking before she asks her husband about his visit to the doctor concerning his heart trouble: “Mary took the twisted cake covered with poppy seeds out o f the oven, lightly broke it up with her hands and then sat down opposite him.” In her elaborate but legible script, easily distinguishable from Cather’s often illegible scrawl, Lewis made a key substitution and expansion, revising the sentence to read, “Mary took out o f the oven a pan o f Kolaches stuffed with apricots, examined them anxiously to see whether they had got too dry, put them beside his plate, and then sat down opposite him.” A few years later, in 1935 or 1936, Lewis picked up her pen to edit essays collected in Cather’s Not under Forty (1936). In 1922, Cather had published an essay on A nnie A dam s Fields in the Literary Review o f the New York Evening Post under the title “The House on Charles Street.” This time, Lewis had before her a typescript titled “ 148 Charles Street” that framed the original essay with new beginning and ending paragraphs. Lewis made several small but telling changes to Cather’s descriptions o f both Fields’s home and Cather herself in the original essay. She tweaked the list of nineteenth-century writers and artists who frequented Mrs. Fields’s salon, canceling “Lady Henry Som erset” and adding “Winslow Homer and Sargent.” In the original, Cather writes

Nebraska, New England, New York: Mapping the Foreground of Willa Cather and Edith Lewis’s Creative Partnership