What is particularly revealing about Cather's synthesis of the impressionist painters' concerns and the writers' goals is to be found in her introduction to Defoe's Roxanna, or, The Unfortunate Mistress. It seems that Cather transformed her earlier comments about Sisley's paintings into her theory of portraying "scenes" in fiction, as she states that the "scene" in fiction is not a mere matter of construction, any more than it is in life. When we have a vivid experience in social intercourse . . . it records itself in our memory in the form of a scene; and when it flashes back to us, all sorts of apparently unimportant details are flashed back with it. When a writer has a strong or revelatory experience with his characters, he unconsciously creates a scene; gets a depth of picture, and writes, as it were, in three dimensions instead of two. The absence of these warm and satisfying moments in any work of fiction is final proof of the author's poverty of emotion and lack of imagination. (On Writing 79-80)
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