One of the themes that resurfaces often in O Pioneers!, I think, is the theme of ownership and dignity of work. The novel suggests that being devoted to one’s work and loving the work for its own merit provides a kind of dignity, a feeling of rough individuality, and a sense of purpose that one cannot really attain by other means. It is the same with the land; to Alexandra, “the people who love [the land] and understand it are the people who own it” (122). In dignified work, there is a level of mutuality and of coexistence between the land and the person toiling upon it. We begin to see a fundamental difference between struggling with the land –– a formidable, unforgiving force of nature –– and struggling against it.

Throughout the novel, though, we see other characters in Alexandra’s life who fall short of Alexandra’s simple self-determination; they fail to appreciate their work as an opportunity to make something of themselves aside from material gain, and instead turn to other satisfactory egresses, like alcohol, restless travel, or illicit love –– often meeting undignified and tragic ends. Emil and Marie, hopelessly in love, are killed by Frank who is sentenced with 10 years in prison. Meanwhile, Lou and Oscar, who are distracted by their jealousy and resentment towards Alexandra’s success and her relationship with Carl, struggle to subdue the land, and never achieve the noble stature or success of their older sister.

I thought that I would motivate a question that has been on my mind for a while now (please enlighten me, because I can’t seem to find the answers): What significance does Alexandra’s recurring dream –– “an illusion of being lifted up bodily and carried lightly by some one very strong” (80), by a god-like figure of the pastures, who smells sweetly of ripe cornfields –– have? Is it possible that these fantasies are a manifestation of Alexandra’s inner desire to be mobile, to be light and detached enough to be taken away from the land which is she so rooted to? A few months after Emil’s death, she is carried, once again, in the arm of the “mightiest of all lovers,” (112), and even sees him upon returning to her room, a mysterious figure marked by a long, white cloak, shoulders “as strong as the foundations of the world,” and a dark and gleaming arm. This time, Alexandra seems surprisingly resolved –– she comes to know, at last, “from whom it was she had waited, and where he would carry her.” A few days later, she travels to Lincoln to see Frank, the murderer of her brother, with an unusual sense of purpose and clarity. Do you think there’s a connection there?