Coming, Aphrodite!

“Coming, Aphrodite!” is a 1920 short story by the American novelist Willa Cather, first published in Smart Set magazine under the title “Coming, Eden Bower!” It tells the story of the brief relationship that blossoms between two up-and-coming young artists: Don Hedger, a painter, and the actress Eden Bower. The story was collected in Cather’s 1920 book, Youth and the Bright Medusa.

“Coming, Aphrodite” begins with an overview of the life of Don Hedger, a young avant-garde painter who lives in a shabby apartment in Washington Square, New York City. An orphan educated by priests, Hedger has always lived alone, except for the company of his Boston Bull Terrier, Caesar.

Hedger’s apartment shares a wall with his neighbor’s, and he is apprehensive when he learns that a new tenant is about to move in next door, in case his painting is disturbed.



Through the wall, he hears a woman’s voice. Caesar takes against the new tenant’s smell.

While walking Caesar in the Square, Hedger sees his new neighbor for the first time: she is “young and handsome,—beautiful, in fact, with a splendid figure and good action.” Later that night, as he and Caesar watch the stars from the roof of the building, Hedger hears his neighbor singing Puccini: her voice sounds professional. Hedger begins to worry that she will be noisy and disruptive.

Hedger bumps into his neighbor at the threshold of the bathroom: he has just bathed Caesar, while she is wearing her robe and carrying everything she needs for her bath. She complains that Hedger has left Caesar’s hair in the tub. Angry, Hedger is also impressed by her authority and femininity. From her letters, left in the hall, he learns that her name is Eden Bower.



In the process of clearing his closet, Hedger discovers a knothole, which gives him a view of Eden’s room. Peeping through it, he observes her doing yoga naked. Hedger experiences this as a vision, more artistic than erotic, of sunniness and physical perfection. Afterward, he feels dissatisfied with the shabbiness of his own apartment and appearance. He begins to watch Eden every day, with no sense that he is doing anything wrong.

One day, he observes her entertaining two male friends. He feels jealous of the men, and afterward, he speaks to her for the first time. He learns that she is on her way to Paris, and he tells her about his time in France, studying under a painter he admires. Eden complains that Caesar always looks like he wants to bite her. Hedger shows Eden his paintings, but she doesn’t know enough about art to judge them. They go to dinner together.

The story shifts briefly to Eden’s point of view to narrate her backstory. She is from the small town of Huntington, Illinois, but she was one of those “inexplicable” children who seem to know from an early age that they will be famous. She is staying in New York while she waits for a millionaire bachelor from Chicago: he is taking her to Paris to study singing, and in due course, she expects him to propose to her. The narrator comments that both Eden and Hedger “sensed the future, but not completely.” The narrator compares Hedger’s ambitions, which are interior, personal, and artistic, with Eden’s: for her, art is just a means to her main ambition, which is worldly success.



Eden and Hedger become friends. One Sunday, Hedger invites her to join him on an expedition. He is going to Long Island to watch one of his models, Molly Welch, ascend in a hot air balloon as part of a carnival show. Eden agrees to come only if Caesar stays behind. She complains that the dog gets “jealous” if he sees Hedger talking to anyone except him. Reluctantly, Hedger leaves Caesar at home.

Eden is delighted by the balloon performance, and after the show, she stays in Molly’s tent to help her dress for the next performance. Hedger waits outside, only to see Eden emerge and climb into the balloon. At first, he is angry with her, but once he has forgiven her, they suddenly feel very close. They go to dinner and Eden asks him about a new painting she has seen in his studio. Hedger explains that it is based on an Aztec story called “The Forty Lovers of the Queen.” Eden wants to hear the story. Hedger thinks it is not “the proper kind of story to tell a girl,” but at her insistence, he tells it. The story concerns an Aztec queen who is executed when she is caught taking lovers and murdering them.

Eden feels that the story is pointed or in some way designed to expose her, and she is offended. She and Hedger part that evening on cool terms. Unable to sleep, she goes up to the roof of the building. She steps on Caesar and he bites her, warningly. Hedger takes the dog downstairs and beats him. When he returns, Hedger confesses to spying on Eden through the knothole. Afterward, Eden and Hedger kiss passionately.



Sometime later, Eden and Hedger are sitting in Eden’s music room, when they realize that there is a door between their apartments. Eden opens the door, and the story switches to the dog’s point of view: Caesar’s world is “shattered by change.”

Eden visits the studio of a famous painter, Burton Ives, and arranges for Hedger to meet him too. She expects Hedger to be pleased, but instead, he is offended: he regards Ives as a hack. Worse, Eden has shown that she doesn’t understand his artistic ambitions, which he has told no-one but her. Hurt, he flees to a friend’s house on Long Island.

When he returns five days later, having forgiven Eden, she has left for Paris. The building’s “janitress” Mrs. Foley tells him that she was collected by a rich gentleman from Chicago. In his closet, Hedger finds a dressing gown of Eden’s, containing a letter for him. She doesn’t understand why he is angry. She has also plugged up the knothole.



The story’s final section begins: “Coming, Aphrodite!” These words, arrayed in lights, announce Eden Bower’s much-anticipated return to New York. She has become very successful in Paris. Passing Washington Square, she decides to ask an art dealer whether Hedger is successful. The dealer tells her that there are “many kinds of success,” and Hedger is very much respected, but as an “original.”

As she drives away, Eden’s face looks tired, and the narrator comments that “a ‘big’ career takes its toll, even with the best of luck.”

“Coming, Aphrodite!” explores the nature of artistic ambition and the ways that people can be attracted to one another without understanding each other. Although she is most famous for her novels, especially Death Comes For The Archbishop, Cather’s short stories, “Coming, Aphrodite!” included, have contributed to her status as one of America’s greatest twentieth-century writers.