I myself have not so much confidence that Hemingway did do this. I have never known what the story is but I have always been certain that there was some other story behind it all. That is the way I feel about it.
Gertrude Stein and Sherwood Anderson are very funny on the subject of Hemingway. The last time that Sherwood was in Paris they often talked about him. Hemingway had been formed by the two of them and they were both a little proud and a little ashamed of the work of their minds. Hemingway had at one moment, when he had repudiated Sherwood Anderson and all his works, written him a letter in the name of american literature which he, Hemingway, in company with his contemporaries was about to save, telling Sherwood just what he, Hemingway thought about Sherwood’s work, and, that thinking, was in no sense complimentary. When Sherwood came to Paris Hemingway naturally was afraid. Sherwood as naturally was not.
As I say he and Gertrude Stein were endlessly amusing on the subject. They admitted that Hemingway was yellow, he is, Gertrude Stein insisted, just like the flat-boat men on the Mississippi river as described by Mark Twain. But what a book, they both agreed, would be the real story of Hemingway, not those he writes but the confessions of the real Ernest Hemingway. It would be for another audience than the audience Hemingway now has but it would be very wonderful. And then they both agreed that they have a weakness for Hemingway because he is such a good pupil. He is a rotten pupil, I protested. You don’t understand, they both said, it is so flattering to have a pupil who does it without understanding it, in other words he takes training and anybody who takes training is a favourite pupil. They both admit it to be a weakness. Gertrude Stein added further, you see he is like Derain. You remember Monsieur de Tuille said, when I did not understand why Derain was having the success he was having that it was because he looks like a modern and he smells of the museums. And that is Hemingway, he looks like a modern and he smells of the museums. But what a story that of the real Hem, and one he should tell himself but alas he never will. After all, as he himself once murmured, there is the career, the career.
But to come back to the events that were happening.
Hemingway did it all. He copied the manuscript and corrected the proof. Correcting proofs is, as I said before, like dusting, you learn the values of the thing as no reading suffices to teach it to you. In correcting these proofs Hemingway learned a great deal and he admired all that he learned. It was at this time that he wrote to Gertrude Stein saying that it was she who had done the work in writing The Making of Americans and he and all his had but to devote their lives to seeing that it was published.
He had hopes of being able to accomplish this. Some one, I think by the name of Sterne, said that he could place it with a publisher. Gertrude Stein and Hemingway believed that he could, but soon Hemingway reported that Sterne had entered into his period of unreliability. That was the end of that.
In the meantime and sometime before this Mina Loy had brought McAlmon to the house and he came from time to time and he brought his wife and brought William Carlos Williams. And finally he wanted to print The Making of Americans in the Contact Edition and finally he did. I will come to that.
In the meantime McAlmon had printed the three poems and ten stories of Hemingway and William Bird had printed In Our Time and Hemingway was getting to be known. He was coming to know Dos Passos and Fitzgerald and Bromfield and George Antheil and everybody else and Harold Loeb was once more in Paris. Hemingway had become a writer. He was also a shadow-boxer, thanks to Sherwood, and he heard about bull-fighting from me. I have always loved spanish dancing and spanish bull-fighting and I loved to show the photographs of bull-fighters and bull-fighting. I also loved to show the photograph where Gertrude Stein and I were in the front row and had our picture taken there accidentally. In these days Hemingway was teaching some young chap how to box. The boy did not know how, but by accident he knocked Hemingway out. I believe this sometimes happens. At any rate in these days Hemingway although a sportsman was easily tired. He used to get quite worn out walking from his house to ours. But then he had been worn by the war. Even now he is, as Hélène says all men are, fragile. Recently a robust friend of his said to Gertrude Stein, Ernest is very fragile, whenever he does anything sporting something breaks, his arm, his leg, or his head.
In those early days Hemingway liked all his contemporaries except Cummings. He accused Cummings of having copied everything, not from anybody but from somebody. Gertrude Stein who had been much impressed by The Enormous Room said that Cummings did not copy, he was the natural heir of the New England tradition with its aridity and its sterility, but also with its individuality. They disagreed about this. They also disagreed about Sherwood Anderson. Gertrude Stein contended that Sherwood Anderson had a genius for using a sentence to convey a direct emotion, this was in the great american tradition, and that really except Sherwood there was no one in America who could write a clear and passionate sentence. Hemingway did not believe this, he did not like Sherwood’s taste. Taste has nothing to do with sentences, contended Gertrude Stein. She also added that Fitzgerald was the only one of the younger writers who wrote naturally in sentences.
Gertrude Stein and Fitzgerald are very peculiar in their relation to each other. Gertrude Stein had been very much impressed by This Side of Paradise. She read it when it came out and before she knew any of the young american writers. She said of it that it was this book that really created for the public the new generation. She has never changed her opinion about this. She thinks this equally true of The Great Gatsby. She thinks Fitzgerald will be read when many of his well known contemporaries are forgotten. Fitzgerald always says that he thinks Gertrude Stein says these things just to annoy him by making him think that she means them, and he adds in his favourite way, and her doing it is the cruellest thing I ever heard. They always however have a very good time when they meet. And the last time they met they had a good time with themselves and Hemingway.
Then there was McAlmon. McAlmon had one quality that appealed to Gertrude Stein, abundance, he could go on writing, but she complained that it was dull.
There was also Glenway Wescott but Glenway Wescott at no time interested Gertrude Stein. He has a certain syrup but it does not pour.
So then Hemingway’s career was begun. For a little while we saw less of him and then he began to come again. He used to recount to Gertrude Stein the conversations that he afterwards used in The Sun Also Rises and they talked endlessly about the character of Harold Loeb. At this time Hemingway was preparing his volume of short stories to submit to publishers in America. One evening after we had not seen him for a while he turned up with Shipman. Shipman was an amusing boy who was to inherit a few thousand dollars when he came of age. He was not of age. He was to buy the Transatlantic Review when he came of age, so Hemingway said. He was to support a surrealist review when he came of age, André Masson said. He was to buy a house in the country when he came of age, Josette Gris said. As a matter of fact when he came of age nobody who had known him then seemed to know what he did do with his inheritance. Hemingway brought him with him to the house to talk about buying the Transatlantic and incidentally he brought the manuscript he intended sending to America. He handed it to Gertrude Stein. He had added to his stories a little story of meditations and in these he said that The Enormous Room was the greatest book he had ever read. It was then that Gertrude Stein said, Hemingway, remarks are not literature.
After this we did not see Hemingway for quite a while and then we went to see some one, just after The Making of Americans was printed, and Hemingway who was there came up to Gertrude Stein and began to explain why he would not be able to write a review of the book. Just then a heavy hand fell on his shoulder and Ford Madox Ford said young man it is I who wish to speak to Gertrude Stein. Ford then said to her, I wish to ask your permission to dedicate my new book to you. May I. Gertrude Stein and I were both awfully pleased and touched.
For some years after this Gertrude Stein and Hemingway did not meet. And then w
e heard that he was back in Paris and telling a number of people how much he wanted to see her. Don’t you come home with Hemingway on your arm, I used to say when she went out for a walk. Sure enough one day she did come back bringing him with her.
They sat and talked a long time. Finally I heard her say, Hemingway, after all you are ninety percent Rotarian. Can’t you, he said, make it eighty percent. No, said she regretfully, I can’t. After all, as she always says, he did, and I may say, he does have moments of disinterestedness.
After that they met quite often. Gertrude Stein always says she likes to see him, he is so wonderful. And if he could only tell his own story. In their last conversation she accused him of having killed a great many of his rivals and put them under the sod. I never, said Hemingway, seriously killed anybody but one man and he was a bad man and, he deserved it, but if I killed anybody else I did it unknowingly, and so I am not responsible.
It was Ford who once said of Hemingway, he comes and sits at my feet and praises me. It makes me nervous. Hemingway also said once, I turn my flame which is a small one down and down and then suddenly there is a big explosion. If there were nothing but explosions my work would be so exciting nobody could bear it.
However, whatever I say, Gertrude Stein always says, yes I know but I have a weakness for Hemingway.
Jane Heap turned up one afternoon. The Little Review had printed the Birthplace of Bonnes and The Valentine to Sherwood Anderson. Jane Heap sat down and we began to talk. She stayed to dinner and she stayed the evening and by dawn the little ford car Godiva which had been burning its lights all night waiting to be taken home could hardly start to take Jane home. Gertrude Stein then and always liked Jane Heap immensely, Margaret Anderson interested her much less.
It was now once more summer and this time we went to the Côte d’Azur and joined the Picassos at Antibes. It was there I first saw Picasso’s mother. Picasso looks extraordinarily like her. Gertrude Stein and Madame Picasso had difficulty in talking not having a common language but they talked enough to amuse themselves. They were talking about Picasso when Gertrude Stein first knew him. He was remarkably beautiful then, said Gertrude Stein, he was illuminated as if he wore a halo. Oh, said Madame Picasso, if you thought him beautiful then I assure you it was nothing compared to his looks when he was a boy. He was an angel and a devil in beauty, no one could cease looking at him. And now, said Picasso a little resentfully. Ah now, said they together, ah now there is no such beauty left. But, added his mother, you are very sweet and as a son very perfect. So he had to be satisfied with that.
It was at this time that Jean Cocteau who prides himself on being eternally thirty was writing a little biography of Picasso, and he sent him a telegram asking him to tell him the date of his birth. And yours, telegraphed back Picasso.
There are so many stories about Picasso and Jean Cocteau. Picasso like Gertrude Stein is easily upset if asked to do something suddenly and Jean Cocteau does this quite successfully. Picasso resents it and revenges himself at greater length. Not long ago there was a long story.
Picasso was in Spain, in Barcelona, and a friend of his youth who was editor of a paper printed, not in spanish but in catalan, interviewed him. Picasso knowing that the interview to be printed in catalan was probably never going to be printed in spanish, thoroughly enjoyed himself. He said that Jean Cocteau was getting to be very popular in Paris, so popular that you could find his poems on the table of any smart coiffeur.
As I say he thoroughly enjoyed himself in giving this interview and then returned to Paris.
Some catalan in Barcelona sent the paper to some catalan friend in Paris and the catalan friend in Paris translated it to a french friend and the french friend printed the interview in a french paper.
Picasso and his wife told us the story together of what happened then. As soon as Jean saw the article, he tried to see Pablo. Pablo refused to see him, he told the maid to say that he was always out and for days they could not answer the telephone. Cocteau finally stated in an interview given to the french press that the interview which had wounded him so sorely had turned out to be an interview with Picabia and not an interview with Picasso, his friend. Picabia of course denied this. Cocteau implored Picasso to give a public denial. Picasso remained discreetly at home.
The first evening the Picassos went out they went to the theatre and there in front of them seated was Jean Cocteau’s mother. At the first intermission they went up to her, and surrounded by all their mutual friends she said, my dear, you cannot imagine the relief to me and to Jean to know that it was not you that gave out that vile interview, do tell me that it was not.
And as Picasso’s wife said, I as a mother could not let a mother suffer and I said of course it was not Picasso and Picasso said, yes yes of course it was not, and so the public retraction was given.
It was this summer that Gertrude Stein, delighting in the movement of the tiny waves on the Antibes shore, wrote the Completed Portrait of Picasso, the Second Portrait of Carl Van Vechten, and The Book of Concluding With As A Wife Has A Cow A Love Story this afterwards beautifully illustrated by Juan Gris.
Robert McAlmon had definitely decided to publish The Making of Americans, and we were to correct proofs that summer. The summer before we had intended as usual to meet the Picassos at Antibes. I had been reading the Guide des Gourmets and I had found among other places where one ate well, Pernollet’s Hôtel in the town of Belley. Belley is its name and Belley is its nature, as Gertrude Stein’s elder brother remarked. We arrived there about the middle of August. On the map it looked as if it were high up in the mountains and Gertrude Stein does not like precipices and as we drove through the gorge I was nervous and she protesting, but finally the country opened out delightfully and we arrived in Belley. It was a pleasant hotel although it had no garden and we had intended that it should have a garden. We stayed on for several days.
Then Madame Pernollet, a pleasant round faced woman said to us that since we were evidently staying on why did we not make rates by the day or by the week. We said we would. In the meanwhile the Picassos wanted to know what had become of us. We replied that we were in Belley. We found that Belley was the birthplace of Brillat-Savarin. We now in Bilignin are enjoying using the furniture from the house of Brillat-Savarin which house belongs to the owner of this house.
We also found that Lamartine had been at school in Belley and Gertrude Stein says that wherever Lamartine stayed any length of time one eats well. Madame Récamier also comes from this region and the place is full of descendants of her husband’s family. All these things we found out gradually but for the moment we were comfortable and we stayed on and left late. The following summer we were to correct proofs of The Making of Americans and so we left Paris early and came again to Belley. What a summer it was.
The Making of Americans is a book one thousand pages long, closely printed on large pages. Darantière has told me it has five hundred and sixty-five thousand words. It was written in nineteen hundred and six to nineteen hundred and eight, and except for the sections printed in Transatlantic it was all still in manuscript.
The sentences as the book goes on get longer and longer, they are sometimes pages long and the compositors were french, and when they made mistakes and left out a line the effort of getting it back again was terrific.
We used to leave the hotel in the morning with camp chairs, lunch and proof, and all day we struggled with the errors of French compositors. Proof had to be corrected most of it four times and finally I broke my glasses, my eyes gave out, and Gertrude Stein finished alone.
We used to change the scene of our labours and we found lovely spots but there were always to accompany us those endless pages of printers’ errors. One of our favourite hillocks where we could see Mont Blanc in the distance we called Madame Mont Blanc.
Another place we went to often was near a little pool made by a small stream near a country cross-road. This was quite like the middle ages, so many things used to happen there, in a
very simple middle age way. I remember once a country-man came up to us leading his oxen. Very politely he said, ladies is there anything the matter with me. Why yes, we replied, your face is covered with blood. Oh, he said, you see my oxen were slipping down the hill and I held them back and I too slipped and I wondered if anything had happened to me. We helped him wash the blood off and he went on.
It was during this summer that Gertrude Stein began two long things, A Novel and the Phenomena of Nature which was to lead later to the whole series of meditations on grammar and sentences.
It led first to An Acquaintance With Description, afterwards printed by the Seizin Press. She began at this time to describe landscape as if anything she saw was a natural phenomenon, a thing existent in itself, and she found it, this exercise, very interesting and it finally led her to the later series of Operas and Plays. I am trying to be as commonplace as I can be, she used to say to me. And then sometimes a little worried, it is not too commonplace. The last thing that she had finished, Stanzas of Meditation, and which I am now typewriting, she considers her real achievement of the commonplace.
But to go back. We returned to Paris, the proofs almost done, and Jane Heap was there. She was very excited. She had a wonderful plan, I have now quite forgotten what it was, but Gertrude Stein was enormously pleased with it. It had something to do with a plan for another edition of The Making of Americans in America.
At any rate in the various complications connected with this matter McAlmon became very angry and not without reason, and The Making of Americans appeared but McAlmon and Gertrude Stein were no longer friends.