I also printed an edition of one hundred copies, very beautifully done at Chartres, of the poem of Gertrude Stein Before The Flowers Of Friendship Faded Friendship Faded. These one hundred copies sold very easily.
I was better satisfied with the bookmaking of How To Write but there was always the question of binding the book. It is practically impossible to get a decent commercial binding in France, french publishers only cover their books in paper. I was very troubled about this.
One evening we went to an evening party at Georges Poupet’s, a gentle friend of authors. There I met Maurice Darantière. It was he who had printed The Making of Americans and he was always justly proud of it as a book and as bookmaking. He had left Dijon and had started printing books in the neighbourhood of Paris with a hand-press and he was printing very beautiful books. He is a kind man and I naturally began telling him my troubles. Listen, he said I have the solution. But I interrupted him, you must remember that I do not want to make these books expensive. After all Gertrude Stein’s readers are writers, university students, librarians and young people who have very little money. Gertrude Stein wants readers not collectors. In spite of herself her books have too often become collector’s books. They pay big prices for Tender Buttons and The Portrait of Mabel Dodge and that does not please her, she wants her books read not owned. Yes yes, he said, I understand. No this is what I propose. We will have your book set by monotype which is comparatively cheap, I will see to that, then I will handpull your books on good but not too expensive paper and they will be beautifully printed and instead of any covers I will have them bound in heavy paper like The Making of Americans, paper just like that, and I will have made little boxes in which they will fit perfectly, well made little boxes and there you are. And I will be able to sell them at a reasonable price. Yes you will see, he said.
I was getting more ambitious I wished now to begin a series of three, beginning with Operas and Plays, going on with Matisse, Picasso and Gertrude Stein and Two Shorter Stories, and then going on with Two Long Poems and Many Shorter Ones.
Maurice Darantière has been as good as his word. He has printed Operas and Plays and it is a beautiful book and reasonable in price and he is now printing the second book Matisse Picasso and Gertrude Stein and Two Shorter Stories. Now I have an up to date list of booksellers and I am once more on my way.
As I was saying after the return from England and lecturing we gave a great many parties, there were many occasions for parties, all the Sitwells came over, Carl Van Vechten came over, Sherwood Anderson came over again. And beside there were many other occasions for parties.
It was then that Gertrude Stein and Bernard Faÿ met again and this time they had a great deal to say to each other. Gertrude Stein found the contact with his mind stimulating and comforting. They were slowly coming to be friends.
I remember once coming into the room and hearing Bernard Faÿ say that the three people of first rate importance that he had met in his life were Picasso, Gertrude Stein and André Gide and Gertrude Stein inquired quite simply, that is quite right but why include Gide. A year or so later in referring to this conversation he said to her, and I am not sure you were not right.
Sherwood came to Paris that winter and he was a delight. He was enjoying himself and we enjoyed him. He was being lionised and I must say he was a very appearing and disappearing lion. I remember his being asked to the Pen Club. Natalie Barney and a long-bearded frenchman were to be his sponsors. He wanted Gertrude Stein to come too. She said she loved him very much but not the Pen Club. Natalie Barney came over to ask her. Gertrude Stein who was caught outside, walking her dog, pleaded illness. The next day Sherwood turned up. How was it, asked Gertrude Stein. Why, said he, it wasn’t a party for me, it was a party for a big woman, and she was just a derailed freight car.
We had installed electric radiators in the studio, we were as our finnish servant would say getting modern. She finds it difficult to understand why we are not more modern. Gertrude Stein says that if you are way ahead with your head you naturally are old fashioned and regular in your daily life. And Picasso adds, do you suppose Michael Angelo would have been grateful for a gift of a piece of renaissance furniture, no he wanted a greek coin.
We did install electric radiators and Sherwood turned up and we gave him a Christmas party. The radiators smelled and it was terrifically hot but we were all pleased as it was a nice party. Sherwood looked as usual very handsome in one of his very latest scarf ties. Sherwood Anderson does dress well and his son John follows suit. John and his sister came over with their father. While Sherwood was still in Paris John the son was an awkward shy boy. The day after Sherwood left John turned up, sat easily on the arm of the sofa and was beautiful to look upon and he knew it. Nothing to the outward eye had changed but he had changed and he knew it.
It was during this visit that Gertrude Stein and Sherwood Anderson had all those amusing conversations about Hemingway. They enjoyed each other thoroughly. They found out that they both had had and continued to have Grant as their great american hero. They did not care so much about Lincoln either of them. They had always and still liked Grant. They even planned collaborating on a life of Grant. Gertrude Stein still likes to think about this possibility.
We did give a great many parties in those days and the Duchess of Clermont-Tonnerre came very often.
She and Gertrude Stein pleased one another. They were entirely different in life education and interests but they delighted in each other’s understanding. They were also the only two women whom they met who still had long hair. Gertrude Stein had always worn hers well on top of her head, an ancient fashion that she had never changed.
Madame de Clermont-Tonnerre came in very late to one of the parties, almost every one had gone, and her hair was cut. Do you like it, said Madame de Clermont-Tonnerre. I do, said Gertrude Stein. Well, said Madame de Clermont-Tonnerre, if you like it and my daughter likes it and she does like it I am satisfied. That night Gertrude Stein said to me, I guess I will have to too. Cut it off she said and I did.
I was still cutting the next evening, I had been cutting a little more all day and by this time it was only a cap of hair when Sherwood Anderson came in. Well, how do you like it, said I rather fearfully. I like it, he said, it makes her look like a monk.
As I have said, Picasso seeing it, was for a moment angry and said, and my portrait, but very soon added, after all it is all there.
We now had our country house, the one we had only seen across the valley and just before leaving we found the white poodle, Basket. He was a little puppy in a little neighbourhood dog-show and he had blue eyes, a pink nose and white hair and he jumped up into Gertrude Stein’s arms. A new puppy and a new ford we went off to our new house and we were thoroughly pleased with all three. Basket although now he is a large unwieldy poodle, still will get up on Gertrude Stein’s lap and stay there. She says that listening to the rhythm of his water drinking made her recognise the difference between sentences and paragraphs, that paragraphs are emotional and that sentences are not.
Bernard Faÿ came and stayed with us that summer. Gertrude Stein and he talked out in the garden about everything, about life, and America, and themselves and friendship. They then cemented the friendship that is one of the four permanent friendships of Gertrude Stein’s life. He even tolerated Basket for Gertrude Stein’s sake. Lately Picabia has given us a tiny mexican dog, we call Byron. Bernard Faÿ likes Byron for Byron’s own sake. Gertrude Stein teases him and says naturally he likes Byron best because Byron is an american while just as naturally she likes Basket best because Basket is a frenchman.
Bilignin brings me to a new old acquaintance. One day Gertrude Stein came home from a walk to the bank and bringing out a card from her pocket said, we are lunching to-morrow with the Bromfields. Way back in the Hemingway days Gertrude Stein had met Bromfield and his wife and then from time to time there had been a slight acquaintance, there had even been a slight acquaintance with Bromfield’s sister, and n
ow suddenly we were lunching with the Bromfields. Why, I asked, because answered Gertrude Stein quite radiant, he knows all about gardens.
We lunched with the Bromfields and he does know all about gardens and all about flowers and all about soils. Gertrude Stein and he first liked each other as gardeners, then they liked each other as americans and then they liked each other as writers. Gertrude Stein says of him that he is as american as Janet Scudder, as american as a doughboy, but not as solemn.
One day the Jolases brought Furman the publisher to the house. He as have been many publishers was enthusiastic and enthusiastic about The Making of Americans. But it is terribly long, it’s a thousand pages, said Gertrude Stein. Well, can’t it be cut down, he said to about four hundred. Yes, said Gertrude Stein, perhaps. Well cut it down and I will publish it, said Furman.
Gertrude Stein thought about it and then did it. She spent a part of the summer over it and Bradley as well as she and myself thought it alright.
In the meantime Gertrude Stein had told Elliot Paul about the proposition. It’s alright when he is over here, said Elliot Paul, but when he gets back the boys won’t let him. Who the boys are I do not know but they certainly did not let him. Elliot Paul was right. In spite of the efforts of Robert Coates and Bradley nothing happened.
In the meantime Gertrude Stein’s reputation among the french writers and readers was steadily growing. The translation of the fragments of the Making of Americans, and of the Ten Portraits interested them. It was at this time that Bernard Faÿ wrote his article about her work printed in the Revue Européenne. They also printed the only thing she has ever written in french a little film about the dog Basket.
They were very interested in her later work as well as her earlier work. Marcel Brion wrote a serious criticism of her work in Echange, comparing her work to Bach. Since then, in Les Nouvelles Littéraires, he has written of each of her books as they come out. He was particularly impressed by How To Write.
About this time too Bernard Faÿ was translating a fragment of Melanctha from Three Lives for the volume of Ten American Novelists, this to be introduced by his article printed in the Revue Européenne. He came to the house one afternoon and read his translation of Melanctha aloud to us. Madame de Clermont-Tonnerre was there and she was very impressed by his translation.
One day not long after she asked to come to the house as she wished to talk to Gertrude Stein. She came and she said, the time has now come when you must be made known to a larger public. I myself believe in a larger public. Gertrude Stein too believes in a larger public but the way has always been barred. No, said Madame de Clermont-Tonnerre, the way can be opened. Let us think.
She said it must come from the translation of a big book, an important book. Gertrude Stein suggested the Making of Americans and told her how it had been prepared for an American publisher to make about four hundred pages. That will do exactly, she said. And went away.
Finally and not after much delay, Monsieur Bouteleau of Stock saw Gertrude Stein and he decided to publish the book. There was some difficulty about finding a translator, but finally that was arranged. Bernard Faÿ aided by the Baronne Seillière undertook the translation, and it is this translation which is to appear this spring, and that this summer made Gertrude Stein say, I knew it was a wonderful book in english, but it is even, well, I cannot say almost really more wonderful but just as wonderful in french.
Last autumn the day we came back to Paris from Bilignin I was as usual very busy with a number of things and Gertrude Stein went out to buy some nails at the bazaar of the rue de Rennes. There she met Guevara, a chilean painter and his wife. They are our neighbours, and they said, come to tea to-morrow. Gertrude Stein said, but we are just home, wait a bit. Do come, said Méraude Guevara. And then added, there will be some one there you will like to see. Who is it, said Gertrude Stein with a never failing curiosity. Sir Francis Rose, they said. Alright, we’ll come, said Gertrude Stein. By this time she no longer objected to meeting Francis Rose. We met then and he of course immediately came back to the house with her. He was, as may be imagined, quite pink with emotion. And what, said he, did Picasso say when he saw my paintings. When he first saw them, Gertrude Stein answered, he said, at least they are less bětes than the others. And since, he asked. And since he always goes into the corner and turns the canvas over to look at them but he says nothing.
Since then we have seen a great deal of Francis Rose but Gertrude Stein has not lost interest in the pictures. He has this summer painted the house from across the valley where we first saw it and the waterfall celebrated in Lucy Church Amiably. He has also painted her portrait. He likes it and I like it but she is not sure whether she does, but as she has just said, perhaps she does. We had a pleasant time this summer, Bernard Faÿ and Francis Rose both charming guests.
A young man who first made Gertrude Stein’s acquaintance by writing engaging letters from America is Paul Frederick Bowles. Gertrude Stein says of him that he is delightful and sensible in summer but neither delightful nor sensible in the winter. Aaron Copeland came to see us with Bowles in the summer and Gertrude Stein liked him immensely. Bowles told Gertrude Stein and it pleased her that Copeland said threateningly to him when as usual in the winter he was neither delightful nor sensible, if you do not work now when you are twenty when you are thirty, nobody will love you.
For some time now many people, and publishers, have been asking Gertrude Stein to write her autobiography and she had always replied, not possibly.
She began to tease me and say that I should write my autobiography. Just think, she would say, what a lot of money you would make. She then began to invent titles for my autobiography. My Life With The Great, Wives of Geniuses I Have Sat With, My Twenty-five Years With Gertrude Stein.
Then she began to get serious and say, but really seriously you ought to write your autobiography. Finally I promised that if during the summer I could find time I would write my autobiography.
When Ford Madox Ford was editing the Transatlantic Review he once said to Gertrude Stein, I am a pretty good writer and a pretty good editor and a pretty good business man but I find it very difficult to be all three at once.
I am a pretty good housekeeper and a pretty good gardener and a pretty good needlewoman and a pretty good secretary and a pretty good editor and a pretty good vet for dogs and I have to do them all at once and I found it difficult to add being a pretty good author.
About six weeks ago Gertrude Stein said, it does not look to me as if you were ever going to write that autobiography. You know what I am going to do. I am going to write it for you. I am going to write it as simply as Defoe did the autobiography of Robinson Crusoe. And she has and this is it.
The Gradual Making of
THE MAKING
OF AMERICANS
This is one of the LECTURES IN AMERICA delivered by Miss Stein during the season 1934–35 and published by Random House in 1935. The quotations from THE MAKING OF AMERICANS in the text are from the abbreviated Harcourt, Brace and Co. edition.
I am going to read what I have written to read, because in a general way it is easier even if it is not better and in a general way it is better even if it is not easier to read what has been written than to say what has not been written. Any way that is one way to feel about it.
And I want to tell you about the gradual way of making The Making of Americans. I made it gradually and it took me almost three years to make it, but that is not what I mean by gradual. What I mean by gradual is the way the preparation was made inside of me. Although as I tell it it will sound historical, it really is not historical as I still very much remember it. I do remember it. That is I can remember it. And if you can remember, it may be history but it is not historical.
To begin with, I seem always to be doing the talking when I am anywhere but in spite of that I do listen. I always listen. I always have listened. I always have listened to the way everybody has to tell what they have to say. In other words I always have listened i
n my way of listening until they have told me and told me until I really know it, that is know what they are.
I always as I admit seem to be talking but talking can be a way of listening that is if one has the profound need of hearing and seeing what every one is telling.
And I began very early in life to talk all the time and to listen all the time. At least that is the way I feel about it.
I cannot remember not talking all the time and all the same feeling that while I was talking while I was seeing that I was not only hearing but seeing while I was talking and that at the same time the relation between myself knowing I was talking and those to whom I was talking and incidentally to whom I was listening were coming to tell me and tell me in their way everything that made them.