Edith Sitwell, Osbert and Sacheverell were all present and were all delighted. They were delighted with the lecture and they were delighted with the good humoured way in which Gertrude Stein had gotten the best of the hecklers. Edith Sitwell said that Sache chuckled about it all the way home.
The next day we returned to Paris. The Sitwells wanted us to stay and be interviewed and generally go on with it but Gertrude Stein felt that she had had enough of glory and excitement. Not, as she always explains, that she could ever have enough of glory. After all, as she always contends, no artist needs criticism, he only needs appreciation. If he needs criticism he is no artist.
Leonard Woolf some months after this published Composition As Explanation in the Hogarth Essay Series. It was also printed in The Dial.
Mildred Aldrich was awfully pleased at Gertrude Stein’s english success. She was a good new englander and to her, recognition by Oxford and Cambridge, was even more important than recognition by the Atlantic Monthly. We went out to see her on our return and she had to have the lecture read to her again and to hear every detail of the whole experience.
Mildred Aldrich was falling upon bad days. Her annuity suddenly ceased and for a long time we did not know it. One day Dawson Johnston, the librarian of the American Library, told Gertrude Stein that Miss Aldrich had written to him to come out and get all her books as she would soon be leaving her home. We went out immediately and Mildred told us that her annuity had been stopped. It seems it was an annuity given by a woman who had fallen into her dotage and she one morning told her lawyer to cut off all the annuities that she had given for many years to a number of people. Gertrude Stein told Mildred not to worry. The Carnegie Fund, approached by Kate Buss, sent five hundred dollars, William Cook gave Gertrude Stein a blank cheque to supply all deficiencies, another friend of Mildred’s from Providence Rhode Island came forward generously and the Atlantic Monthly started a fund. Very soon Mildred Aldrich was safe. She said ruefully to Gertrude Stein, you would not let me go elegantly to the poor-house and I would have gone elegantly, but you have turned this into a poorhouse and I am the sole inmate. Gertrude Stein comforted her and said that she could be just as elegant in her solitary state. After all, Gertrude Stein used to say to her, Mildred nobody can say that you have not had a good run for your money. Mildred Aldrich’s last years were safe.
William Cook after the war had been in Russia, in Tiflis, for three years in connection with Red Cross distribution there. One evening he and Gertrude Stein had been out to see Mildred, it was during her last illness and they were coming home one foggy evening. Cook had a small open car but a powerful searchlight, strong enough to pierce the fog. Just behind them was another small car which kept an even pace with them, when Cook drove faster, they drove faster, and when he slowed down, they slowed down. Gertrude Stein said to him, it is lucky for them that you have such a bright light, their lanterns are poor and they are having the benefit of yours. Yes, said Cook, rather curiously, I have been saying that to myself, but you know after three years of Soviet Russia and the Cheka, even I, an american, have gotten to feel a little queer, and I have to talk to myself about it, to be sure that the car behind us is not the car of the secret police.
I said that René Crevel came to the house. Of all the young men who came to the house I think I liked René the best. He had french charm, which when it is at its most charming is more charming even than american charm, charming as that can be. Marcel Duchamp and René Crevel are perhaps the most complete examples of this french charm. We were very fond of René. He was young and violent and ill and revolutionary and sweet and tender. Gertrude Stein and René are very fond of each other, he writes her most delightful english letters, and she scolds him a great deal. It was he who, in early days, first talked to us of Bernard Faÿ. He said he was a young professor in the University of Clermont-Ferrand and he wanted to take us to his house. One afternoon he did take us there. Bernard Faÿ was not at all what Gertrude Stein expected and he and she had nothing in particular to say to each other.
As I remember during that winter and the next we gave a great many parties. We gave a tea party for the Sitwells.
Carl Van Vechten sent us quantities of negroes beside there were the negroes of our neighbour Mrs. Regan who had brought Josephine Baker to Paris. Carl sent us Paul Robeson. Paul Robeson interested Gertrude Stein. He knew american values and american life as only one in it but not of it could know them. And yet as soon as any other person came into the room he became definitely a negro. Gertrude Stein did not like hearing him sing spirituals. They do not belong to you any more than anything else, so why claim them, she said. He did not answer.
Once a southern woman, a very charming southern woman, was there, and she said to him, where were you born, and he answered, in New Jersey and she said, not in the south, what a pity and he said, not for me.
Gertrude Stein concluded that negroes were not suffering from persecution, they were suffering from nothingness. She always contends that the african is not primitive, he has a very ancient but a very narrow culture and there it remains. Consequently nothing does or can happen.
Carl Van Vechten himself came over for the first time since those far away days of the pleated shirt. All those years he and Gertrude Stein had kept up a friendship and a correspondence. Now that he was actually coming Gertrude Stein was a little worried. When he came they were better friends than ever. Gertrude Stein told him that she had been worried. I wasn’t, said Carl.
Among the other young men who came to the house at the time when they came in such numbers was Bravig Imbs. We liked Bravig, even though as Gertrude Stein said, his aim was to please. It was he who brought Elliot Paul to the house and Elliot Paul brought transition.
We had liked Bravig Imbs but we liked Elliot Paul more. He was very interesting. Elliot Paul was a new englander but he was a saracen, a saracen such as you sometimes see in the villages of France where the strain from some Crusading ancestor’s dependents still survives. Elliot Paul was such a one. He had an element not of mystery but of evanescence, actually little by little he appeared and then as slowly he disappeared, and Eugene Jolas and Maria Jolas appeared. These once having appeared, stayed in their appearance.
Elliot Paul was at that time working on the Paris Chicago Tribune and he was there writing a series of articles on the work of Gertrude Stein, the first seriously popular estimation of her work. At the same time he was turning the young journalists and proof-readers into writers. He started Bravig Imbs on his first book, The Professor’s Wife, by stopping him suddenly in his talk and saying, you begin there. He did the same thing for others. He played the accordion as nobody else not native to the accordion could play it and he learned and played for Gertrude Stein accompanied on the violin by Bravig Imbs, Gertrude Stein’s favourite ditty, The Trail of the Lonesome Pine, My name is June and very very soon.
The Trail of the Lonesome Pine as a song made a lasting appeal to Gertrude Stein. Mildred Aldrich had it among her records and when we spent the afternoon with her at Huiry, Gertrude Stein inevitably would start The Trail of the Lonesome Pine on the phonograph and play it and play it. She liked it in itself and she had been fascinated during the war with the magic of the Trail of the Lonesome Pine as a book for the doughboy. How often when a doughboy in hospital had become particularly fond of her, he would say, I once read a great book, do you know it, it is called The Trail of the Lonesome Pine. They finally got a copy of it in the camp at Nîmes and it stayed by the bedside of every sick soldier. They did not read much of it, as far as she could make out sometimes only a paragraph, in the course of several days, but their voices were husky when they spoke of it, and when they were particularly devoted to her they would offer to lend her this very dirty and tattered copy.
She reads anything and naturally she read this and she was puzzled. It had practically no story to it and it was not exciting, or adventurous, and it was very well written and was mostly description of mountain scenery. Later on she
came across some reminiscences of a southern woman who told how the mountaineers in the southern army during the civil war used to wait in turn to read Victor Hugo’s Les Misérables, an equally astonishing thing for again there is not much of a story and a great deal of description. However Gertrude Stein admits that she loves the song of The Trail of the Lonesome Pine in the same way that the doughboy loved the book and Elliot Paul played it for her on the accordion.
One day Elliot Paul came in very excitedly, he usually seemed to be feeling a great deal of excitement but neither showed nor expressed it. This time however he did show it and express it. He said he wanted to ask Gertrude Stein’s advice. A proposition had been made to him to edit a magazine in Paris and he was hesitating whether he should undertake it. Gertrude Stein was naturally all for it. After all, as she said, we do want to be printed. One writes for oneself and strangers but with no adventurous publishers how can one come in contact with those same strangers.
However she was very fond of Elliot Paul and did not want him to take too much risk. No risk, said Elliot Paul, the money for it is guaranteed for a number of years. Well then, said Gertrude Stein, one thing is certain no one could be a better editor than you would be. You are not egotistical and you know what you feel.
Transition began and of course it meant a great deal to everybody. Elliot Paul chose with great care what he wanted to put into transition. He said he was afraid of its becoming too popular. If ever there are more than two thousand subscribers, I quit, he used to say.
He chose Elucidation Gertrude Stein’s first effort to explain herself, written in Saint-Rémy to put into the first number of transition. Later As A Wife Has A Cow A Love Story. He was always very enthusiastic about this story. He liked Made A Mile Away, a description of the pictures that Gertrude Stein has liked and later a novelette of desertion If He Thinks, for transition. He had a perfectly definite idea of gradually opening the eyes of the public to the work of the writers that interested him and as I say he chose what he wanted with great care. He was very interested in Picasso and he became very deeply interested in Juan Gris and after his death printed a translation of Juan Gris’ defence of painting which had already been printed in french in the Transatlantic Review, and he printed Gertrude Stein’s lament, The Life and Death of Juan Gris and her One Spaniard.
Elliot Paul slowly disappeared and Eugene and Maria Jolas appeared.
Transition grew more bulky. At Gertrude Stein’s request transition reprinted Tender Buttons, printed a bibliography of all her work up to date and later printed her opera, Four Saints. For these printings Gertrude Stein was very grateful. In the last numbers of transition nothing of hers appeared. Transition died.
Of all the little magazines which as Gertrude Stein loves to quote, have died to make verse free, perhaps the youngest and freshest was the Blues. Its editor Charles Henri Ford has come to Paris and he is young and fresh as his Blues and also honest which also is a pleasure. Gertrude Stein thinks that he and Robert Coates alone among the young men have an individual sense of words.
During this time Oxford and Cambridge men turned up from time to time at the rue de Fleurus. One of them brought with him Brewer, one of the firm of Payson and Clarke.
Brewer was interested in the work of Gertrude Stein and though he promised nothing he and she talked over the possibilities of his firm printing something of hers. She had just written a shortish novel called A Novel, and was at the time working at another shortish novel which was called Lucy Church Amiably and which she describes as a novel of romantic beauty and nature and which looks like an engraving. She at Brewer’s request wrote a summary of this book as an advertisement and he cabled his enthusiasm. However he wished first to commence with a collection of short things and she suggested in that case he should make it all the short things she had written about America and call it Useful Knowledge. This was done.
There are many Paris picture dealers who like adventure in their business, there are no publishers in America who like adventure in theirs. In Paris there are picture dealers like Durand-Ruel who went broke twice supporting the impressionists, Vollard for Cézanne, Sagot for Picasso and Kahnweiler for all the cubists. They make their money as they can and they keep on buying something for which there is no present sale and they do so persistently until they create its public. And these adventurers are adventurous because that is the way they feel about it. There are others who have not chosen as well and have gone entirely broke. It is the tradition among the more adventurous Paris picture dealers to adventure. I suppose there are a great many reasons why publishers do not. John Lane alone among publishers did. He perhaps did not die a very rich man but he lived well, and died a moderately rich one.
We had a hope that Brewer might be this kind of a publisher. He printed Useful Knowledge, his results were not all that he anticipated and instead of continuing and gradually creating a public for Gertrude Stein’s work he procrastinated and then said no. I suppose this was inevitable. However that was the matter as it was and as it continued to be.
I now myself began to think about publishing the work of Gertrude Stein. I asked her to invent a name for my edition and she laughed and said, call it Plain Edition. And Plain Edition it is.
All that I knew about what I would have to do was that I would have to get the book printed and then to get it distributed, that is sold.
I talked to everybody about how these two things were to be accomplished.
At first I thought I would associate some one with me but that soon did not please me and I decided to do it all by myself.
Gertrude Stein wanted the first book Lucy Church Amiably to look like a school book and to be bound in blue. Once having ordered my book to be printed my next problem was the problem of distribution. On this subject I received a great deal of advice. Some of the advice turned out to be good and some of it turned out to be bad. William A. Bradley, the friend and comforter of Paris authors, told me to subscribe to The Publishers’ Weekly. This was undoubtedly wise advice. This helped me to learn something of my new business, but the real difficulty was to get to the booksellers. Ralph Church, philosopher and friend, said stick to the booksellers, first and last. Excellent advice but how to get to the booksellers. At this moment a kind friend said that she could get me copied an old list of booksellers belonging to a publisher. This list was sent to me and I began sending out my circulars. The circular pleased me at first but I soon concluded that it was not quite right. However I did get orders from America and I was paid without much difficulty and I was encouraged.
The distribution in Paris was at once easier and more difficult. It was easy to get the book put in the window of all the booksellers in Paris that sold english books. This event gave Gertrude Stein a childish delight amounting almost to ecstasy. She had never seen a book of hers in a bookstore window before, except a french translation of The Ten Portraits, and she spent all her time in her wanderings about Paris looking at the copies of Lucy Church Amiably in the windows and coming back and telling me about it.
The books were sold too and then as I was away from Paris six months in the year I turned over the Paris work to a french agent. This worked very well at first but finally did not work well. However one must learn one’s trade.
I decided upon my next book How To Write and not being entirely satisfied with the get up of Lucy Church Amiably, although it did look like a school book, I decided to have the next book printed at Dijon and in the form of an Elzevir. Again the question of binding was a difficulty.
I went to work in the same way to sell How To Write, but I began to realise that my list of booksellers was out of date. Also I was told that I should write following up letters. Ellen du Pois helped me with these. I was told that I should have reviews. Ellen du Pois came to the rescue here too. And that I should advertise. Advertising would of necessity be too expensive; I had to keep my money to print my books, as my plans were getting more and more ambitious. Getting reviews was a difficulty, there are alwa
ys plenty of humorous references to Gertrude Stein’s work, as Gertrude Stein always says to comfort herself, they do quote me, that means that my words and my sentences get under their skins although they do not know it. It was difficult to get serious reviews. There are many writers who write her letters of admiration but even when they are in a position to do so they do not write themselves down in book reviews. Gertrude Stein likes to quote Browning who at a dinner party met a famous literary man and this man came up to Browning and spoke to him at length and in a very laudatory way about his poems. Browning listened and then said, and are you going to print what you have just said. There was naturally no answer. In Gertrude Stein’s case there have been some notable exceptions, Sherwood Anderson, Edith Sitwell, Bernard Fay and Louis Bromfield.
The Autobiography of Alice B. Toklas Page 25