by Edward Burns
Love always to you both!
Carlo.
You didn’t yet send me a photograph of the Jo Davidson statue. Please.
1. Stieglitz never gave Van Vechten an exhibition at his gallery, An American Place.
To Carl Van Vechten
[Postcard: Le Drapeau de l’Ecole Polytechnique—1914]
[postmark: 30? March 1932] [27 rue de Fleurus Paris]
My dearest Carl
We delight in your postal cards may they increase and multiply, I have asked Jo D[avidson]. to send you a copy of the bust and he has promised to do so, I only had the one I sent you we are very busy, Maurice Darantière is to do our next book himself that is Operas and Plays, and I imagine it will be pretty and are you flying to us it seems you can by S. America. Do
Love
Gtrde.
To Carl Van Vechten
MS. New York Public Library, Manuscripts Division
[Rose motto]
[postmark: 12 April 1932] 27 rue de Fleurus
[Paris]
My dearest Carl
Thanks for S[acred]. & P[rofane]. M[emories]. I liked lots of it but what I liked the most were the Folksongs in Iowa it’s a wonderfully fine piece of America it’s very real and very living,1 I don’t know but that I would like you to do more like that, please, of course some of the descriptions of Mabel [Dodge] are awfully good and awfully funny, Bernard Fay has just given his first College de France lecture,2 it and we were awfully distinguished and awfully xciting also we have [been] having the first show of my real discovery Francis Rose inclosing his card,3 Paris has been nice and quiet and xciting, but most awfully xciting, just like the so long ago, and are we seeing you that would be nice lots and lots of love
Gertrude
1. “The Folksongs of Iowa” is one of the essays in Van Vechten’s Sacred and Profane Memories. In the essay “July-August 1914” (originally published in The Trend [October 1914], 8:13– 24, and called “Once Aboard the Lugger, San Guglielmo; an Account of a Flight from Italy in War Time”) Van Vechten writes of how his visit to Dodge at her Villa Curonia was interrupted by the outbreak of World War I and of the hardships he endured in returning to the United States.
2. Faÿ had been nominated to the chair in American Civilization at the Collège de France on 15 February 1932. That year he gave two courses: “Les Traditions Américaines et le rôle de Washington” and “Problèmes et Méthodes de l’histoire des Etats-Unis.” His first lecture, for the first course, was given on Monday, 11 April 1932.
3. Sir Francis Cyril Rose (1909–1979), English painter. Stein enclosed a card in the latter which announced the first exposition of Francis Rose from 12 to 25 April 1932 at the Galerie Vignon, 17 rue Vignon, Paris.
Stein had seen some of Rose’s pictures at the gallery of Jean Bonjean, Paris, in late 1929 / early 1930. She bought a picture and then returned and bought another. At that time she expressed no interest in meeting the artist. She continued to admire his work and asked her friend Georges Maratier, an art dealer, to acquire others for her. Stein was introduced to Rose at a tea at the home of the Chilean painter Alvaro Guevara and his wife Méraud in late 1930 / early 1931. That afternoon Stein took Rose to the rue de Fleurus to show him his paintings hanging in her home. Stein and Toklas became extremely fond of Rose, and although his difficult personality often exasperated them and tried their patience, they remained completely devoted to him. It was Rose who designed Stein’s (and, eventually, Toklas’) tombstone in Père Lachaise Cemetery in Paris.
To Gertrude Stein
[Postcard] Gertrude Stein by Jo Davidson—
26 April [1932] [150 West Fifty-fifth Street New York]
Dear Gertrude:
Jo sent me 2 photographs: so I am all right now. Here is one of them—I wish you were here so I could take some of my own.1 I do nothing but take photographs now—every hour. So I don’t think I’ll be coming to Europe, but Marinoff may come—very likely will. I suppose you are going to delightful Bilignin soon. When will I get the rest of my lovely Carlo plates? I eat off these so often muttering pleasurably: Rose is a rose is a rose.
And you and Alice are Woojums!2
Lots of love, Carlo
1. The postcard is made from a photograph Van Vechten took of the photograph Davidson had sent him.
2. This is the first use of the term “woojums” in these letters. Van Vechten never explained the term’s origin or meaning when used in reference to people. In his novel Parties a “Woojums” is a cocktail: “five parts gin, one part bacardi, a dash of bitters, a dash of absinthe, a teaspoonful of lemon juice, and a little grenadine” (p. 252).
“Woojums” was a term of endearment that Van Vechten often used in addressing his close friends. At the time of Stein’s American lecture tour (1934–35) the term came to be used almost exclusively among Stein, Van Vechten, and Toklas. It was around “woojums” that the three of them created a family unit. Gertrude was Baby Woojums, Carl was Papa Woojums, and Alice was Mama Woojums. Fania Marinoff was rarely included in the “Woojums” family, but when she was, she was referred to as the Empress or Madame Woojums.
To Gertrude Stein and Alice Toklas
4 July [1932]
Address Fania Marinoff On Board the Cunard
R. M. S. “Aquitania”
Darlings,
Am arriving sans Carlo (I haven’t left him) in London July 6th where I will remain for about two or three weeks—Grosvenor House Park Lane will reach me, then I’m coming on to Paris. For how long, I know not. Have made no plans. Where are you both. Do please drop me un petit mot I would so adore seeing you. Banque de Paris et des Pays Bas 3 rue D’antin will reach me in Paris. But like dears let me hear where you are and what [is] doing in London
Bless you both
Fania
To Fania Marinoff
[Postcard: Environs de Belley—Lac de Saint-Champs]
[postmark: 22 July 1932] [Bilignin par Belley Ain]
My dear Fania,
Where and how are you you did not answer and tell me and now you must be in Paris and now you will answer and tell if and when we are to see you and everything and how you like it and lots of love
Gertrude.
To Gertrude Stein and Alice Toklas
6 August [1932]
Saturday Le Bristol
Hotel et Restaurant
112 Faubourg St. Honoré
Paris (VIII)
Dearest Gertrude and dearest Alice,
Judging from your little card you answered my boat note, which I did not receive, alas, and I kept wondering why I didn’t hear from you. Well, anyway here I am in Paris est toute seule, and How I miss Carl—who has been with me these last times here, and I’ll miss not seeing you. I only arrived here a couple of days ago, and expect to remain here another week, then I shall go somewhere for Sun for a week and complete relaxation I’ve been socializing in London and travelling in Belgium and Holland and I’m exhausted. Then I expect to go back either the 24th Aug—or 31st, et Voila—I hope you are both well and comfortable, I can’t imagine anyone being “Happy” and are enjoying your summer—Carl would so adore having his plates He’s mad about the ones you sent. Is there any way I could take the others back without causing you a great deal of trouble? We would both appreciate it ever so much. Honest. What a pity I can’t see you while I’m here. But I send you warm and my permanent love,
Fania
To Fania Marinoff
[Postcard: Environs de Belley—Béon et le Pic de Bellecombe (Massif du Grand Colombier)]
[postmark: 9 August 1932] [Bilignin par Belley Ain]
My dear Fania
Am sending the plates to your hotel to-day I hope they get there alright, they are all the people would do but I like them and am glad they give Carl pleasure, so sorry we are not seeing you, I am sending Carlo my new book, Operas and Plays, I am very pleased with the same sorry you don’t like our summer it is a nice summer a nice quiet summer and makes you appreciate everything includ
ing sunshine well lots of love and lots of love
Gtrde
To Gertrude Stein
[Postcard: Paris—La Rue de la Paix]
[postmark: 11 August 1932] [Hôtel Bristol, Paris]
The plates this morn—[just?] arrived. How pleased Carl will be and what a darling you are. Now, please, my lady. How does one pay for them and how much? I insist on doing that, and Carl will be angry with me, if it isn’t done. So be nice and let me know all about it. It’s hotter than seven Hells here. But the sun is shining so I like it.
Heaps of love to you both—
Fania
To Gertrude Stein
15 August [1932]
Monday Le Bristol
Hotel et Restaurant
112 Faubourg St. Honoré
Paris (VIII)
Gertrude, darling
The Hotel paid 67 francs something or other when the plates arrived which they had (how unFrench[)] forgotten to tell me. But they seem rather vague about why they paid that amount they showed me the receipt—with no amount on it. It’s all a little phony—so perhaps, if you don’t mind, you can tell me what it was for. Was it for the amount of the plates and the express?—or the express alone, or what? It’s only a tiny matter. But I would like to know—They do such queer things in hotels as you know. I didn’t go to Le Touquet after all, I couldn’t give up my lovely room here and pack and unpack and pack again it was too much, so here I am and liking it. I think it’s a crime to come all the way over here and miss seeing you and Alice—We’ll (Carl and I) have better luck next time I hope—always love to you both
Fania
To Fania Marinoff
[16 August 1932] Bilignin par Belley Ain.
My dearest Fania
No there was nothing to pay and the hotel paid nothing the transport was paid to domicile that is to the hotel and the hotel had nothing to do but receive it and the plates were of course a gift to Carl with my love, I am so sorry you have been bothered, it is good and hot weather is it not, we are liking it too as there has been none for three years. I am sending Carl my new book Operas and Plays which I know he will like
Lots of love always
Gtrde.
To Gertrude Stein
[Postcard: Les Petits Tableaux de Paris—La Place de la Concorde—Vue prise de la Chambre des Députés]
[postmark: 18 August 1932] [Hôtel Bristol, Paris]
Yes, they had made a mistake? Thanks so much for your letter you are a darling. Carl will simply adore the plates—we use the other ones all the time. I do hope you are keeping cool. The heat here is killing.
Love to Alice—love to you
Fania
To Gertrude Stein
13 December 19321
Tuesday 150 West Fifty-fifth Street
[New York]
Dear Gertrude:
This is one of the books you have sent me I like best: Operas and Play[s]. It is printed so well.2 It is so homogeneous, and anywhere you open it, there is a play—a play like Four Saints that I know, or a play like A List—which I should exceedingly like to see performed. And those French historical plays! Somehow this book reminds me of Aix-les-Bains. Anyway I was happy with it all. I did not receive any announcement of this book & I was surprised. … I do nothing but take photographs now, but I take wonderful photographs & oh ! how I long to take you and Alice. I took 64 photographs of Mary Garden last night: We are both well & I wish you would come over and see us and then you … you have never seen the Nut stores—or Harlem . . or Roxy’s . . or even our apartment. Do come over and be photographed.
Love,
Carlo.
1. This appears to be the first letter from Van Vechten to Stein since his postcard to her of 26 April [1932]. (Between 4 July and 18 August 1932 it was Marinoff and Stein who were in contact while Marinoff was in Europe.) The fact that there is no correspondence from either Van Vechten or Stein during this period does not necessarily indicate a break between them. This period was for Stein one of enormous creative energy. She was working on a long sequence of poems that was to be titled Stanzas in Meditation. At the same time she had begun writing The Autobiography of Alice B. Toklas.
There are indications in the Stein manuscripts (YCAL) that she had entertained the idea of writing an autobiography sometime before she actually wrote The Autobiography of Alice B. Toklas. Precisely what prompted Stein to write this book cannot be determined. It is clear, however, that Toklas was pushing her to write a book that would make Stein a popular success and earn a great deal of money. In Everybody’s Autobiography Stein reduces what were clearly complicated motivations to “If there had not been a beautiful and unusually dry October at Bilignin in France in nineteen thirty-two followed by an unusually dry and beautiful first two weeks of November would The Autobiography of Alice B. Toklas have been written. Possibly but probably not then. And still one does not, no one does not in one’s heart believe in mute inglorious Miltons” (p. 1).
When The Autobiography of Alice B. Toklas was finished and typed, Stein sent it to her literary agent in Paris, William A. Bradley. Bradley was enthusiastic, and without any difficulty he placed the manuscript with Harcourt, Brace and Company (see Bradley to Stein in Gallup, The Flowers of Friendship, p. 259).
During this period of silence between Stein and Van Vechten, Van Vechten was preoccupied with his photographic work. He and Marinoff were in good health (both had given up drinking in January 1932).
2. Stein’s Operas and Plays had been printed in an edition of five hundred unnumbered copies by Maurice Darantière. The cover consisted of tan paper wrappers and the book fit into a tan slip case. Operas and Plays collected twenty-two works by Stein written from 1913 to 1931. Van Vechten’s copy of the book, with the inscription “Always to Carl from Gtde.,” is in YCAL.
To Carl Van Vechten
[Postcard: Photograph of Steins house at Bilignin]
[postmark: 27 December 1932] [27 rue de Fleurus Paris]
A happy new year to you and to photography. This is a nice photo of Bilignin isn’t it. Did the plates reach you alright and were you pleased. I am glad you like Operas and Plays and A List strangely enough was suggested by something in Avery [Hopwood],1 anyway lots of love
Gtrde.
1. Stein’s play A List was inspired by Avery Hopwood’s play Our Little Wife. See Stein to Van Vechten [6 July 1923], note 3.
To Carl Van Vechten
[Rose motto]
[postmark: 1 January 1933] 27 rue de Fleurus
[Paris]
My dear Carl,
Happy happy New Year I have already written it and now I wrote it on New Years day it seems more real that way even if you get it later and lots and lots of love to you and Fania and may you live long and prosper
Always
Gertrude.
To Gertrude Stein
[Postcard] Carl Van Vechten [and] Fania Marinoff [Photograph by] Harrison, 1915
[postmark: 9 January 1933] [150 West Fifty-fifth Street New York]
But, dear Gertrude, you write to ask me how do I like the plates and I wrote to thank you for them ages ago and told you I loved them. Somebody must steal my postcards ’cause they are very pretty. But now I do nothing but take pictures. Would you & Alice were here to be taken! Maybe you will be when the opera is produced—as I understand it is going to be—many violets, gardenias, and a whole hibiscus tree to you!1
Our love!
C.
Loved the pictures of Bilignin!2
1. Thomson had finished the score of Four Saints in Three Acts in mid-summer 1928 (see Stein to Van Vechten [13 January 1928], note 2). From that time on, whenever the opportunity presented itself, Thomson would entertain his friends with a solo performance of the opera (see Van Vechten to Stein, 12 February 1928 and [13? February 1929]). No support for a full-scale production developed until 1933, when Kirk and Constance Askew undertook to ensure a production of the opera. One of the friends they invited to hear Thomson perform parts of the opera
was A. E. “Chick” Austin, the director of the Wadsworth Athenaeum in Hartford, Connecticut. Austin had formed, in 1928, a nonprofit society, the Friends and Enemies of Modern Music. It was this organization that produced the first performance of Four Saints in Three Acts, in the Avery Memorial Auditorium of the Wadsworth Athenaeum on 8 February 1934.
2. Van Vechten may be referring to the photograph of Stein’s house at Bilignin that was used as a postcard by Stein for the letter of [27 December 1932]. There are three small photographs in YCAL that may have been sent at this time to Van Vechten. One is a photograph of Toklas and the dog Pepe inscribed on the verso by Stein: “Alice and the Mexican dog Pepe my photo G.” The next two are of Stein seated on the terrace at Bilignin. In each photograph she is seated at a small guéridon that has two levels. One photograph is inscribed: “Basket Pepe and me and we love you well all three, at least I do and the two others would if they could. Gtde.” On the verso of another photograph, at the same guéridon but in a slightly different pose and with only one dog, Stein has inscribed the verso: “To Carlo Gertrude and Peppe [sic], and this was where I sat when I wrote the autobiography and it was Indian summer and lots of love Gtde.” This statement, about writing The Autobiography of Alice B. Toklas at this writing table may be an example of one of Stein’s smooth, concealing maneuvers that she employed in recounting the history behind the composition of this book. The table (now in a private collection in Germany) would appear to be too small and unsteady to have been used as a work table.
To Gertrude Stein
[Postcard: Nora Holt, Prentiss Taylor, and Gladys Bentley. Photograph by Carl Van Vechten]1