Geography and Plays Part 1

Geography and Plays.

by Gertrude Stein.

THE WORK OF GERTRUDE STEIN

By SHERWOOD ANDERSON

One evening in the winter, some years ago, my brother came to my rooms in the city of Chicago bringing with him a book by Gertrude Stein. The book was called _Tender b.u.t.tons_ and, just at that time, there was a good deal of fuss and fun being made over it in American newspapers. I had already read a book of Miss Stein's called _Three Lives_ and had thought it contained some of the best writing ever done by an American.

I was curious about this new book.

My brother had been at some sort of a gathering of literary people on the evening before and someone had read aloud from Miss Stein's new book. The party had been a success. After a few lines the reader stopped and was greeted by loud shouts of laughter. It was generally agreed that the author had done a thing we Americans call "putting something across"--the meaning being that she had, by a strange freakish performance, managed to attract attention to herself, get herself discussed in the newspapers, become for a time a figure in our hurried, harried lives.

My brother, as it turned out, had not been satisfied with the explanation of Miss Stein's work then current in America, and so he bought _Tender b.u.t.tons_ and brought it to me, and we sat for a time reading the strange sentences. "It gives words an oddly new intimate flavor and at the same time makes familiar words seem almost like strangers, doesn't it," he said. What my brother did, you see, was to set my mind going on the book, and then, leaving it on the table, he went away.

And now, after these years, and having sat with Miss Stein by her own fire in the rue de Fleurus in Paris I am asked to write something by way of an introduction to a new book she is about to issue.

As there is in America an impression of Miss Stein's personality, not at all true and rather foolishly romantic, I would like first of all to brush that aside. I had myself heard stories of a long dark room with a languid woman lying on a couch, smoking cigarettes, sipping absinthes perhaps and looking out upon the world with tired, disdainful eyes. Now and then she rolled her head slowly to one side and uttered a few words, taken down by a secretary who approached the couch with trembling eagerness to catch the falling pearls.

You will perhaps understand something of my own surprise and delight when, after having been fed up on such tales and rather Tom Sawyerishly hoping they might be true, I was taken to her to find instead of this languid impossibility a woman of striking vigor, a subtle and powerful mind, a discrimination in the arts such as I have found in no other American born man or woman, and a charmingly brilliant conversationalist.

"Surprise and delight" did I say? Well, you see, my feeling is something like this. Since Miss Stein's work was first brought to my attention I have been thinking of it as the most important pioneer work done in the field of letters in my time. The loud guffaws of the general that must inevitably follow the bringing forward of more of her work do not irritate me but I would like it if writers, and particularly young writers, would come to understand a little what she is trying to do and what she is in my opinion doing.

My thought in the matter is something like this--that every artist working with words as his medium, must at times be profoundly irritated by what seems the limitations of his medium. What things does he not wish to create with words! There is the mind of the reader before him and he would like to create in that reader's mind a whole new world of sensations, or rather one might better say he would like to call back into life all of the dead and sleeping senses.

There is a thing one might call "the extension of the province of his art" one wants to achieve. One works with words and one would like words that have a taste on the lips, that have a perfume to the nostrils, rattling words one can throw into a box and shake, making a sharp, jingling sound, words that, when seen on the printed page, have a distinct arresting effect upon the eye, words that when they jump out from under the pen one may feel with the fingers as one might caress the cheeks of his beloved.

And what I think is that these books of Gertrude Stein's do in a very real sense recreate life in words.

We writers are, you see, all in such a hurry. There are such grand things we must do. For one thing the Great American Novel must be written and there is the American or English Stage that must be uplifted by our very important contributions, to say nothing of the epic poems, sonnets to my lady's eyes, and what not. We are all busy getting these grand and important thoughts and emotions into the pages of printed books.

And in the meantime the little words, that are the soldiers with which we great generals must make our conquests, are neglected.

There is a city of English and American words and it has been a neglected city. Strong broad shouldered words, that should be marching across open fields under the blue sky, are clerking in little dusty dry goods stores, young virgin words are being allowed to consort with wh.o.r.es, learned words have been put to the ditch digger's trade. Only yesterday I saw a word that once called a whole nation to arms serving in the mean capacity of advertising laundry soap.

For me the work of Gertrude Stein consists in a rebuilding, an entire new recasting of life, in the city of words. Here is one artist who has been able to accept ridicule, who has even forgone the privilege of writing the great American novel, uplifting our English speaking stage, and wearing the bays of the great poets, to go live among the little housekeeping words, the swaggering bullying street-corner words, the honest working, money saving words, and all the other forgotten and neglected citizens of the sacred and half forgotten city.

Would it not be a lovely and charmingly ironic gesture of the G.o.ds if, in the end, the work of this artist were to prove the most lasting and important of all the word slingers of our generation!

GEOGRAPHY AND PLAYS

SUSIE ASADO

Sweet sweet sweet sweet sweet tea.

Susie Asado.

Sweet sweet sweet sweet sweet tea.

Susie Asado.

Susie Asado which is a told tray sure.

A lean on the shoe this means slips slips hers.

When the ancient light grey is clean it is yellow, it is a silver seller.

This is a please this is a please there are the saids to jelly. These are the wets these say the sets to leave a crown to Incy.

Incy is short for incubus.

A pot. A pot is a beginning of a rare bit of trees. Trees tremble, the old vats are in bobbles, bobbles which shade and shove and render clean, render clean must.

Drink pups.

Drink pups drink pups lease a sash hold, see it s.h.i.+ne and a bobolink has pins. It shows a nail.

What is a nail. A nail is unison.

Sweet sweet sweet sweet sweet tea.

ADA

Barnes Colhard did not say he would not do it but he did not do it. He did it and then he did not do it, he did not ever think about it. He just thought some time he might do something.

His father Mr. Abram Colhard spoke about it to every one and very many of them spoke to Barnes Colhard about it and he always listened to them.

Then Barnes fell in love with a very nice girl and she would not marry him. He cried then, his father Mr. Abram Colhard comforted him and they took a trip and Barnes promised he would do what his father wanted him to be doing. He did not do the thing, he thought he would do another thing, he did not do the other thing, his father Mr. Colhard did not want him to do the other thing. He really did not do anything then. When he was a good deal older he married a very rich girl. He had thought perhaps he would not propose to her but his sister wrote to him that it would be a good thing. He married the rich girl and she thought he was the most wonderful man and one who knew everything. Barnes never spent more than the income of the fortune he and his wife had then, that is to say they did not spend more than the income and this was a surprise to very many who knew about him and about his marrying the girl who had such a large fortune. He had a happy life while he was living and after he was dead his wife and children remembered him.

He had a sister who also was successful enough in being one being living. His sister was one who came to be happier than most people come to be in living. She came to be a completely happy one. She was twice as old as her brother. She had been a very good daughter to her mother.

She and her mother had always told very pretty stories to each other.

Many old men loved to hear her tell these stories to her mother. Every one who ever knew her mother liked her mother. Many were sorry later that not every one liked the daughter. Many did like the daughter but not every one as every one had liked the mother. The daughter was charming inside in her, it did not show outside in her to every one, it certainly did to some. She did sometimes think her mother would be pleased with a story that did not please her mother, when her mother later was sicker the daughter knew that there were some stories she could tell her that would not please her mother. Her mother died and really mostly altogether the mother and the daughter had told each other stories very happily together.

The daughter then kept house for her father and took care of her brother. There were many relations who lived with them. The daughter did not like them to live with them and she did not like them to die with them. The daughter, Ada they had called her after her grandmother who had delightful ways of smelling flowers and eating dates and sugar, did not like it at all then as she did not like so much dying and she did not like any of the living she was doing then. Every now and then some old gentlemen told delightful stories to her. Mostly then there were not nice stories told by any one then in her living. She told her father Mr.

Abram Colhard that she did not like it at all being one being living then. He never said anything. She was afraid then, she was one needing charming stories and happy telling of them and not having that thing she was always trembling. Then every one who could live with them were dead and there were then the father and the son a young man then and the daughter coming to be that one then. Her grandfather had left some money to them each one of them. Ada said she was going to use it to go away from them. The father said nothing then, then he said something and she said nothing then, then they both said nothing and then it was that she went away from them. The father was quite tender then, she was his daughter then. He wrote her tender letters then, she wrote him tender letters then, she never went back to live with him. He wanted her to come and she wrote him tender letters then. He liked the tender letters she wrote to him. He wanted her to live with him. She answered him by writing tender letters to him and telling very nice stories indeed in them. He wrote nothing and then he wrote again and there was some waiting and then he wrote tender letters again and again.

She came to be happier than anybody else who was living then. It is easy to believe this thing. She was telling some one, who was loving every story that was charming. Some one who was living was almost always listening. Some one who was loving was almost always listening. That one who was loving was almost always listening. That one who was loving was telling about being one then listening. That one being loving was then telling stories having a beginning and a middle and an ending. That one was then one always completely listening. Ada was then one and all her living then one completely telling stories that were charming, completely listening to stories having a beginning and a middle and an ending. Trembling was all living, living was all loving, some one was then the other one. Certainly this one was loving this Ada then. And certainly Ada all her living then was happier in living than any one else who ever could, who was, who is, who ever will be living.