Selected Writings of Gertrude Stein (37 page)
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Authors: Gertrude Stein
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 MAKING
OF AMERICANS
This is one of the
L
ECTURES IN
A
MERICA
delivered by Miss Stein during the season 1934–35 and published by Random House in 1935. The quotations from
T
HE
M
AKING OF
A
MERICANS
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 in 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.
Those of you who have read The Making of Americans I think will very certainly understand.
When I was young and I am talking of a period even before I went to college part of this talking consisted in a desire not only to hear what each one was saying in every way everybody has of saying it but also then of helping to change them and to help them change themselves.
I was very full of convictions in those days and I at that time thought that the passion I had for finding out by talking and listening just how everybody was always telling everything that was inside them that made them that one, that this passion for knowing the basis of existence in each one was in me to help them change themselves to become what they should become. The changing should of course be dependent upon my ideas and theirs theirs as much as mine at that time.
And so in those early days I wanted to know what was inside each one which made them that one and I was deeply convinced that I needed this to help them change something.
Then I went to college and there for a little while I was tremendously occupied with finding out what was inside myself to make me what I was. I think that does happen to one at that time. It had been happening before going to college but going to college made it more lively. And being so occupied with what made me myself inside me, made me perhaps not stop talking but for awhile it made me stop listening.
At any rate that is the way it seems to me now looking back at it.
While I was at college and doing philosophy and psychology I became more and more interested in my own mental and physical processes and less in that of others and all I then was learning of what made people what they were came to me by experience and not by talking and listening.
Then as I say I became more interested in psychology, and one of the things I did was testing reactions of the average
college student in a state of normal activity and in the state of fatigue induced by their examinations. I was supposed to be interested in their reactions but soon I found that I was not but instead that I was enormously interested in the types of their characters that is what I even then thought of as the bottom nature of them, and when in May 1898 I wrote my half of the report of these experiments I expressed these results as follows:
In these descriptions it will be readily observed that habits of attention are reflexes of the complete character of the individual.
Then that was over and I went to the medical school where I was bored and where once more myself and my experiences were more actively interesting me than the life inside of others.
But then after that once more I began to listen, I had left the medical school and I had for the moment nothing to do but talk and look and listen, and I did this tremendously.
I then began again to think about the bottom nature in people, I began to get enormously interested in hearing how everybody said the same thing over and over again with infinite variations but over and over again until finally if you listened with great intensity you could hear it rise and fall and tell all that that there was inside them, not so much by the actual words they said or the thoughts they had but the movement of their thoughts and words endlessly the same and endlessly different.
Many things then come out in the repeating that make a history of each one for any one who always listens to them. Many things come out of each one and as one listens to them listens to all the repeating in them, always this comes to be clear about them, the history of them of the bottom nature in them, the nature or natures mixed up in them to make the whole of them in anyway it mixes up in them. Sometimes then there will be a history of every one.
When you come to feel the whole of anyone from the beginning to the ending, all the kind of repeating
there is in them, the different ways at different times repeating comes out of them, all the kinds of things and mixtures in each one, anyone can see then by looking hard at any one living near them that a history of every one must be a long one. A history of any one must be a long one, slowly it comes out from them from their beginning to their ending, slowly you can see it in them the nature and the mixtures in them, slowly everything comes out from each one in the kind of repeating each one does in the different parts and kinds of living they have in them, slowly then the history of them comes out from them, slowly then any one who looks well at any one will have the history of the whole of that one. Slowly the history of each one comes out of each one. Sometimes then there will be a history of every one. Mostly every history will be a long one. Slowly it comes out of each one, slowly any one who looks at them gets the history of each part of the living of any one in the history of the whole of each one that sometime there will be of every one.
*
Repeating then is in every one, in every one their being and their feeling and their way of realizing everything and every one comes out of them in repeating. More and more then every one comes to be clear to some one.
Slowly every one in continuous repeating, to their minutest variation, comes to be clearer to some one. Every one who ever was or is or will be living sometimes will be clearly realized by some one. Sometime there will be an ordered history of every one. Slowly every kind of one comes into ordered recognition. More and more then it is wonderful in living the subtle variations coming clear into ordered recognition, coming to make every one a part of some kind of them, some kind of men and women. Repeating then is in every one, every one then comes sometimes to be clearer to some one, sometimes there will be
then an orderly history of every one who ever was or is or will be living.
†
Then I became very interested in resemblances, in resemblances and slight differences between people. I began to make charts of all the people I had ever known or seen, or met or remembered.
Every one is always busy with it, no one of them then ever want to know it that every one looks like some one else and they see it mostly every one dislikes to hear it. It is very important to me to always know it, to always see it which one looks like others and to tell it.—The Making of Americans, page 211. I write for myself and strangers, I do this for my own sake and for the sake of those who know I know it that they look like other ones, that they are separate and yet always repeated. There are some who like it that I know they are like many others and repeat it, there are many who never can really like it.
Every one is one inside them, every one reminds some one of some other one who is or was or will be living. Every one has it to say of each one he is like such a one I see it in him, every one has it to say of each one she is like some one else I can tell by remembering. So it goes on always in living, every one is always remembering some one who is resembling to the one at whom they are then looking. So they go on repeating, every one is themselves inside them and every one is resembling to others and that is always interesting.
‡
I began to see that as I saw when I saw so many students at college that all this was gradually taking form. I began to get very excited about it. I began to be sure that if I could only go on long enough and talk and hear and look and see and feel enough and long enough I could finally describe
really describe every kind of human being that ever was or is or would be living.
I got very wrapped up in all this. And I began writing The Making of Americans.
Let me read you some passages to show you how passionately and how desperately I felt about all this.
I am altogether a discouraged one. I am just now altogether a discouraged one. I am going on describing men and women.
§
I have been very glad to have been wrong. It is sometimes a very hard thing to win myself to having been wrong about something. I do a great deal of suffering.
?
I was sure that in a kind of a way the enigma of the universe could in this way be solved. That after all description is explanation, and if I went on and on and on enough I could describe every individual human being that could possibly exist. I did proceed to do as much as I could.
Sometime then there will be every kind of a history of every one who ever can or is or was or will be living. Sometime then there will be a history of every one from their beginning to their ending. Sometime then there will be a history of all of them, of every kind of them, of every one, of every bit of living they ever have in them, of them when there is never more than a beginning to them, of every kind of them, of every one when there is very little beginning and then there is an ending, there will then sometime be a history of every one there will be a history of everything that ever was or is or will be them, of everything that was or is or will be all of any one or all of all of them. Sometime then there will be a history of every one, or everything or anything that is all them or any part of them and sometime
then there will be a history of how anything or everything comes out for every one, comes out from every one or any one from the beginning to the ending of the being in them. Sometime then there must be a history of every one who ever was or is or will be living. As one sees every one in their living, in their loving, sitting, eating, drinking, sleeping, walking, working, thinking, laughing, as any one sees all of them from their beginning to their ending, sees them when they are little babies or children or young grown men and women or growing older men and women or old men and women then one knows it in them that sometime there will be a history of all of them, that sometime all of them will have the last touch of being, a history of them can give to them, sometime then there will be a history of each one, of all the kinds of them, of all the ways any one can know them, of all the ways each one is inside her or inside him, of all the ways anything of them comes out from them. Sometime then there will be a history of every one and so then every one will have in them the last touch of being a history of any one can give to them.
a
This is then a beginning of the way of knowing everything in every one, of knowing the complete history of each one who ever is or was or will be living. This is then a little description of the winning of so much wisdom.
b
Of course all the time things were happening that is in respect to my hearing and seeing and feeling. I found that as often as I thought and had every reason to be certain that I had included everything in my knowledge of any one something else would turn up that had to be included. I did not with this get at all discouraged I only became more and more interested. And I may say that I am still more and more interested I find as many things to be added now as ever
and that does make it eternally interesting. So I found myself getting deeper and deeper into the idea of describing really describing every individual that could exist.
While I was doing all this all unconsciously at the same time a matter of tenses and sentences came to fascinate me.
While I was listening and hearing and feeling the rhythm of each human being I gradually began to feel the difficulty of putting it down. Types of people I could put down but a whole human being felt at one and the same time, in other words while in the act of feeling that person was very difficult to put into words.
And so about the middle of The Making of Americans I became very consciously obsessed by this very definite problem.
It happens very often that a man has it in him, that a man does something, that he does it very often that he does many things, when he is a young man when he is an old man, when he is an older man. One of such of these kind of them had a little boy and this one, the little son wanted to make a collection of butterflies and beetles and it was all exciting to him and it was all arranged then and then the father said to the son you are certain this is not a cruel thing that you are wanting to be doing, killing things to make collections of them, and the son was very disturbed then and they talked about it together the two of them and more and more they talked about it then and then at last the boy was convinced it was a cruel thing and he said he would not do it and his father said the little boy was a noble boy to give up pleasure when it was a cruel one. The boy went to bed then and then the father when he got up in the early morning saw a wonderfully beautiful moth in the room and he caught him and he killed him and he pinned him and he woke up his son then and showed it to him and he said to him see what a good father I am to have caught and killed this one, the boy was all mixed up inside him
and then he said he would go on with his collecting and that was all there was then of discussing and this is a little description of something that happened once and it is very interesting.
c
And this brings us to the question of grammar. So let me talk a little about that.
You know by this time that although I do listen I do see I do hear I do feel that I do talk.
English grammar is interesting because it is so simple. Once you really know how to diagram a sentence really know it, you know practically all you have to know about English grammar. In short any child thirteen years old properly taught can by that time have learned everything there is to learn about English grammar. So why make a fuss about it. However one does.
It is this that makes the English language such a vital language that the grammar of it is so simple and that one does make a fuss about it.
When I was up against the difficulty of putting down the complete conception that I had of an individual, the complete rhythm of a personality that I had gradually acquired by listening seeing feeling and experience, I was faced by the trouble that I had acquired all this knowledge gradually but when I had it I had it completely at one time. Now that may never have been a trouble to you but it was a terrible trouble to me. And a great deal of The Making of Americans was a struggle to do this thing, to make a whole present of something that it had taken a great deal of time to find out, but it was a whole there then within me and as such it had to be said.
That then and ever since has been a great deal of my work and it is that which has made me try so many ways to tell my story.
In The Making of Americans I tried it in a variety of ways. And my sentences grew longer and longer, my imaginary dependent clauses were constantly being dropped out, I struggled with relations between they them and then, I began with
a relation between tenses that sometimes almost seemed to do it. And I went on and on and then one day after I had written a thousand pages, this was in 1908 I just did not go on any more.
I did however immediately begin again. I began A Long Gay Book, that was going to be even longer than The Making of Americans and was going to be even more complicated, but then something happened in me and I said in Composition As Explanation, so then naturally it was natural that one thing an enormously long thing was not everything an enormously short thing was also not everything nor was it all of it a continuous present thing nor was it always and always beginning again.
And so this is The Making of Americans. A book one thousand pages long, and I worked over it three years, and I hope this makes it a little more understandable to you.
As I say I began A Long Gay Book and it was to be even longer than The Making of Americans and it was to describe not only every possible kind of a human being, but every possible kind of pairs of human beings and every possible threes and fours and fives of human beings and every possible kind of crowds of human beings. And I was going to do it as A Long Gay Book and at the same time I began several shorter books which were to illustrate the Long Gay Book, one called Many Many Women another Five, another Two and another G.M.P., Matisse Picasso and Gertrude Stein, but the chief book was to be the Long Gay Book and that was in a kind of way to go on and to keep going on and to go on before and it began in this way.
When they are very little just only a baby you can never tell which one is to be a lady.
There are some when they feel it inside them that it has been with them that there was once so very little of them, that they were a baby, helpless and no conscious feeling in them, that they knew nothing then when they were kissed and dandled and fixed by others who knew them when they could know nothing inside them or around them, some get from
all this that once surely happened to them to that which was then every bit that was then them, there are some when they feel it later inside them that they were such once and that was all that there was then of them, there are some who have from such a knowing an uncertain curious kind of feeling in them that their having been so little once and knowing nothing makes it all a broken world for them that they have inside them, kills for them the everlasting feeling: and they spend their life in many ways, and always they are trying to make for themselves a new everlasting feeling.
One way perhaps of winning is to make a little one to come through them, little like the baby that once was all them and lost them their everlasting feeling. Some can win from just the feeling, the little one need not come, to give it to them.
And so always there is beginning and to some then a losing of the everlasting feeling. Then they make a baby to make for themselves a new beginning and so win for themselves a new everlasting feeling.
d
