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Gertrude Stein

· Gertrude Stein: Mrs. Whitehead · Gertrude Stein: Counting Her Dresses. A Play · Gertrude Stein: A Poem About Waldberg · Gertrude Stein: Roche · Gertrude Stein: “Reflection on the Atomic Bomb” · Centre Pompidou: Le Cubisme · Correspondence Pablo Picasso and Gertrude Stein · Gertrude Stein: Susie Asado

Gertrude Stein: Mrs. Whitehead

 

Mrs. Whitehead

But you like it.
They can’t any of them be quite as bad because they learned french but I never did.
He doesn’t look dead at all.
The wind might have blown him.
He comes from that direction. That’s the way.
They are not knotted. Have you smelt it. What would you suggest, your advice I have come across three or four.
So they are the others.
Separate them.
It does make one come, he is extraordinarily charming and endearing once of twice only twice I think.
He is not staying out that’s hard beside that what does he do.
That’s long for his mother.
She travelled from this rest. She crocheted from this nest.
She crocheted from this nest. I thought it wasn’t ever.
It’s one of my favorite ones this.
And yet not this.
Isn’t it funny.
It isn’t.
Break or breaking, very fair, break or very wanting.
I tried it this way before.
Very difficult to change extra places and yet I can agree. I can agree by that. I rest this piece of it and it’s nearly the same climate. I will tell you why they want a real door. They choose it.
They do so and very pure water. They are safe when they take a bath. Oh it is very. Oh it is.
In a way a vest.
I do think you get what you want.
Corrections.
It is eleven weeks from the middle of September. I glance in a way.
It is eleven weeks from the middle of September.
Total recollect others.
I glance at and I can recollect others. I make a division neatly, I close.
What is wrong with not blue. That is right with apples. Apples four. For. Fore.
Before that.
Next stretching.
Next for that leaf stretching.
I do not state leaf.
I like to beg very much stream.
Not exactly in state.
Understate.
All in so.
They expect all the blues to take of all the other families, the whites are extra they are beside all that, they make a little house and through and beside that they live in Paris.
Hardly enough for wood.
Not a color even.
By now a change of grass and wedding rings and all but the rest plan. I don’t care I won’t look.
I am not sure that yellow is good. I am tall.
Allow that. I don’t want any more out in conversation.
I can be careful.
Not within wearing it.
I cannot say to stay.
No please don’t get up.
And now that.
Yes I see.
Did you pay him for that whether for a spider and such splendor and indeed quitting. I meant to gather.
I see it I see it.
Please ocean spoke please Helen land please take it away.
I saw a spoken leave leaf and flowers made vegetables and foliage in soil. I saw representative mistakes and glass cups, I saw a whole appearance of respectable refugees, I did not ask actors I asked pearls, I did not choose to ask trains, I was satisfied with celebrated ransoms. I cannot deny Bertie Henschel is coming tomorrow. Saturdays are even. There is a regular principle, if you mention it you mention what happened.
What do you make of it.
You exceed all hope and all praise.

Stein, Gertrude
(1874-1946)
Mrs. Whitehead

fleursdumal.nl magazine

More in: Archive S-T, Archive S-T, Gertrude Stein, Stein, Gertrude


Gertrude Stein: Counting Her Dresses. A Play

Counting Her Dresses
A Play

 

Part I.

ACT I.

When they did not see me.

I saw them again.

I did not like it.

ACT II.

I count her dresses again.

ACT III.

Can you draw a dress.

ACT IV.

In a minute.

 

Part II.

ACT I.

Believe in your mistake.

ACT II.

Act quickly.

ACT III.

Do not mind the tooth.

ACT IV.

Do not be careless.

 

Part III.

ACT I.

I am careful.

ACT II.

Yes you are.

ACT III.

And obedient.

ACT IV.

Yes you are.

ACT V.

And industrious.

ACT VI.

Certainly.

 

Part IV.

ACT I.

Come to sing and sit.

ACT II.

Repeat it.

ACT III.

I repeat it.

 

Part V.

ACT I.

Can you speak quickly.

ACT II.

Can you cough.

ACT III.

Remember me to him.

ACT IV.

Remember that I want a cloak.

 

Part VI.

ACT I.

I know what I want to say. How do you do I forgive you everything and there is nothing to forgive.

 

Part VII.

ACT I.

The dog. You mean pale.

ACT II.

No we want dark brown.

ACT III.

I am tired of blue.

 

Part VIII.

ACT I.

Shall I wear my blue.

ACT II.

Do.

 

Part IX.

ACT I.

Thank you for the cow.

Thank you for the cow.

ACT II.

Thank you very much.

 

Part X.

ACT I.

Collecting her dresses.

ACT II.

Shall you be annoyed.

ACT III.

Not at all.

 

Part XI.

ACT I.

Can you be thankful.

ACT II.

For what.

ACT III.

For me.

 

Part XII.

ACT I.

I do not like this table.

ACT II.

I can understand that.

ACT III.

A feather.

ACT IV.

It weighs more than a feather.

 

Part XIII.

ACT I.

It is not tiring to count dresses.

 

Part XIV.

ACT I.

What is your belief.

 

Part XV.

ACT I.

In exchange for a table.

ACT II.

In exchange for or on a table.

ACT III.

We were satisfied.

 

Part XVI.

ACT I.

Can you say you like negro sculpture.

 

Part XVII.

ACT I.

The meaning of windows is air.

ACT II.

And a door.

ACT III.

A door should be closed.

 

Part XVIII.

ACT I.

Can you manage it.

ACT II.

You mean dresses.

ACT III.

Do I mean dresses.

 

Part XIX.

ACT I.

I mean one two three.

 

Part XX.

ACT I.

Can you spell quickly.

ACT II.

I can spell very quickly.

ACT III.

So can my sister-in-law.

ACT IV.

Can she.

 

Part XXI.

ACT I.

Have you any way of sitting.

ACT II.

You mean comfortably.

ACT III.

Naturally.

ACT IV.

I understand you.

 

Part XXII.

ACT I.

Are you afraid.

ACT II.

I am not any more afraid of water than they are.

ACT III.

Do not be insolent.

 

Part XXIII.

ACT I.

We need clothes.

ACT II.

And wool.

ACT III.

And gloves.

ACT IV.

And waterproofs.

 

Part XXIV.

ACT I.

Can you laugh at me.

ACT II.

And then say.

ACT III.

Married.

ACT IV.

Yes.

 

Part XXV.

ACT I.

Do you remember how he looked at clothes.

ACT II.

Do you remember what he said about wishing.

ACT III.

Do you remember all about it.

 

Part XXVI.

ACT I.

Oh yes.

ACT II.

You are stimulated.

ACT III.

And amused.

ACT IV.

We are.

 

Part XXVII.

ACT I.

What can I say that I am fond of.

ACT II.

I can see plenty of instances.

ACT III.

Can you.

 

Part XXVIII.

ACT I.

For that we will make an arrangement.

ACT II.

You mean some drawings.

ACT III.

Do I talk of art.

ACT IV.

All numbers are beautiful to me.

 

Part XXIX.

ACT I.

Of course they are.

ACT II.

Thursday.

ACT III.

We hope for Thursday.

ACT IV.

So do we.

 

Part XXX.

ACT I.

Was she angry.

ACT II.

Whom do you mean was she angry.

ACT III.

Was she angry with you.

 

Part XXXI.

ACT I.

Reflect more.

ACT II.

I do want a garden.

ACT III.

Do you.

ACT IV.

And clothes.

ACT V.

I do not mention clothes.

ACT VI.

No you didn’t but I do.

ACT VII.

Yes I know that.

 

Part XXXII.

ACT I.

He is tiring.

ACT II.

He is not tiring.

ACT III.

No indeed.

ACT IV.

I can count them.

ACT V.

You do not misunderstand me.

ACT VI.

I misunderstand no one.

 

Part XXXIII.

ACT I.

Can you explain my wishes.

ACT II.

In the morning.

ACT III.

To me.

ACT IV.

Yes in there.

ACT V.

Then you do not explain.

ACT VI.

I do not press for an answer.

 

Part XXXIV.

ACT I.

Can you expect her today.

ACT II.

We saw a dress.

ACT III.

We saw a man.

ACT IV.

Sarcasm.

 

Part XXXV.

ACT I.

We can be proud of tomorrow.

ACT II.

And the vests.

ACT III.

And the doors.

ACT IV.

I always remember the roads.

 

Part XXXVI.

ACT I.

Can you speak English.

ACT II.

In London.

ACT III.

And here.

ACT IV.

With me.

 

Part XXXVII.

ACT I.

Count her dresses.

ACT II.

Collect her dresses.

ACT III.

Clean her dresses.

ACT IV.

Have the system.

 

Part XXXVIII.

ACT I.

She polished the table.

ACT II.

Count her dresses again.

ACT III.

When can you come.

ACT IV.

When can you come.

 

Part XXXIX.

ACT I.

Breathe for me.

ACT II.

I can say that.

ACT III.

It isn’t funny.

ACT IV.

In the meantime.

 

Part XL.

ACT I.

Can you say.

ACT II.

What.

ACT III.

We have been told.

ACT IV.

Oh read that.

 

Part XLI.

ACT I.

I do not understand this home-coming.

ACT II.

In the evening.

ACT III.

Naturally.

ACT IV.

We have decided.

ACT V.

Indeed.

ACT VI.

If you wish.

 

Gertrude Stein
(1874-1946)
Counting Her Dresses.
A Play

fleursdumal.nl magazine

More in: Archive S-T, Archive S-T, Gertrude Stein, Stein, Gertrude, THEATRE


Gertrude Stein: A Poem About Waldberg

A Poem About Waldberg

What I am afraid of is that they will just attract an awful bombardment on themselves in which they will have to be supported.

Oh no they won’t do that.

I don’t think they will do that.

What I think is that I will have to reach the country before I ask myself the way to see the city.

I don’t mean this as a joke.

I know very well that I know all about nurses. Who doesn’t. And who would like to see children win. I love my boy very much. His mother feeds him. I can smile and think of it. We both laugh together. Altogether I have said to them keep still.

Curtains a japanese curtain.

Complete flowers.

I never use a pass.

Of course you wouldn’t.

You wouldn’t be careful enough. I don’t mean that.

How can I hear him speak. You don’t mean a victim. Eugene Paul. What is Walberg’s name.

I don’t care for him.

I am not sorry for her.

I do not have flowers here.

C A L I F O R N I A

Let me see. What do you say. They can take care of riches. Kiss my hand. Why. Because Russians are rich. All Russians are valuable. That is what I said.

I wish I could be as funny as he is.

Yes thank you I believe in Russia.

 

Gertrude Stein
(1874-1946)
A Poem About Waldberg

• fleursdumal.nl magazine

More in: Archive S-T, Archive S-T, Gertrude Stein, Stein, Gertrude


Gertrude Stein: Roche

Was one who certainly was one really being living, was this one a complete one, did that one completely have it to do very well something that that one certainly would be doing if that one could be doing something.

Yes that one was in a way a complete one, certainly he was one completely listening. Was that one one completely listening, was that one completely listening and certainly it was a pleasant thing if this one was one completely listening and certainly this one was completely listening and certainly it was a pleasant thing having this one listening and certainly if this one were one being one really completely listening it would then certainly be a completely pleasant thing.

Was this one a complete one? Certainly this one was one being living. This one was one certainly going to be quite beautifully doing something if this one really did this thing and certainly this one would be sometime doing this completely beautiful thing if this one is really a complete one.

This one certainly is not one who is weakening, who is not continuing well in working. This one certainly is not at all a weak one, that is certain. This one is certainly feeling, in being one being living. This one is certainly an honest one and it is certainly a pleasant thing to have this one listening. Certainly this one does not do very much talking. Certainly this one is liking very well to be knowing what any one doing anything is doing, in what way any one doing anything is doing that thing. This one is one certainly loving, doing a good deal of loving, certainly this one has been completely excited by such a thing, certainly this one had been completely dreaming about such a thing. Certainly this one is one who would be very pleasant to very many in loving.

This one is perhaps one who is perhaps to be sometime a complete one. This one is perhaps one who is perhaps not to be ever a complete one. This one certainly was often listening and this was then certainly a very pleasant thing. This one was perhaps one completely listening, certainly this one was one who was listening and it was then a very pleasant thing, certainly if this one were one completely listening it would be then a completely pleasant thing.

This one certainly would be doing a very beautiful thing if this one did do that beautiful thing. This one would certainly be steadily working to be doing that beautiful thing. This one would certainly not be slackening, not be stopping going on working, not be weakening in working, in making that beautiful thing. This one would be making that beautiful thing. If this one were making that beautiful thing it would be a very satisfying thing. This one would certainly be one completely making a beautiful thing if this one did make a beautiful thing. This one was not a weak man, this man was not an unsteady man, this man was not an aspiring man, this man was one certainly going to be making a beautiful thing if he did make a beautiful thing. This one certainly was listening and this was a very pleasant thing, this one was certainly one going to be doing a beautiful thing if this one is one who is a complete one.

This one is certainly one to be doing a beautiful thing if this one is going to be doing that thing. It is not disturbing to be wondering about this one going to be doing the beautiful thing, not really disturbing to that one, not really disturbing to any one. This one is steadily working. This one is listening and that is a pleasant thing. If this one were complete in listening that would be a completely pleasant thing. This one certainly is one steadily working to be doing a beautiful thing, this one certainly will be doing a beautiful thing if this one does that beautiful thing. This one is very nearly completely needing to be knowing what any one is doing who is doing something, how any one who is doing something is doing that thing. Certainly if this one is one really completely listening and certainly perhaps this one is one completely listening then that is a completely pleasant thing.

Stein, Gertrude
(1874-1946)
Roche

fleursdumal.nl magazine

More in: Archive S-T, Archive S-T, Gertrude Stein, Stein, Gertrude


Gertrude Stein: “Reflection on the Atomic Bomb”

They asked me what I thought of the atomic bomb. I said I had not been able to take any interest in it.

I like to read detective and mystery stories. I never get enough of them but whenever one of them is or was about death rays and atomic bombs I never could read them.

What is the use, if they are really as destructive as all that there is nothing left and if there is nothing there nobody to be interested and nothing to be interested about. If they are not as destructive as all that then they are just a little more or less destructive than other things and that means that in spite of all destruction there are always lots left on this earth to be interested or to be willing and the thing that destroys is just one of the things that concerns the people inventing it or the people starting it off, but really nobody else can do anything about it so you have to just live along like always, so you see the atomic [bomb] is not at all interesting, not any more interesting than any other machine, and machines are only interesting in being invented or in what they do, so why be interested.

I never could take any interest in the atomic bomb, I just couldn’t any more than in everybody’s secret weapon. That it has to be secret makes it dull and meaningless. Sure it will destroy a lot and kill a lot, but it’s the living that are interesting not the way of killing them, because if there were not a lot left living how could there be any interest in destruction.

Alright, that is the way I feel about it. They think they are interested about the atomic bomb but they really are not not any more than I am. Really not. They may be a little scared, I am not so scared, there is so much to be scared of so what is the use of bothering to be scared, and if you are not scared the atomic bomb is not interesting.

Everybody gets so much information all day long that they lose their common sense. They listen so much that they forget to be natural. This is a nice story.

Gertrude Stein, 1946
(First published in Yale Poetry Review, December 1947)

Stein, Gertrude
(1874-1946)
Reflection on the Atomic Bomb

fleursdumal.nl magazine

More in: Archive S-T, Archive S-T, Gertrude Stein, Stein, Gertrude, WAR & PEACE


Centre Pompidou: Le Cubisme

Pour la première fois en France depuis 1953, le Centre Pompidou consacre une exposition au cubisme au travers d’un vaste panorama de l’histoire du mouvement à Paris entre 1907 et 1917.

 

L’originalité du projet consiste à élargir la vision traditionnellement concentrée sur les grands noms du mouvement, Georges Braque, Juan Gris, Fernand Léger et Pablo Picasso, aux cubistes secondaires, comme Gleizes et Metzinger, ou différents tels Robert et Sonia Delaunay, Marcel Duchamp ou Francis Picabia, qui exposaient dans les salons officiels parisiens   lorsque les pionniers réservaient leurs créations expérimentales à un seul jeune marchand inconnu, Daniel-Henry Kahnweiler.

Riche de trois cents œuvres et de documents significatifs de son rayonnement, la présentation s’articule chronologiquement en quatorze chapitres où se détachent des chefs-d’œuvre comme le Portrait de Gertrude Stein (1905-1906) ou ceux d’Ambroise Vollard (1909) et de Daniel-Henry Kahnweiler (1910) par Picasso et des ensembles de peintures et de sculptures, jamais réunies. Elles mettent en valeur l’évolution à rebondissements du cubisme, remontant aux sources primitivistes (avec des sculptures tribales collectionnées par les artistes), et à la fascination des cubistes pour Gauguin et Cézanne. Elles reflètent la progression formelle du mouvement, d’une première étape cézannienne (avec la présence de l’exceptionnelle nature morte de Picasso, Pains et compotier sur une table, 1909) vers une transcription analytique hermétique (1910-1912) transformée en version plus synthétique (1913-1917), qui marque le retour de la représentation et de la couleur.

La part la plus révolutionnaire du cubisme – l’invention des papiers collés, des collages et des constructions de Braque, Picasso, Gris et Henri Laurens – est représentée par des grandes icônes de l’art du 20e siècle, comme la Nature morte à la chaise cannée de Picasso (1912) ou sa Guitare en tôle et fils de fer (1914). D’autres aspects illustrent l’importance et le prestige de la constellation cubiste : les liens avec la littérature sont retracés dans une salle dédiée aux critiques et aux poètes, incarnés par les portraits les plus marquants de Max Jacob ou d’Apollinaire, par le Douanier Rousseau et Marie Laurencin, les éditions Kahnweiler de livres cubistes, la collaboration entre les Delaunay et Blaise Cendrars autour de La Prose du Transsibérien en 1913, etc. La tragédie de la Grande Guerre (1914-1918) qui mobilise ou exile les artistes et leurs soutiens est retracée par des œuvres des artistes du front (Raymond Duchamp-Villon, Fernand Léger) ou de l’arrière parce qu’étrangers (Pablo Picasso, Cartes à jouer, verres, bouteille de rhum, « Vive la France », 1914-1915) qui témoignent de l’inévitable stérilisation du mouvement frappé par l’histoire (Marc Chagall, Les Portes du cimetière, 1917). La fin du parcours témoigne à la fois de la renaissance des rescapés comme Braque (La Musicienne, 1917-1918) et de l’influence exercée par le cubisme sur ses contemporains, comme Henri Matisse (Porte-fenêtre à Collioure, 1914) et ses héritiers abstraits (Piet Mondrian, Composition n°IV, 1914), Kasimir Malévitch, Croix noire, 1915 ou contestataires (Marcel Duchamp, Roue de bicyclette, 1913/1964), tous tributaires de la révolution cubiste.

Avec le soutien exceptionnel du Musée national Picasso-Paris
L’exposition est coproduite avec le Kunstmuseum de Bâle

# website centre pompidou

Expositions
Le cubisme

17 oct. 2018 – 25 févr. 2019 de 11h à 21h
Galerie 1 – Centre Pompidou, Paris

Centre Pompidou
Place Georges Pompidou, 75004 Paris

# Le Cubisme
Exposition Centre Pompidou
fleursdumal.nl magazine

More in: Art & Literature News, Art Criticism, Exhibition Archive, Gertrude Stein, Kubisme, Marcel Duchamp, Pablo Picasso, Piet Mondriaan, Sculpture


Correspondence Pablo Picasso and Gertrude Stein

Pablo Picasso and Gertrude Stein. Few can be said to have had as broad an impact on European art in the twentieth century as these two cultural giants.

Pablo Picasso, a pioneering visual artist, created a prolific and widely influential body of work.

Gertrude Stein, an intellectual tastemaker, hosted the leading salon for artists and writers between the wars in her Paris apartment, welcoming Henri Matisse, Ernest Hemingway, and Ezra Pound to weekly events at her home to discuss art and literature.

It comes as no surprise, then, that Picasso and Stein were fast friends and frequent confidantes. Through Picasso and Stein’s casual notes and reflective letters, this volume of correspondence between the two captures Paris both in the golden age of the early twentieth century and in one of its darkest hours, the Nazi occupation through mentions of dinner parties, lovers, work, and the crises of the two world wars. Illustrated with photographs and postcards, as well as drawings and paintings by Picasso, this collection captures an exhilarating period in European culture through the minds of two artistic greats.

Correspondence
Pablo Picasso and Gertrude Stein
Paper $27.50
ISBN: 9780857425850
Published September 2018
Cloth $29.95
ISBN: 9781905422913
Published November 2008
Distributed for Seagull Books
Edited by Laurence Madeline.
Translated by Lorna Scott Fox.
390 pages
Biography and Letters
Illustrations

new books
Pablo Picasso and Gertrude Stein
fleursdumal.nl magazine

More in: - Book News, - Bookstores, Archive O-P, Archive S-T, Art & Literature News, Gertrude Stein, Pablo Picasso, Stein, Gertrude


Gertrude Stein: Susie Asado

 

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 shine and a bobolink has pins. It shows a nail.
What is a nail. A nail is unison.
Sweet sweet sweet sweet sweet tea.

 

Stein, Gertrude
(1874-1946)
Susie Asado

fleursdumal.nl magazine

More in: Archive S-T, Archive S-T, Gertrude Stein, Stein, Gertrude


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