Chapter 7 After the War 1919–1932

We were, in these days as I look back at them, constantly seeing people.

It is a confused memory those first years after the war and very difficult to think back and remember what happened before or after something else. Picasso once said, I have already told, when Gertrude Stein and he were discussing dates, you forget that when we were young an awful lot happened in a year. During the years just after the war as I look in order to refresh my memory over the bibliography² of Gertrude Stein’s work, I am astonished when I realise how many things happened in a year. Perhaps we were not so young then but there were a great many young in the world and perhaps that comes to the same thing.

The old crowd had disappeared. Matisse was now permanently³ in Nice and in any case although Gertrude Stein and he were perfectly⁴ good friends when they met, they practically never met. This was the time when Gertrude Stein and Picasso were not seeing each other. They always talked with the tenderest friendship about each other to any one who had known them both but they did not see each other. Guillaume Apollinaire was dead. Braque and his wife we saw from time to time, he and Picasso by this time were fairly bitterly on the outs. I remember one evening Man Ray brought a photograph that he had made of Picasso to the house and Braque happened to be there. The photograph was being passed around and when it came to Braque he looked at it and said, I ought to know who that gentleman is, je dois conna?tre ce monsieur. It was a period this and a very considerable time afterward⁵ that Gertrude Stein celebrated⁶ under the title, Of Having for a Long Time Not Continued to be Friends.

Juan Gris was ill and discouraged. He had been very ill and was never really well again. Privation and discouragement had had their effect. Kahnweiler came back to Paris fairly early after the war but all his old crowd with the exception of Juan were too successful to have need of him. Mildred Aldrich had had her tremendous success with the Hilltop on the Marne, in Mildred’s way she had spent royally all she had earned royally and was now still spending and enjoying it although getting a little uneasy. We used to go out and see her about once a month, in fact all the rest of her life we always managed to get out to see her regularly. Even in the days of her very greatest glory she loved a visit from Gertrude Stein better than a visit from anybody else. In fact it was largely to please Mildred that Gertrude Stein tried to get the Atlantic Monthly to print something of hers. Mildred always felt and said that it would be a blue ribbon if the Atlantic Monthly consented, which of course it never did. Another thing used to annoy Mildred dreadfully. Gertrude Stein’s name was never in Who’s Who in America. As a matter of fact it was in english authors’ bibliographies⁸ before it ever entered an american one. This troubled Mildred very much. I hate to look at Who’s Who in America, she said to me, when I see all those insignificant⁹ people and Gertrude’s name not in. And then she would say, I know it’s alright but I wish Gertrude were not so outlawed¹⁰. Poor Mildred. And now just this year for reasons best known to themselves Who’s Who has added Gertrude Stein’s name to their list. The Atlantic Monthly needless to say has not.

The Atlantic Monthly story is rather funny.

As I said Gertrude Stein sent the Atlantic Monthly some manuscripts, not with any hope of their accepting them, but if by any miracle they should, she would be pleased and Mildred delighted. An answer came back, a long and rather argumentative answer from the editorial office. Gertrude Stein thinking that some Boston woman in the editorial office had written, answered the arguments lengthily¹¹ to Miss Ellen Sedgwick. She received an almost immediate¹² answer meeting all her arguments and at the same time admitting that the matter was not without interest but that of course Atlantic Monthly readers could not be affronted¹³ by having these manuscripts presented in the review, but it might be possible to have them introduced by somebody in the part of the magazine, if I remember rightly, called the Contributors’ Club. The letter ended by saying that the writer was not Ellen but Ellery Sedgwick.

Gertrude Stein of course was delighted with its being Ellery and not Ellen and accepted being printed in the Contributors’ Club, but equally of course the manuscripts did not appear even in the part called Contributors’ Club.

We began to meet new people all the time.

Some one told us, I have forgotten who, that an american woman had started a lending library of english books in our quarter. We had in those days of economy given up Mu-die’s, but there was the American Library which supplied us a little, but Gertrude Stein wanted more. We investigated and we found Sylvia Beach. Sylvia Beach was very enthusiastic about Gertrude Stein and they became friends. She was Sylvia Beach’s first annual subscriber¹⁴ and Sylvia Beach was proportionately proud and grateful. Her little place was in a little street near the Ecole de Médecine. It was not then much frequented by americans. There was the author of Beebie the Beebeist and there was the niece of Marcel Schwob and there were a few stray irish poets. We saw a good deal of Sylvia those days, she used to come to the house and also go out into the country with us in the old car. We met Adrienne Monnier and she brought Valéry Larbaud to the house and they were all very interested in Three Lives and Valéry Larbaud, so we understood, meditated¹⁶ translating it. It was at this time that Tristan Tzara first appeared in Paris. Adrienne Monnier was much excited by his advent¹⁷. Picabia had found him in Switzerland during the war and they had together created dadaism, and out of dadaism, with a great deal of struggle and quarrelling came surréalisme.

Tzara came to the house, I imagine Picabia brought him but I am not quite certain. I have always found it very difficult to understand the stories of his violence and his wickedness, at least I found it difficult then because Tzara when he came to the house sat beside me at the tea table and talked to me like a pleasant and not very exciting cousin.

Adrienne Monnier wanted Sylvia to move to the rue¹⁸ de l’Odéon and Sylvia hesitated but finally she did so and as a matter of fact we did not see her very often afterward. They gave a party just after Sylvia moved in and we went and there Gertrude Stein first discovered that she had a young Oxford¹⁹ following. There were several young Oxford men there and they were awfully²¹ pleased to meet her and they asked her to give them some manuscripts and they published them that year nineteen twenty, in the Oxford Magazine.

Sylvia Beach from time to time brought groups of people to the house, groups of young writers and some older women with them. It was at that time that Ezra Pound came, no that was brought about in another way. She later ceased coming to the house but she sent word that Sherwood Anderson had come to Paris and wanted to see Gertrude Stein and might he come. Gertrude Stein sent back word that she would be very pleased and he came with his wife and Rosenfeld, the musical critic.

For some reason or other I was not present on this occasion, some domestic complication in all probability, at any rate when I did come home Gertrude Stein was moved and pleased as she has very rarely been. Gertrude Stein was in those days a little bitter, all her unpublished manuscripts, and no hope of publication or serious recognition. Sherwood Anderson came and quite simply and directly as is his way told her what he thought of her work and what it had meant to him in his development. He told it to her then and what was even rarer he told it in print immediately after. Gertrude Stein and Sherwood Anderson have always been the best of friends but I do not believe even he realises how much his visit meant to her. It was he who thereupon wrote the introduction to Geography and Plays.

In those days you met anybody anywhere. The Jewetts were an american couple who owned a tenth century chateau²² near Perpignan. We had met them there during the war and when they came to Paris we went to see them. There we met first Man Ray and later Robert Coates, how either of them happened to get there I do not know.

There were a lot of people in the room when we came in and soon Gertrude Stein was talking to a little man who sat in the corner. As we went out she made an engagement with him. She said he was a photographer and seemed interesting, and reminded me that Jeanne Cook, William Cook’s wife, wanted her picture taken to send to Cook’s people in America. We all three went to Man Ray’s hotel. It was one of the little, tiny hotels in the rue Delambre and Man Ray had one of the small rooms, but I have never seen any space, not even a ship’s cabin, with so many things in it and the things so admirably disposed. He had a bed, he had three large cameras, he had several kinds of lighting²³, he had a window screen, and in a little closet he did all his developing. He showed us pictures of Marcel Duchamp and a lot of other people and he asked if he might come and take photographs of the studio and of Gertrude Stein. He did and he also took some of me and we were very pleased with the result. He has at intervals²⁴ taken pictures of Gertrude Stein and she is always fascinated with his way of using lights. She always comes home very pleased. One day she told him that she liked his photographs of her better than any that had ever been taken except one snap shot I had taken of her recently. This seemed to bother Man Ray. In a little while he asked her to come and pose and she did. He said, move all you like, your eyes, your head, it is to be a pose but it is to have in it all the qualities of a snap shot. The poses were very long, she, as he requested, moved, and the result, the last photographs he made of her, are extraordinarily²⁵ interesting.

Robert Coates we also met at the Jewetts’ in those early days just after the war. I remember the day very well. It was a cold, dark day, on an upper floor of a hotel. There were a number of young men there and suddenly Gertrude Stein said she had forgotten to put the light on her car and she did not want another fine, we had just had one because I had blown the klaxon at a policeman trying to get him out of our way and she had received one by going the wrong way around a post. Alright, said a red-haired young man and immediately he was down and back. The light is on, he announced. How did you know which my car was, asked Gertrude Stein. Oh I knew, said Coates. We always liked Coates. It is extraordinary in wandering about Paris how very few people you know you meet, but we often met Coates hatless and red-headed in the most unexpected places. This was just about the time of Broom, about which I will tell very soon, and Gertrude Stein took a very deep interest in Coates’ work as soon as he showed it to her. She said he was the one young man who had an individual rhythm, his words made a sound to the eyes, most people’s words do not. We also liked Coates’ address, the City Hotel, on the island, and we liked all his ways.

Gertrude Stein was delighted with the scheme of study that he prepared for the Guggenheim prize. Unfortunately, the scheme of study, which was a most charming little novel, with Gertrude Stein as a backer, did not win a prize.

As I have said there was Broom.

Before the war we had known a young fellow, not known him much but a little; Elmer Harden, who was in Paris studying music. During the war we heard that Elmer Harden had joined the french army and had been badly wounded. It was rather an amazing story. Elmer Harden had been nursing french wounded in the american hospital and one of his patients, a captain with an arm fairly disabled, was going back to the front. Elmer Harden could not content himself any longer nursing. He said to Captain Peter, I am going with you. But it is impossible, said Captain Peter. But I am, said Elmer stubbornly. So they took a taxi and they went to the war office and to a dentist and I don’t know where else, but by the end of the week Captain Peter had rejoined and Elmer Harden was in his regiment²⁶ as a soldier. He fought well and was wounded. After the war we met him again and then we met often. He and the lovely flowers he used to send us were a great comfort in those days just after the peace. He and I always say that he and I will be the last people of our generation to remember the war. I am afraid we both of us have already forgotten it a little. Only the other day though Elmer announced that he had had a great triumph, he had made Captain Peter and Captain Peter is a breton admit that it was a nice war. Up to this time when he had said to Captain Peter, it was a nice war, Captain Peter had not answered, but this time when Elmer said, it was a nice war, Captain Peter said, yes Elmer, it was a nice war.

Kate Buss came from the same town as Elmer, from Medford, Mass. She was in Paris and she came to see us. I do not think Elmer introduced her but she did come to see us. She was much interested in the writings of Gertrude Stein and owned everything that up to that time could be bought. She brought Kreymborg to see us. Kreymborg had come to Paris with Harold Loeb to start Broom. Kreymborg and his wife came to the house frequently. He wanted very mum to run The Long Gay Book, the thing Gertrude Stein had written just after The Making of Americans, as a serial²⁷. Of course Harold Loeb would not consent to that. Kreymborg used to read out the sentences from this book with great gusto. He and Gertrude Stein had a bond of union beside their mutual²⁸ liking²⁹ because the Grafton Press that had printed Three Lives had printed his first book and about the same time.

Kate Buss brought lots of people to the house. She brought Djuna Barnes and Mina Loy and they had wanted to bring James Joyce but they didn’t. We were glad to see Mina whom we had known in Florence as Mina Haweis. Mina brought Glenway Wescott on his first trip to Europe. Glen-way impressed us greatly by his english accent. Hemingway explained. He said, when you matriculate at the University of Chicago you write down just what accent you will have and they give it to you when you graduate. You can have a sixteenth century or modern, whatever you like. Glenway left behind him a silk cigarette case with his initials, we kept it until he came back again and then gave it to him.

Mina also brought Robert McAlmon. McAlmon was very nice in those days, very mature and very good-looking. It was much later that he published The Making of Americans in the Contact press and that everybody quarrelled. But that is Paris, except that as a matter of fact Gertrude Stein and he never became friends again.

Kate Buss brought Ernest Walsh, he was very young then and very feverish³⁰ and she was very worried about him. We met him later with Hemingway and then in Belley, but we never knew him very well.

We met Ezra Pound at Grace Lounsbery’s house, he came home to dinner with us and he stayed and he talked about japanese prints among other things. Gertrude Stein liked him but did not find him amusing. She said he was a village explainer, excellent if you were a village, but if you were not, not. Ezra also talked about T. S. Eliot. It was the first time any one had talked about T.S. at the house. Pretty soon everybody talked about T.S. Kitty Buss talked about him and much later Hemingway talked about him as the Major. Considerably³¹ later Lady Rothermere talked about him and invited Gertrude Stein to come and meet him. They were founding the Criterion. We had met Lady Rothermera through Muriel Draper whom we had seen again for the first time after many years. Gertrude Stein was not particularly anxious to go to Lady Rothermere’s and meet T. S. Eliot, but we all insisted she should, and she gave a doubtful yes. I had no evening dress to wear for this occasion and started to make one. The bell rang and in walked Lady Rothermere and T.S.

Eliot and Gertrude Stein had a solemn conversation, mostly about split infinitives³² and other grammatical solecisms and why Gertrude Stein used them. Finally Lady Rothermere and Eliot rose to go and Eliot said that if he printed anything of Gertrude Stein’s in the Criterion it would have to be her very latest thing. They left and Gertrude Stein said, don’t bother to finish your dress, now we don’t have to go, and she began to write a portrait of T. S. Eliot and called it the fifteenth of November, that being this day and so there could be no doubt but that it was her latest thing. It was all about wool is wool and silk is silk or wool is woollen and silk is silken. She sent it to T. S. Eliot and he accepted it but naturally he did not print it.

Then began a long correspondence, not between Gertrude Stein and T. S. Eliot, but between T. S. Eliot’s secretary and myself. We each addressed the other as Sir, I signing myself A. B. Toklas and she signing initials. It was only considerably afterwards that I found out that his secretary was not a young man. I don’t know whether she ever found out that I was not.

In spite of all this correspondence nothing happened and Gertrude Stein mischievously³³ told the story to all the english people coming to the house and at that moment there were a great many english coming in and out. At any rate finally there was a note, it was now early spring, from the Criterion asking would Miss Stein mind if her contribution appeared in the October number. She replied that nothing could be more suitable than the fifteenth of November on the fifteenth of October.

Once more a long silence and then this time came proof of the article. We were surprised but returned the proof promptly³⁴. Apparently³⁵ a young man had sent it without authority because very shortly came an apologetic letter saying that there had been a mistake, the article was not to be printed just yet. This was also told to the passing english with the result that after all it was printed. Thereafter it was reprinted in the Georgian Stories. Gertrude Stein was delighted when later she was told that Eliot had said in Cambridge that the work of Gertrude Stein was very fine but not for us.

But to come back to Ezra. Ezra did come back and he came back with the editor of The Dial. This time it was worse than japanese prints, it was much more violent. In his surprise at the violence Ezra fell out of Gertrude Stein’s favourite little armchair, the one I have since tapestried³⁶ with Picasso designs, and Gertrude Stein was furious. Finally Ezra and the editor of The Dial left, nobody too well pleased. Gertrude Stein did not want to see Ezra again. Ezra did not quite see why. He met Gertrude Stein one day near the Luxembourg gardens and said, but I do want to come to see you. I am so sorry, answered Gertrude Stein, but Miss Toklas has a bad tooth and beside we are busy picking wild flowers. All of which was literally³⁷ true, like all of Gertrude Stein’s literature, but it upset Ezra, and we never saw him again.

During these months after the war we were one day going down a little street and saw a man looking in at a window and going backwards³⁸ and forwards and right and left and otherwise behaving strangely. Lipschitz, said Gertrude Stein. Yes, said Lipschitz, I am buying an iron cock. Where is it, we asked. Why in there, he said, and in there it was. Gertrude Stein had known Lipschitz very slightly at one time but this incident made them friends and soon he asked her to pose. He had just finished a bust³⁹ of Jean Cocteau and he wanted to do her. She never minds posing, she likes the calm of it and although she does not like sculpture and told Lipschitz so, she began to pose. I remember it was a very hot spring and Lipschitz’s studio was appallingly⁴⁰ hot and they spent hours there.

Lipschitz is an excellent gossip and Gertrude Stein adores the beginning and middle and end of a story and Lipschitz was able to supply several missing parts of several stories.

And then they talked about art, and Gertrude Stein rather liked her portrait and they were very good friends and the sittings were over.

One day we were across town at a picture show and somebody came up to Gertrude Stein and said something. She said, wiping her forehead, it is hot. He said he was a friend of Lipschitz and she answered, yes it was hot there. Lipschitz was to bring her some photographs of the head he had done but he did not and we were awfully busy and Gertrude Stein sometimes wondered why Lipschitz did not come. Somebody wanted the photos so she wrote to him to bring them. He came. She said why did you not come before. He said he did not come before because he had been told by some one to whom she had said it, that she was bored sitting for him. Oh hell, she said, listen I am fairly well known for saying things about any one and anything, I say them about people, I say them to people, I say them when I please and how I please but as I mostly say what I think, the least that you or anybody else can do is to rest content with what I say to you. He seemed very content and they talked happily and pleasantly and they said a bient?t, we will meet soon. Lipschitz left and we did not see him for several years.

Then Jane Heap turned up and wanted to take some of Lipschitz’s things to America and she wanted Gertrude Stein to come and choose them. But how can I, said Gertrude Stein, when Lipschitz is very evidently angry, I am sure I have not the slightest idea why or how but he is. Jane Heap said that Lipschitz said that he was fonder of Gertrude Stein than he was of almost anybody and was heart broken at not seeing her. Oh, said Gertrude Stein, I am very fond of him. Sure I will go with you. She went, they embraced tenderly and had a happy time and her only revenge was in parting to say to Lipschitz, a très bient?t. And Lipschitz said, comme vous êtes méchante. They have been excellent friends ever since and Gertrude Stein has done of Lipschitz one of her most lovely portraits but they have never spoken of the quarrel and if he knows what happened the second time she does not.

It was through Lipschitz that Gertrude Stein again met Jean Cocteau. Lipschitz had told Gertrude Stein a thing which she did not know, that Cocteau in his Potomak had spoken of and quoted The Portrait of Mabel Dodge⁴². She was naturally very pleased as Cocteau was the first french writer to speak of her work. They met once or twice and began a friendship that consists in their writing to each other quite often and liking each other immensely and havlng many young and old friends in common, but not in meeting.

Jo Davidson too sculptured Gertrude Stein at this time. There, all was peaceful, Jo was witty⁴³ and amusing and he pleased Gertrude Stein. I cannot remember who came in and out, whether they were real or whether they were sculptured but there were a great many. There were among others Lincoln Steffens and in some queer way he is associated with the beginning of our seeing a good deal of Janet Scudder but I do not well remember just what happened.

I do however remember very well the first time I ever heard Janet Scudder’s voice. It was way back when I first came to Paris and my friend and I had a little apartment in the rue Notre–Dame-des-Champs. My friend in the enthusiasm of seeing other people enthusiastic had bought a Matisse and it had just been hung on the wall. Mildred Aldrich was calling on us, it was a warm spring afternoon and Mildred was leaning out of the window. I suddenly heard her say, Janet, Janet come up here. What is it, said a very lovely drawling voice. I want you to come up here and meet my friends Harriet and Mice and I want you to come up and see their new apartment. Oh, said the voice. And then Mildred said, and they have a new big Matisse. Come up and see it. I don’t think so, said the voice.

Janet did later see a great deal of Matisse when he lived out in Clamart. And Gertrude Stein and she had always been friends, at least ever since the period when they first began to see a good deal of each other.

Like Doctor Claribel Cone⁴⁴, Janet, always insisting that she understands none of it, reads and feels Gertrude Stein’s work and reads it aloud understandingly.

We were going to the valley of the Rh?ne for the first time since the war and Janet and a friend in a duplicate Godiva were to come too. I will tell about this very soon.

During all these restless months we were also trying to get Mildred Aldrich the legion of honour. After the war was over a great many war-workers were given the legion of honour but they were all members of organisations and Mildred Aldrich was not. Gertrude Stein was very anxious that Mildred Aldrich should have it. In the first place she thought she ought, no one else had done as much propaganda for France as she had by her books which everybody in America read, and beside she knew Mildred would like it. So we began the campaign. It was not a very easy thing to accomplish as naturally the organisations had the most influence. We started different people going. We began to get lists of prominent americans and asked them to sign. They did not refuse, but a list in itself helps, but does not accomplish results. Mr. Jaccacci who had a great admiration⁴⁶ for Miss Aldrich was very helpful but all the people that he knew wanted things for themselves first. We got the American Legion interested at least two of the colonels, but they also had other names that had to pass first. We had seen and talked to and interested everybody and everybody promised and nothing happened. Finally we met a senator. He would be helpful but then senators were busy and then one afternoon we met the senator’s secretary. Gertrude Stein drove the senator’s secretary home in Godiva.

As it turned out the senator’s secretary had tried to learn to drive a car and had not succeeded. The way in which Gertrude Stein made her way through Paris traffic with the ease and indifference⁴⁷ of a chauffeur⁴⁸, and was at the same time a well known author impressed her immensely. She said she would get Mildred Aldrich’s papers out of the pigeon hole in which they were probably reposing⁴⁹ and she did. Very shortly after the mayor of Mildred’s village called upon her one morning on official business. He presented her with the preliminary papers to be signed for the legion of honour. He said to her, you must remember, Mademoiselle, these matters often start but do not get themselves accomplished⁵⁰. So you must be prepared for disappointment. Mildred answered quietly, monsieur le maire, if my friends have started a matter of this kind they will see to it that it is accomplished. And it was. When we arrived at Avignon on our way to Saint-Rémy there was a telegram telling us that Mildred had her decoration. We were delighted and Mildred Aldrich to the day of her death never lost her pride and pleasure in her honour.

During these early restless years after the war Gertrude Stein worked a great deal. Not as in the old days, night after night, but anywhere, in between visits, in the automobile⁵¹ while she was waiting in the street while I did errands, while posing. She was particularly fond in these days of working in the automobile while it stood in the crowded streets.

It was then that she wrote. Finer Than Melanctha as a joke. Harold Loeb, at that time editing Broom all by himself, said he would like to have something of hers that would be as fine as Melanctha, her early negro story in Three Lives.

She was much influenced by the sound of the streets and the movement of the automobiles⁵². She also liked then to set a sentence for herself as a sort of tuning⁵³ fork and metronome and then write to that time and tune⁵⁴. Mildred’s Thoughts, published in The American Caravan⁵⁵, was one of these experiments she thought most successful. The Birthplace of Bonnes, published in The Little Review, was another one. Moral Tales of 1920–1921, American Biography, and One Hundred Prominent Men, when as she said she created out of her imagination one hundred men equally men and all equally prominent were written then. These two were later printed in Useful Knowledge.

It was also about this time that Harry⁵⁶ Gibb came back to Paris for a short while. He was very anxious that Gertrude Stein should publish a book of her work showing what she had been doing in those years. Not a little book, he kept saying, a big book, something they can get their teeth into. You must do it, he used to say. But no publisher will look at it now that John Lane is no longer active, she said. It makes no difference, said Harry Gibb violently, it is the essence of the thing, that they must see and you must have a lot of things printed, and then turning to me he said, Alice you do it. I knew he was right and that it had to be done. But how.

I talked to Kate Buss about it and she suggested the Four Seas Company who had done a little book for her. I began a correspondence with Mr. Brown, Honest to God Brown as Gertrude Stein called him in imitation of William Cook’s phrase when everything was going particularly wrong. The arrangements with Honest to God having finally been made we left for the south in July, nineteen twenty-two.

We started off in Godiva, the runabout ford²⁰ and followed by Janet Scudder in a second Godiva accompanied by Mrs. Lane. They were going to Grasse to buy themselves a home, they finally bought one near Aix-en-Provence. And we were going to Saint-Rémy to visit in peace the country we had loved during the war.

We were only a hundred or so kilometers from Paris when Janet Scudder tooted her horn which was the signal agreed upon for us to stop and wait. Janet came alongside. I think, said she solemnly, Gertrude Stein always called her The Doughboy, she always said there were only two perfectly solemn things on earth, the doughboy and Janet Scudder. Janet had also, Gertrude Stein always said, all the subtlety⁵⁷ of the doughboy and all his nice ways and all his lonesomeness. Janet came alongside, I think, she said solemnly, we are not on the right road, it says Paris–Perpignan and I want to go to Grasse.

Anyway at the time we got no further than Lorne and there we suddenly realised how tired we were. We were just tired.

We suggested that the others should move on to Grasse but they said they too would wait and we all waited. It was the first time we had just stayed still since Palma de Mallorca, since 1916. Finally we moved slowly on to Saint-Rémy and they went further to Grasse and then came back. They asked us what we were going to do and we answered, nothing just stay here. So they went off again and bought a property in Aix-en-Provence.

Janet Scudder, as Gertrude Stein always said, had the real pioneer’s passion for buying useless real estate. In every little town we stopped on the way Janet would find a piece of property that she considered purchasable and Gertrude Stein, violently protesting, got her away. She wanted to buy property everywhere except in Grasse where she had gone to buy property. She finally did buy a house and grounds in Aix-en-Provence after insisting on Gertrude Stein’s seeing it who told her not to and telegraphed no and telephoned no. However Janet did buy it but luckily after a year she was able to get rid of it. During that year we stayed quietly in Saint-Rémy.

We had intended staying only a month or two but we stayed all winter. With the exception of an occasional interchange of visits with Janet Scudder we saw no one except the people of the country. We went to Avignon to shop, we went now and then into the country we had known so well but for the most part we wandered around Saint-Rémy, we went up into the Alpilles, the little hills that Gertrude Stein described over and over again in the writing of that winter, we watched the enormous flocks of sheep going up into the mountains led by the donkeys and their water bottles, we sat above the roman monuments and we went often to Les Baux. The hotel was not very comfortable but we stayed on. The valley of the Rh?ne was once more exercising its spell over us.

It was during this winter that Gertrude Stein meditated upon the use of grammar, poetical⁵⁸ forms and what might be termed landscape plays.

It was at this time that she wrote Elucidation⁵⁹, printed in transition in nineteen twenty-seven. It was her first effort to state her problems of expression and her attempts to answer them. It was her first effort to realise clearly just what her writing meant and why it was as it was. Later on much later she wrote her treatises⁶⁰ on grammar, sentences, paragraphs, vocabulary etcetera, which I have printed in Plain Edition under the title of How To Write.

It was in Saint-Rémy and during this winter that she wrote the poetry that has so greatly influenced the younger generation. Her Capital Capitals, Virgil Thomson has put to music. Lend a Hand or Four Religions has been printed in Useful Knowledge. This play has always interested her immensely, it was the first attempt that later made her Operas and Plays, the first conception of landscape as a play. She also at that time wrote the Valentine to Sherwood Anderson, also printed in the volume Useful Knowledge, Indian Boy, printed later in the Reviewer, (Carl Van Vechten sent Hunter Stagg to us a young Southerner as attractive as his name), and Saints In Seven, which she used to illustrate⁶¹ her work in her lectures at Oxford and Cambridge, and Talks to Saints in Saint-Rémy.

She worked in those days with slow care and concentration, and was very preoccupied⁶².

Finally we received the first copies of Geography and Plays, the winter was over and we went back to Paris.

This long winter in Saint-Rémy broke the restlessness of the war and the after war. A great many things were to happen, there were to be friendships and there were to be enmities and there were to be a great many other things but there was not to be any restlessness.

Gertrude Stein always says that she only has two real distractions⁶³, pictures and automobiles. Perhaps she might now add dogs.

Immediately after the war her attention was attracted by the work of a young french painter, Fabre, who had a natural feeling for objects on a table and landscapes but he came to nothing. The next painter who attracted her attention was André Masson. Masson was at that time influenced by Juan Gris in whom Gertrude Stein’s interest was permanent and vital. She was interested in André Masson as a painter particularly as a painter of white and she was interested in his composition in the wandering line in his compositions. Soon Masson fell under the influence of the surréalistes.

The surréalistes are the vulgarisation of Picabia as Delaunay and his followers⁶⁴ and the futurists were the vulgarisation of Picasso. Picabia had conceived and is struggling with the problem that a line should have the vibration⁶⁵ of a musical sound and that this vibration should be the result of conceiving the human form and the human face in so tenuous⁶⁶ a fashion that it would induce such vibration in the line forming it. It is his way of achieving the disembodied. It was this idea that conceived mathematically influenced Marcel Du-champ and produced his The Nude⁶⁷ Descending⁶⁸ the Staircase.

All his life Picabia has struggled to dominate and achieve this conception. Gertrude Stein thinks that perhaps he is now approaching the solution of his problem. The surréalistes taking the manner for the matter as is the way of the vulgarisers, accept the line as having become vibrant⁶⁹ and as therefore able in itself to inspire them to higher flights. He who is going to be the creator of the vibrant line knows that it is not yet created and if it were it would not exist by itself, it would be dependent upon the emotion of the object which compels the vibration. So much for the creator and his followers.

Gertrude Stein, in her work, has always been possessed⁷⁰ by the intellectual passion for exactitude in the description of inner and outer reality. She has produced a simplification by this concentration, and as a result the destruction of associational emotion in poetry and prose. She knows that beauty, music, decoration, the result of emotion should never be the cause, even events should not be the cause of emotion nor should they be the material of poetry and prose. Nor should emotion itself be the cause of poetry or prose. They should consist of an exact reproduction of either an outer or an inner reality.

It was this conception of exactitude that made the close understanding between Gertrude Stein and Juan Gris.

Juan Gris also conceived exactitude but in him exactitude had a mystical basis. As a mystic it was necessary for him to be exact. In Gertrude Stein the necessity was intellectual, a pure passion for exactitude. It is because of this that her work has often been compared to that of mathematicians⁷¹ and by a certain french critic to the work of Bach.

Picasso by nature the most endowed had less clarity of intellectual purpose. He was in his creative activity dominated by spanish ritual, later by negro ritual expressed in negro sculpture (which has an arab basis the basis also of spanish ritual) and later by russian ritual. His creative activity being tremendously dominant⁷², he made these great rituals over into his own image.

Juan Gris was the only person whom Picasso wished away. The relation between them was just that.

In the days when the friendship between Gertrude Stein and Picasso had become if possible closer than before, (it was for his little boy, born February fourth to her February. third, that she wrote her birthday book with a line for each day in the year) in those days her intimacy⁷³ with Juan Gris displeased⁷⁴ him. Once after a show of Juan’s pictures at the Gallérie Simon he said to her with violence, tell me why you stand up for his work, you know you do not like it; and she did not answer him.

Later when Juan died and Gertrude Stein was heart broken Picasso came to the house and spent all day there. I do not know what was said but I do know that at one time Gertrude Stein said to him bitterly, you have no right to mourn, and he said, you have no right to say that to me. You never realised his meaning because you did not have it, she said angrily. You know very well I did, he replied.

The most moving thing Gertrude Stein has ever written is The Life and Death of Juan Gris. It was printed in transition and later on translated in german for his retrospective show in Berlin.

Picasso never wished Braque away. Picasso said once when he and Gertrude Stein were talking together, yes, Braque and James Joyce, they are the incomprehensibles whom anybody can understand. Les incompréhensibles que tout⁷⁵ le monde peut comprendre.

The first thing that happened when we were back in Paris was Hemingway with a letter of introduction from Sherwood Anderson.

I remember very well the impression I had of Hemingway that first afternoon. He was an extraordinarily good-looking young man, twenty-three years old. It was not long after that that everybody was twenty-six. It became the period of being twenty-six. During the next two or three years all the young men were twenty-six years old. It was the right age apparently for that time and place. There were one or two under twenty, for example George Lynes but they did not count as Gertrude Stein carefully explained to them. If they were young men they were twenty-six. Later on, much later on they were twenty-one and twenty-two.

So Hemingway was twenty-three, rather foreign looking, with passionately⁷⁷ interested, rather than interesting eyes. He sat in front of Gertrude Stein and listened and looked.

They talked then, and more and more, a great deal together. He asked her to come and spend an evening in their apartment and look at his work. Hemingway had then and has always a very good instinct for finding apartments in strange but pleasing localities and good femmes de ménage and good food. This his first apartment was just off the place du Tertre. We spent the evening there and he and Gertrude Stein went over all the writing he had done up to that time. He had begun the novel that it was inevitable⁷⁸ he would begin and there were the little poems afterwards printed by McAlmon in the Contract Edition. Gertrude Stein rather liked the poems, they were direct, Kiplingesque, but the novel she found wanting. There is a great deal of description in this, she said, and not particularly good description. Begin over again and concentrate, she said.

Hemingway was at this time Paris correspondent for a canadian newspaper. He was obliged there to express what he called the canadian viewpoint.

He and Gertrude Stein used to walk together and talk together a great deal. One day she said to him, look here, you say you and your wife have a little money between you. Is it enough to live on if you live quietly. Yes, he said. Well, she said, then do it. If you keep on doing newspaper work you will never see things, you will only see words and that will not do, that is of course if you intend to be a writer. Hemingway said he undoubtedly⁷⁹ intended to be a writer. He and his wife went away on a trip and shortly after Hemingway turned up alone. He came to the house about ten o’clock in the morning and he stayed, he stayed for lunch, he stayed all afternoon, he stayed for dinner and he stayed until about ten o’clock at night and then all of a sudden he announced that his wife was enceinte and then with great bitterness, and I, I am too young to be a father. We consoled him as best we could and sent him on his way.

When they came back Hemingway said that he had made up his mind. They would go back to America and he would work hard for a year and with what he would earn and what they had they would settle down and he would give up newspaper work and make himself a writer. They went away and well within the prescribed year they came back with a new born baby. Newspaper work was over.

The first thing to do when they came back was as they thought to get the baby baptised. They wanted Gertrude Stein and myself to be god-mothers and an english war comrade of Hemingway was to be god-father. We were all born of different religions and most of us were not practising any, so it was rather difficult to know in what church the baby could be baptised. We spent a great deal of time that winter, all of us, discussing the matter. Finally it was decided⁸⁰ that it should be baptised episcopalian and episcopalian it Was. Just how it was managed with the assortment⁸¹ of godparents I am sure I do not know, but it was baptised in the episcopalian chapel⁸².

Writer or painter god-parents are notoriously unreliable That is, there is certain before long to be a cooling of friendship. I know several cases of this, poor Paulot Picasso’s godparents have wandered out of sight and just as naturally it is a long time since any of us have seen or heard of our Hemingway god-child.

However in the beginning we were active god-parents, I particularly. I embroidered⁸³ a little chair and I knitted a gay coloured garment for the god-child. In the meantime the god-child’s father was very earnestly at work making himself a writer.

Gertrude Stein never corrects any detail of anybody’s writing, she sticks strictly⁸⁴ to general principles, the way of seeing what the writer chooses to see, and the relation between that vision and the way it gets down. When the vision is not complete the words are flat, it is very simple, there can be no mistake about it, so she insists. It was at this time that Hemingway began the short things that afterwards were printed in a volume called In Our Time.

One day Hemingway came in very excited about Ford Madox Ford and the Transatlantic. Ford Madox Ford had started the Transatlantic some months before. A good many years before, indeed before the war, we had met Ford Madox Ford who was at that time Ford Madox Hueffer. He was married to Violet Hunt and Violet Hunt and Gertrude Stein were next to each other at the tea table and talked a great deal together. I was next to Ford Madox Hueffer and I liked him very much and I liked his stories of Mistral and Tarascon and I liked his having been followed about in that land of the french royalist, on account of his resemblance to the Bourbon claimant. I had never seen the Bourbon claimant but Ford at that time undoubtedly might have been a Bourbon.

We had heard that Ford was in Paris, but we had not happened to meet. Gertrude Stein had however seen copies of the Transatlantic and found it interesting but had thought nothing further about it.

Hemingway came in then very excited and said that Ford wanted something of Gertrude Stein’s for the next number and he, Hemingway, wanted The Making of Americans to be run in it as a serial and he had to have the first fifty pages at once. Gertrude Stein was of course quite overcome with her excitement at this idea, but there was no copy of the manuscript except the one that we had had bound. That makes no difference, said Hemingway, I will copy it. And he and I between us did copy it and it was printed in the next number of the Transatlantic. So for the first time a piece of the monumental work which was the beginning, really the beginning of modern writing, was printed, and we were very happy. Later on when things were difficult between Gertrude Stein and Hemingway, she always remembered with gratitude⁸⁵ that after all it was Hemingway who first caused to be printed a piece of The Making of Americans. She always says, yes sure I have a weakness for Hemingway. After all he was the first of the young men to knock at my door and he did make Ford print the first piece of The Making of Americans.

I myself have not so much confidence that Hemingway did do this. I have never known what the story is but I have always been certain that there was some other story behind it all. That is the way I feel about it.

Gertrude Stein and Sherwood Anderson are very funny on the subject of Hemingway. The last time that Sherwood was in Paris they often talked about him. Hemingway had been formed by the two of them and they were both a little proud and a little ashamed of the work of their minds. Hemingway had at one moment, when he had repudiated⁸⁶ Sherwood Anderson and all his works, written him a letter in the name of american literature which he, Hemingway, in company with his contemporaries was about to save, telling Sherwood just what he, Hemingway thought about Sherwood’s work, and, that thinking, was in no sense complimentary⁸⁷. When Sherwood came to Paris Hemingway naturally was afraid. Sherwood as naturally was not.

As I say he and Gertrude Stein were endlessly amusing on the subject. They admitted that Hemingway was yellow, he is, Gertrude Stein insisted, just like the flat-boat men on the Mississippi river as described by Mark Twain. But what a book, they both agreed, would be the real story of Hemingway, not those he writes but the confessions⁸⁸ of the real Ernest Hemingway. It would be for another audience than the audience Hemingway now has but it would be very wonderful. And then they both agreed that they have a weakness for Hemingway because he is such a good pupil. He is a rotten pupil, I protested. You don’t understand, they both said, it is so flattering to have a pupil who does it without understanding it, in other words he takes training and anybody who takes training is a favourite pupil. They both admit it to be a weakness. Gertrude Stein added further, you see he is like Derain. You remember Monsieur de Tuille said, when I did not understand why Derain was having the success he was having that it was because he looks like a modern and he smells of the museums. And that is Hemingway, he looks like a modern and he smells of the museums. But what a story that of the real Hem¹, and one he should tell himself but alas⁸⁹ he never will. After all, as he himself once murmured, there is the career, the career.

But to come back to the events that were happening. Hemingway did it all. He copied the manuscript and corrected the proof. Correcting proofs is, as I said before, like dusting, you learn the values of the thing as no reading suffices to teach it to you. In correcting these proofs Hemingway learned a great deal and he admired all that he learned. It was at this time that he wrote to Gertrude Stein saying that it was she who had done the work in writing The Making of Americans and he and all his had but to devote their lives to seeing that it was published.

He had hopes of being able to accomplish this. Some one, I think by the name of Sterne, said that he could place it with a publisher. Gertrude Stein and Hemingway believed that he could, but soon Hemingway reported that Sterne had entered into his period of unreliability. That was the end of that.

In the meantime and sometime before this Mina Loy had brought McAlmon to the house and he came from time to time and he brought his wife and brought William Carlos Williams. And finally he wanted to print The Making of Americans in the Contact Edition and finally he did. I will come to that.

In the meantime McAlmon had printed the three poems and ten stories of Hemingway and William Bird had printed In Our Time and Hemingway was getting to be known. He was coming to know Dos Passos and Fitzgerald and Bromfield and George Antheil and everybody else and Harold Loeb was once more in Paris. Hemingway had become a writer. He was also a shadow-boxer, thanks to Sherwood, and he heard about bull-fighting from me. I have always loved spanish dancing and spanish bull-fighting and I loved to show the photographs of bull-fighters and bull-fighting. I also loved to show the photograph where Gertrude Stein and I were in the front row and had our picture taken there accidentally. In these is Hemingway was teaching some young chap how to box. The boy did not know how, but by accident he knocked Hemingway out. I believe this sometimes happens. At any rate in these days Hemingway although a sportsman wasily tired. He used to get quite worn out walking fromis house to ours. But then he had been worn by the war. Even now he is, as Hélène says all men are, fragile. Recent a robust⁹⁰ friend of his said to Gertrude Stein, Ernest is very fragile, whenever he does anything sporting somethir breaks, his arm, his leg, or his head.

In those early days Hemingway liked all his contemporaries except Cummings. He accused Cummings of having copied everything, not from anybody but from somebody. Gertrude Stein who hadeen much impressed by The Enormous Room said that Cummings did not copy, he was the natural heir of the New England tradition with its aridity⁹¹ and its sterility⁹², but also with its individuality. They disagreed about this. They also disagreed about Sherwood Anderson. Gertrude Stein contended that Sherwood Anderson had a genius for using a sentence to convey a direct emotion, this was in the great american tradition, and that really except Sherwood there was no one in America who could write a clear and passionate⁷⁶ sentence. Hemingway did not believe this, he did not like Sherwood’s taste. Taste has nothing to do with sentences, conteded Gertrude Stein. She also added that Fitzgerald was the only one of the younger writers who wrote naturally in sentences.

Gertrude Stein and Fitzgerald are very peculiar⁹³ in their relation to each other. Gertrude Stein had been very much impressed by This Side c Paradise. She read it when it came out and before she knew any of the young american writers. She said of it that it wasthis book that really created for the public the new generation. She has never changed her opinion about this. She thinks this equally true of The Great Gatsby. She thinks Fitzg rald will be read when many of his well known contemporaries are forgotten. Fitzgerald always says that he thinks Gertrude Stein says these things just to annoy him by making him think that she means them, and he adds in his favourite way, and her doing it is the cruellest thing I ever heard. They always however have a very good time when they meet. And the last time they met they had a good time with themselves and Hemingway.

Then there was McAlmon. McAlmon had one quality that appealed to Gertrude Stein, abundance, he could go on writing, but she complained that it was dull.

There was also Glenway Wescott but Glenway Wescott at no time interested Gertrude Stein. He has a certain syrup⁹⁴ but it does not pour.

So then Hemingway’s career was begun. For a little while we saw less of him and then he began to come again. He used to recount to Gertrude Stein the conversations that he afterwards used in The Sun Also Rises and they talked endlessly about the character of Harold Loeb. At this time Hemingway was preparing his volume of short stories to submit to publishers in America. One evening after we had not seen him for a while he turned up with Shipman. Shipman was an amusing boy who was to inherit a few thousand dollars when he came of age. He was not of age. He was to buy the Transatlantic Review when he came of age, so Hemingway said. He was to support a surrealist review when he came of age, André Masson said. He was to buy a house in the country when he came of age, Josette Gris said. As a matter of fact when he came of age nobody who had known him then seemed to know what he did do with his inheritance. Hemingway brought him with him to the house to talk about buying the Transatlantic and incidentally he brought the manuscript he intended sending to America. He handed it to Gertrude Stein. He had added to his stories a little story of meditations⁹⁶ and in these he said that The Enormous Room was the greatest book he had ever read. It was then that Gertrude Stein said, Hemingway, remarks are not literature.

After this we did not see Hemingway for quite a while and then we went to see some one, just after The Making of Americans was printed, and Hemingway who was there came up to Gertrude Stein and began to explain why he would not be able to write a review of the book. Just then a heavy hand fell on his shoulder and Ford Madox Ford said, young man it is I who wish to speak to Gertrude Stein. Ford then said to her, I wish to ask your permission to dedicate my new book to you. May I. Gertrude Stein and I were both awfully pleased and touched.

For some years after this Gertrude Stein and Hemingway did not meet. And then we heard that he was back in Paris and telling a number of people how much he wanted to see her. Don’t you come home with Hemingway on your arm, I used to say when she went out for a walk. Sure enough one day she did come back bringing him with her.

They sat and talked a long time. Finally I heard her say, Hemingway, after all you are ninety percent Rotarian. Can’t you, he said, make it eighty percent. No, said she regretfully, I can’t. After all, as she always says, he did, and I may say, he does have moments of disinterestedness⁹⁷.

After that they met quite often. Gertrude Stein always says she likes to see him, he is so wonderful. And if he could only tell his own story. In their last conversation she accused him of having killed a great many of his rivals and put them under the sod. I never, said Hemingway, seriously killed anybody but one man and he was a bad man and, he deserved it, but if I killed anybody else I did it unknowingly, and so I am not responsible.

It was Ford who once said of Hemingway, he comes and sits at my feet and praises me. It makes me nervous. Hemingway also said once, I turn my flame which is a small one down and down and then suddenly there is a big explosion. If there were nothing but explosions my work would be so exciting nobody could bear it.

However, whatever I say, Gertrude Stein always says, yes I know but I have a weakness for Hemingway.

Jane Heap turned up one afternoon. The Little Review had printed the Birthplace of Bonnes and The Valentine to Sherwood Anderson. Jane Heap sat down and we began to talk. She stayed to dinner and she stayed the evening and by dawn the little ford, car Godiva which had been burning its lights all night waiting to be taken home could hardly start to take Jane home. Gertrude Stein then and always liked Jane Heap immensely, Margaret Anderson interested her much less.

It was now once more summer and this time we went to the C?te d’Azur and joined the Picassos at Antibes. It was there I first saw Picasso’s mother. Picasso looks extraordinarily like her. Gertrude Stein and Madame Picasso had difficulty in talking not having a common language but they talked enough to amuse themselves. They were talking about Picasso when Gertrude Stein first knew him. He was remarkably⁹⁸ beautiful then, said Gertrude Stein, he was illuminated⁹⁹ as if he wore a halo. Oh, said Madame Picasso, if you thought him beautiful then I assure you it was nothing compared to his looks when he was a boy. He was an angel and a devil in beauty, no one could cease looking at him. And now, said Picasso a little resentfully. Ah now, said they together, ah now there is no such beauty left. But, added his mother, you are very sweet and as a son very perfect. So he had to be satisfied with that.

It was at this time that Jean Cocteau who prides himself on being eternally thirty was writing a little biography of Picasso, and he sent him a telegram asking him to tell him the date of his birth. And yours, telegraphed back Picasso.

There are so many stories about Picasso and Jean Cocteau. Picasso like Gertrude Stein is easily upset if asked to do something suddenly and Jean Cocteau does this quite successfully. Picasso resents it and revenges himself at greater length. Not long ago there was a long story.

Picasso was in Spain, in Barcelona, and a friend of his youth who was editor of a paper printed, not in spanish but in catalan, interviewed him. Picasso knowing that the interview to be printed in Catalan was probably never going to be printed in spanish, thoroughly¹⁰⁰ enjoyed himself. He said that Jean Cocteau was getting to be very popular in Paris, so popular that you could find his poems on the table of any smart coiffeur.

As I say he thoroughly enjoyed himself in giving this interview and then returned to Paris.

Some catalan in Barcelona sent the paper to some catalan friend in Paris and the catalan friend in Paris translated it to a french friend and the french friend printed the interview in a french paper.

Picasso and his wife told us the story together of what happened then. As soon as Jean saw the article, he tried to see Pablo. Pablo refused to see him, he told the maid to say that he was always out and for days they could not answer the telephone. Cocteau finally stated in an interview given to the french press that the interview which had wounded him so sorely had turned out to be an interview with Picabia and not an interview with Picasso, his friend. Picabia of course denied this. Cocteau implored¹⁰¹ Picasso to give a public denial. Picasso remained discreetly¹⁰² at home.

The first evening the Picassos went out they went to the theatre and there in front of them seated was Jean Cocteau’s mother. At the first intermission they went up to her, and surrounded by all their mutual friends she said, my dear, you cannot imagine the relief to me and to Jean to know that it was not you that gave out that vile¹⁰³ interview, do tell me that it was not.

And as Picasso’s wife said, I as a mother could not let a mother suffer and I said of course it was not Picasso and Picasso said, yes yes of course it was not, and so the public retraction¹⁰⁴ was given.

It was this summer that Gertrude Stein, delighting in the movement of the tiny waves on the Antibes shore, wrote the Completed Portrait of Picasso, the Second Portrait of Carl Van Vechten, and The Book of Concluding With As A Wife Has A Cow A Love Story this afterwards beautifully illustrated¹⁰⁵ by Juan Gris.

Robert McAlmon had definitely decided to publish The Making of Americans, and we were to correct proofs that summer. The summer before we had intended as usual to meet the Picassos at Antibes. I had been reading the Guide des Gourmets¹⁰⁶ and I had found among other places where one ate well, Pernollet’s H?tel in the town of Belley. Belley is its name and Belley is its nature, as Gertrude Stein’s elder brother remarked. We arrived there about the middle of August. On the map it looked as if it were high up in the mountains and Gertrude Stein does not like precipices¹⁰⁷ and as we drove through the gorge¹⁰⁸ I was nervous and she protesting, but finally the country opened out delightfully¹⁰⁹ and we arrived in Belley. It was a pleasant hotel although it had no garden and we had intended that it should have a garden. We stayed on for several days.

Then Madame Pernollet, a pleasant round faced woman said to us that since we were evidently staying on why did we not make rates by the day or by the week. We said we would. In the meanwhile the Picassos wanted to know what had become of us. We replied that we were in Belley. We found that Belley was the birthplace of Brillat–Savarin. We now in Bilignin are enjoying using the furniture from the house of Brillat–Savarin which house belongs to the owner of this house.

We also found that Lamartine had been at school in Belley and Gertrude Stein says that wherever Lamartine stayed any length of time one eats well. Madame Récamier also comes from this region and the place is full of descendants of her husband’s family. All these things we found out gradually but for the moment we were comfortable and we stayed on and left late. The following summer we were to correct proofs of The Making of Americans and so we left Paris early and came again to Belley. What a summer it was.

The Making of Americans is a book one thousand pages long, closely printed on large pages. Darantière has told me it has five hundred and sixty-five thousand words. It was written in nineteen hundred and six to nineteen hundred a eight, and except for the sections printed in Transatlantic it was all still in manuscript.

The sentences as the book goes on get longer and longer they are sometimes pages long and the compositors wer french, and when they made mistakes and left out a line the effort of getting it back again was terrific.

We used to leave the hotel in the morning with camp chairs, lunch and proof, and all day we struggled with the errors of French compositors. Proof had to be corrected most of it four times and finally I broke my glasses, my eyes gave out, and Gertrude Stein finished alone.

We used to change the scene of our labours and we foun lovely spots but there were always to accompany us those endless pages of printers’ errors. One of our favourite hillocks where we could see Mont Blanc in the distance we called Madame Mont Blanc.

Another place we went to often was near a little pool made by a small stream near a country cross-road. This was quite like the middle ages, so many things used to happen, there, in a very simple middle age way. I remember once a country-man came up to us leading his oxen. Very politely he said, ladies is there anything the matter with me. Why yes, we replied, your face is covered with blood. Oh, he said, you see my oxen were slipping down the hill and I held them back and I too slipped and I wondered if anything had happened to me. We helped him wash the blood off and he went on.

It was during this summer that Gertrude Stein began two long things, A Novel and the Phenomena¹¹¹ of Nature which was to lead later to the whole series of meditations on grammar and sentences.

It led first to An Acquaintance With Description, afterwards printed by the Seizin Press. She began at this time to describe landscape as if anything she saw was a natural phenomenon, a thing existent in itself, and she found it, this exercise, very interesting and it finally led her to the later series of Operas and Plays. I am trying to be as commonplace as I can be, she used to say to me. And then sometimes a little worried, it is not too commonplace. The last thing that she had finished, Stanzas¹¹² of Meditation⁹⁵, and which I am now typewriting, she considers her real achievement of the commonplace.

But to go back. We returned to Paris, the proofs almost done, and Jane Heap was there. She was very excited. She had a wonderful plan, I have now quite forgotten what it was, but Gertrude Stein was enormously pleased with it. It had something to do with a plan for another edition of The Making of Americans in America.

At any rate in the various complications connected with this matter McAlmon became very angry and not without reason, and The Making of Americans appeared but McAlmon and Gertrude Stein were no longer friends.

When Gertrude Stein was quite young her brother once remarked to her, that she, having been born in February, was very like George Washington, she was impulsive¹¹³ and slow-minded. Undoubtedly a great many complications have been the result.

One day in this same spring we were going to visit a new spring salon¹¹⁴. Jane Heap had been telling us of a young russian in whose work she was interested. As we were crossing a bridge in Godiva we saw Jane Heap and the young russian. We saw his pictures and Gertrude Stein too was interested. He of course came to see us.

In How To Write Gertrude Stein makes this sentence, Painting now after its great period has come back to be a minor¹¹⁵ art.

She was very interested to know who was to be the leader of this art.

This is the story.

The young russian was interesting. He was painting, so he said, colour that was no colour, he was painting blue pictures and he was painting three heads in one. Picasso had been drawing three heads in one. Soon the russian was painting three figures in one. Was he the only one. In a way he was although there was a group of them. This group, very shortly after Gertrude Stein knew the russian, had a show at one of the art galleries, Druet’s I think. The group then consisted of the russian, a frenchman, a very young dutchman, and two russian brothers. All of them except the dutchman about twenty-six years old.

At this show Gertrude Stein met George Antheil who asked to come to see her and when he came he brought with him Virgil Thomson. Gertrude Stein had not found George Antheil particularly interesting although she liked him, but Virgil Thomson she found very interesting although I did not like him.

However all this I will tell about later. To go back now to painting.

The russian Tchelitchev’s work was the most vigorous of the group and the most mature and the most interesting. He had already then a passionate enmity against the frenchman whom they called Bébé Bérard and whose name was Christian¹¹⁶ Bérard and whom Tchelitchev said copied everything.

René Crevel had been the friend of all these painters. Some time later one of them was to have a one man show at the Gallérie Pierre. We were going to it and on the way we met René. We all stopped, he was exhilarated with exasperation¹¹⁷. He talked with his characteristic brilliant violence. These painters, he said, sell their pictures for several thousand francs apiece and they have the pretentiousness¹¹⁸ which comes from being valued in terms of money, and we writers who have twice their quality and infinitely¹¹⁹ greater vitality¹²⁰ cannot earn a living and have to beg and intrigue¹²¹ to induce publishers to publish us; but the time will come, and René became prophetic, when these same painters will come to us to re-create them and then we will contemplate¹²² them with indifference.

René was then and has remained ever since a devout¹²³ surréaliste. He needs and needed, being a frenchman, an intellectual as well as a basal justification¹²⁴ for the passionate exaltation in him. This he could not find, being of the immediate postwar generation, in either religion or patriotism¹²⁵, the war having destroyed for his generation, both patriotism and religion as a passion. Surréalisme has been his justification. It has clarified for him the confused negation¹²⁶ in which he lived and loved. This he alone of his generation has really succeeded in expressing, a little in his earlier books, and in his last book, The Clavecin of Diderot very adequately and with the brilliant violence that is his quality.

Gertrude Stein was at first not interested in this group of painters as a group but only in the russian. This interest gradually increased and then she was bothered. Granted, she used to say, that the influences which make a new movement in art and literature have continued and are making a new movement in art and literature; in order to seize these influences and create as well as re-create them there needs a very dominating creative power. This the russian manifestly did not have. Still there was a distinctly new creative idea. Where had it come from. Gertrude Stein always says to the young painters when they complain that she changes her mind about their work, it is not I that change my mind about the pictures, but the paintings disappear into the wall, I do not see them any more and then they go out of the door naturally.

In the meantime as I have said George Antheil had brought Virgil Thomson to the house and Virgil Thomson and Gertrude Stein became friends and saw each other a great deal. Virgil Thomson had put a number of Gertrude Stein’s things to music, Susie Asado, Preciosilla and Capital Capitals. Gertrude Stein was very much interested in Virgil Thomson’s music. He had understood Satie undoubtedly and he had a comprehension quite his own of prosody¹²⁷. He understood a great deal of Gertrude Stein’s work, he used to dream at night that there was something there that he did not understand, but on the whole he was very well content with that which he did understand. She delighted in listening to her words framed by his music. They saw a great deal of each other.

Virgil had in his room a great many pictures by Christian Bérard and Gertrude Stein used to look at them a great deal. She could not find out at all what she thought about them.

She and Virgil Thomson used to talk about them endlessly. Virgil said he knew nothing about pictures but he thought these wonderful. Gertrude Stein told him about her perplexity about the new movement and that the creative power behind it was not the russian. Virgil said that there he quite agreed with her and he was convinced that it was Bébé Bérard, baptised Christian. She said that perhaps that was the answer but she was very doubtful. She used to say of Bérard’s pictures, they are almost something and then they are just not. As she used to explain to Virgil, the Catholic Church makes a very sharp distinction between a hysteric and a saint. The same thing holds true in the art world. There is the sensitiveness of the hysteric which has all the appearance of creation, but actual creation has an individual force which is an entirely¹²⁸ different thing. Gertrude Stein was inclined to believe that artistically¹²⁹ Bérard was more hysteric than saint. At this time she had come back to portrait writing with renewed vigour¹³⁰ and she, to clarify her mind, as she said, did portraits of the russian and of the frenchman. In the meantime, through Virgil Thomson, she had met a young frenchman named Georges Hugnet. He and Gertrude Stein became very devoted¹³¹ to one another. He liked the sound of her writing and then he liked the sense and he liked the sentences.

At his home were a great many portraits of himself painted by his friends. Among others one by one of the two russian brothers and one by a young englishman. Gertrude Stein was not particularly interested in any of these portraits. There was however a painting of a hand by this young englishman which she did not like but which she remembered.

Every one began at this time to be very occupied, with their own affairs. Virgil Thomson had asked Gertrude Stein to write an opera for him. Among the saints there were two saints whom she had always liked better than any others, Saint Theresa of Avila and Ignatius Loyola, and she said she would write him an opera about these two saints. She began this and worked very hard at it all that spring and finally finished Four Saints and gave it to Virgil Thomson to put to music. He did. And it is a completely interesting opera both as to words and music.

All these summers we had continued to go to the hotel in Belley. We now had become so fond of this country, always the valley of the Rh?ne, and of the people of the country, and the trees of the country, and the oxen of the country, that we began looking for a house. One day we saw the house of our dreams across a valley. Go and ask the farmer there whose house that is, Gertrude Stein said to me. I said, nonsense it is an important house and it is occupied. Go and ask him, she said. Very reluctantly I did. He said, well yes, perhaps it is for rent, it belongs to a little girl, all her people are dead and I think there is a lieutenant¹³² of the regiment stationed in Belley living there now, but I understand they were to leave. You might go and see the agent of the property. We did. He was a kindly¹³³ old farmer who always told us allez doucement, go slowly. We did. We had the promise of the house, which we never saw any nearer than across the valley, as soon as the lieutenant should leave. Finally three years ago the lieutenant went to Morocco and we took the house still only having seen it from across the valley and we have liked it always more.

While we were still staying at the hotel, Natalie Barney came one day and lunched there bringing some friends, among them, the Duchess of Clermont–Tonnerre. Gertrude Stein and she were delighted with one another and the meeting led to many pleasant consequences, but of that later.

To return to the painters. Just after the opera was finished and before leaving Paris we happened to go to a show of pictures at the Gallérie Bonjean. There we met one of the russian brothers, Genia Berman, and Gertrude Stein was not uninterested in his pictures. She went with him to his studio and looked at everything he had ever painted. He seemed to have a purer intelligence than the other two painters who certainly had not created the modern movement, perhaps the idea had been originally his. She asked him, telling her story as she was fond of telling it at that time to any one who would listen, had he originated the idea. He said with an intelligent inner smile that he thought he had. She was not at all sure that he was not right. He came down to Bilignin to see us and she slowly concluded that though he was a very good painter he was too bad a painter to have been the creator of an idea. So once more the search began.

Again just before leaving Paris at this same picture gallery she saw a picture of a poet sitting by a waterfall. Who did that, she said. A young englishman, Francis Rose, was the reply. Oh yes I am not interested in his work. How much is that picture, she said: It cost very little. Gertrude Stein says a picture is either worth three hundred francs or three hundred thousand francs. She bought this for three hundred and we went away for the summer.

Georges Hugnet had decided to become an editor and he began editing the Editions de la Montagne. Actually it was George Maratier, everybody’s friend who began this edition, but he decided to go to America and become an american and Georges Hugnet inherited it. The first book to appear was sixty pages in french of The Making of Americans. Gertrude Stein and Georges Hugnet translated them together and she was very happy about it. This was later followed by a volume of Ten Portraits written by Gertrude Stein and illustrated by portraits of the artists of themselves, and of the others drawn¹³⁴ by them, Virgil Thomson by Bérard and a drawing of Bérard by himself, a portrait of Tchelitchev by himself, a portrait of Picasso by himself and one of Guillaume Apollinaire and one of Erik Satie by Picasso, one of Kristians Tonny the young dutchman by himself and one of Bernard Fa? by Tonny. These volumes were very well received and everybody was pleased.

Once more everybody went away.

Gertrude Stein in winter takes her white poodle Basket to be bathed at a vet¹³⁵’s and she used to go to the picture gallery where she had bought the englishman’s romantic picture and wait for Basket to dry. Every time she came home she brought more pictures by the englishman. She did not talk much about it but they accumulated. Several people began to tell her about this young man and offered to introduce him. Gertrude Stein declined. She said no she had had enough of knowing young painters, she now would content herself with knowing young painting.

In the meantime Georges Hugnet wrote a poem called Enfance. Gertrude Stein offered to translate it for him but instead she wrote a poem about it. This at first pleased Georges Hugnet too much and then did not please him at all. Gertrude Stein then called the poem Before The Flowers Of Friendship Faded Friendship Faded. Everybody mixed themselves up in all this. The group broke up. Gertrude Stein was very upset and then consoled herself by telling all about it in a delightful¹¹⁰ short story called From Left to Right and which was printed in the London Harper’s Bazaar¹³⁶.

It was not long after this that one day Gertrude Stein called in the concierge¹³⁷ and asked him to hang up all the Francis Rose pictures, by this time there were some thirty odd. Gertrude Stein was very much upset while she was having this done. I asked her why she was doing it if it upset her so much. She said she could not help it, that she felt that way about it but to change the whole aspect of the room by adding these thirty pictures was very upsetting. There the matter rested for some time.

To go back again to those days just after the publication of The Making of Americans. There was at that time a review of Gertrude Stein’s book Geography and Plays in the Athenaeum signed Edith Sitwell. The review was long and a little condescending¹³⁸ but I liked it. Gertrude Stein had not cared for it. A year later in the London Vogue¹³⁹ was an article again by Edith Sitwell saying that since writing her article in the Athenaeum she had spent the year reading nothing but Geography and Plays and she wished to say how important and beautiful a book she had found it to be.

One afternoon at Elmer Harden’s we met Miss Todd the editor of the London Vogue. She said that Edith Sitwell was to be shortly in Paris and wanted very much to meet Gertrude Stein. She said that Edith Sitwell was very shy and hesitant about coming. Elmer Harden said he would act as escort.

I remember so well my first impression of her, an impression which indeed has never changed. Very tall, bending slightly, withdrawing and hesitatingly advancing, and beautiful with the most distinguished¹⁴⁰ nose I have ever seen on any human being. At that time and in conversation between Gertrude Stein and herself afterwards, I delighted in the delicacy¹⁴¹ and completeness of her understanding of poetry. She and Gertrude Stein became friends at once. This friendship like all friendships has had its difficulties but I am convinced that fundamentally Gertrude Stein and Edith Sitwell are friends and enjoy being friends.

We saw a great deal of Edith Sitwell at this time and then she went back to London. In the autumn of that year nineteen twenty-five Gertrude Stein had a letter from the president of the literary society of Cambridge asking her to speak before them in the early spring. Gertrude Stein quite completely upset at the very idea quite promptly answered no. Immediately came a letter from Edith Sitwell saying that the no must be changed to yes. That it was of the first importance that Gertrude Steln should deliver this address and that moreover Oxford was waiting for the yes to be given to Cambridge to ask her to do the same at Oxford.

There was very evidently nothing to do but to say yes and so Gertrude Stein said yes.

She was very upset at the prospect¹⁴², peace, she said, had much greater terrors than war. Precipices even were nothing to this. She was very low in her mind. Luckily early in January the ford car began to have everything the matter with it. The better garages would not pay much attention to aged⁷ fords and Gertrude Stein used to take hers out to a shed in Montrouge where the mechanics worked at it while she sat. If she were to leave it there there would most likely have been nothing left of it to drive away.

One cold dark afternoon she went out to sit with her ford car and while she sat on the steps of another battered¹⁴³ ford watching her own being taken to pieces and put together again, she began to write. She stayed there several hours and when she came back chilled, with the ford repaired, she had written the whole of Composition As Explanation.

Once the lecture written the next trouble was the reading of it. Everybody gave her advice. She read it to anybody who came to the house and some of them read it to her. Prichard happened to be in Paris just then and he and Emily Chadbourne between them gave advice and were an audience. Prichard showed her how to read it in the english manner but Emily Chadbourne was all for the american manner and Gertrude Stein was too worried to have any manner. We went one afternoon to Natalie Barney’s. There there was a very aged and a very charming french professor of history. Natalie Barney asked him to tell Gertrude Stein how to lecture. Talk as quickly as you can and never look up, was his advice. Prichard had said talk as slowly as possible and never look down. At any rate I ordered a new dress and a new hat for Gertrude Stein and early in the spring we went to London.

This was the spring of twenty-six and England was still very strict about passports. We had ours alright but Gertrude Stein hates to answer questions from officials, it always worries her and she was already none too happy at the prospect of lecturing.

So taking both passports I went down stairs to see the officials. Ah, said one of them, and where is Miss Gertrude Stein. She is on deck, I replied, and she doe& not care to come down. She does not care to come down, he repeated, yes that is quite right, she does not care to come down, and he affixed¹⁴⁴ the required signatures. So then we arrived in London. Edith Sitwell gave a party for us and so did her brother Osbert. Osbert was a great comfort to Gertrude Stein. He so thoroughly understood every possible way in which one could be nervous that as he sat beside her in the hotel telling her all the kinds of ways that he and she could suffer from stage fright she was quite soothed¹⁴⁵. She was always very fond of Osbert. She always said he was like an uncle of a king. He had that pleasant kindly irresponsible agitated¹⁴⁶ calm that an uncle of an english king always must have.

Finally we arrived in Cambridge in the afternoon, were given tea and then dined with the president of the society and some of his friends. It was very pleasant and after dinner we went to the lecture room. It was a varied¹⁴⁷ audience, men and women. Gertrude Stein was soon at her ease, the lecture went off very well, the men afterwards asked a great many questions and were very enthusiastic. The women said nothing. Gertrude Stein wondered whether they were supposed not to or just did not.

The day after we went to Oxford. There we lunched with young Acton and then went in to the lecture. Gertrude Stein was feeling more comfortable as a lecturer and this time she had a wonderful time. As she remarked afterwards, I felt just like a prima donna.

The lecture room was full, many standing⁴⁵ in the back, and the discussion, after the lecture, lasted over an hour and no one left. It was very exciting. They asked all sorts of questions, they wanted to know most often why Gertrude Stein thought she was right in doing the kind of writing she did. She answered that it was not a question of what any one thought but after all she had been doing as she did for about twenty years and now they wanted to hear her lecture. This did not mean of course that they were coming to think that her way was a possible way, it proved nothing, but on the other hand it did possibly indicate something. They laughed. Then up jumped one man, it turned out afterwards that he was a dean, and he said that in the Saints in Seven he had been very interested in the sentence about the ring around the moon, about the ring following the moon. He admitted that the sentence was one of the most beautifully balanced sentences he had ever heard, but still did the ring follow the moon. Gertrude Stein said, when you look at the moon and there is a ring around the moon and the moon moves does not the ring follow the moon. Perhaps it seems to, he replied. Well, in that case how, she said, do you know that it does not; he sat down. Another man, a don, next to him jumped up and asked something else. They did this several times, the two of them, jumping up one after the other. Then the first man jumped up and said, you say that everything being the same everything is always different, how can that be so. Consider, she replied, the two of you, you jump up one after the other, that is the same thing and surely you admit that the two of you are always different. Touché, he said and the meeting was over. One of the men was so moved that he confided¹⁴⁸ to me as we went out that the lecture had been his greatest experience since he had read Kant’s Critique of Pure Reason.

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 chuckled¹⁴⁹ 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 appreciation¹⁵⁰. 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 annuity¹⁵¹ 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 dotage¹⁵² and she one morning told her lawyer to cut off all the annuities¹⁵³ 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 Providence¹⁵⁴ 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 poorhouse and I would have gone elegantly, but you have turned this into a poorhouse and I am the sole inmate¹⁵⁵. Gertrude Stein comforted her and said that she could be just as elegant in her solitary¹⁵⁶ 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 curiously¹⁵⁷, I have been saying that to myself, but you know after three years of Soviet¹⁵⁸ 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 Fa?. 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 Fa? 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 Baker¹⁵⁹ 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 Jersey¹⁶⁰ 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 persecution¹⁶¹, they were suffering from nothingness. She always contends that the african is not primitive¹⁶², he has a very ancient but a very narrow culture and there it remains¹⁶³. 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 Imbs, 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 Immbs 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 accordion¹⁶⁴ 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 lasting¹⁶⁵ appeal to Gertrude Stein. Mildred Aldrich had it among her records and when we spent the afternoon with her at Huiry, Gertrude Stein inevitably¹⁶⁶ 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 N?mes 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 spoke⁴¹ of it, and when they were particularly devoted to her they would offer to lend her this very dirty and tattered¹⁶⁷ 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 adventurous¹⁶⁸, 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 usuall seemed to be feeling a great deal of excitement but neithe 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 lament¹⁶⁹, 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 Blues¹⁷⁰. 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 Brewer¹⁷¹, one of the firm of Payson and Clarke.

Brewer was interested in the work of Gertrude Steln 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 Amiably¹⁷² and which she describes as a novel of romantic beauty and nature and which looks like an engraving¹⁷³. 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 dealers¹⁷⁴ 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 persistently¹⁷⁵ 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 procrastinated¹⁷⁶ 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 subscribe¹⁵ 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 ecstasy¹⁷⁷. 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 binding¹⁷⁸ 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. Advertising¹⁷⁹ 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 always 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 laudatory¹⁸⁰ 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 Fa? and Louis Bromfield.

I also printed an edition of one hundred copies, very beautifully done at Chartres, of the poem of Gertrude Stein Before The Flowers Of Friendship Faded Friendship Faded. These one hundred copies sold very easily.

I was better satisfied with the bookmaking of How To Write but there was always the question of binding the book. It is practically impossible to get a decent commercial binding in France, french publishers only cover their books in paper. I was very troubled about this.

One evening we went to an evening party at Georges Poupet’s, a gentle friend of authors. There I met Maurice Darantière. It was he who had printed The Making of Americans and he was always justly proud of it as a book and as bookmaking. He had left Dijon and had started printing books in the neighbourhood of Paris with a hand-press and he was printing very beautiful books. He is a kind man and I naturally began telling him my troubles. Listen, he said I have the solution. But I interrupted him, you must remember that I do not want to make these books expensive. After all Gertrude Stein’s readers are writers, university students, librarians and young people who have very little money. Germs trude Stein wants readers not collectors. In spite of herself her books have too often become collector’s books. They pay big prices for Tender Buttons and The Portrait of Mabel Dodge and that does not please her, she wants her books read not owned. Yes yes, he said, I understand. No this is what I propose. We will have your book set by monotype which is comparatively cheap, I will see to that, then I will handpull your books on good but not too expensive paper and they will be beautifully printed and instead of any covers I will have them bound in heavy paper like The Making of Americans, paper just like that, and I will have made little boxes in which they will fit perfectly, well made little boxes and there you are. And I will be able to sell them at a reasonable price. Yes you will see, he said.

I was getting more ambitious I wished now to begin a series of three, beginning with Operas and Plays, going on with Matisse, Picasso and Gertrude Stein and Two Shorter Stories, and then going on with Two Long Poems and Many Shorter Ones.

Maurice Darantière has been as good as his word. He has printed Operas and Plays and it is a beautiful book and reasonable in price and he is now printing the second book Matisse Picasso and Gertrude Stein and Two Shorter Stories. Now I have an up to date list of booksellers and I am once more on my way.

As I was saying after the return from England and lecturing we gave a great many parties, there were many occasions for parties, all the Sitwells came over, Carl Van Vechten came over, Sherwood Anderson came over again. And beside there were many other occasions for parties.

It was then that Gertrude Stein and Bernard Fa? met again and this time they had a great deal to say to each other. Gertrude Stein found the contact with his mind stimulating¹⁸¹ and comforting. They were slowly coming to be friends.

I remember once coming into the room and hearing Bernard Fay say that the three people of first rate importance that he had met in his life were Picasso, Gertrude Stein and André Gide and Gertrude Stein inquired quite simply, that is quite right but why include Gide. A year or so later in referring to this conversation he said to her, and I am not sure you were not right.

Sherwood came to Paris that winter and he was a delight. He was enjoying himself and we enjoyed him. He was being lionised and I must say he was a very appearing and disappearing lion. I remember his being asked to the Pen Club. Natalie Barney and a long-bearded frenchman were to be his sponsors. He wanted Gertrude Stein to come too. She said she loved him very much but not the Pen Club. Natalie Barney came over to ask her. Gertrude Stein who was caught outside, walking her dog, pleaded illness. The next day Sherwood turned up. How was it, asked Gertrude Stein. Why, said he, it wasn’t a party for me, it was a party for a big woman, and she was just a derailed freight car.

We had installed electric radiators¹⁸² in the studio, we were as our Finnish servant would say getting modern. She finds it difficult to understand why we are not more modern. Gertrude Stein says that if you are way ahead with your head you naturally are old fashioned and regular in your daily life. And Picasso adds, do you suppose Michael Angelo would have been grateful for a gift of a piece of renaissance¹⁸³ furniture, no he wanted a greek coin.

We did install electric radiators and Sherwood turned up and we gave him a Christmas party. The radiators smelled and it was terrifically hot but we were all pleased as it was a nice party. Sherwood looked as usual very handsome in one of his very latest scarf ties. Sherwood Anderson does dress well and his son John follows suit. John and his sister came over with their father. While Sherwood was still in Paris John the son was an awkward shy boy. The day after Sherwood left John turned up, sat easily on the arm of the sofa and was beautiful to look upon and he knew it. Nothing to the outward eye had changed but he had changed and he knew it.

It was during this visit that Gertrude Stein and Sherwood Anderson had all those amusing conversations about Hemingway. They enjoyed each other thoroughly. They found out that they both had had and continued to have Grant as their great american hero. They did not care so much about Lincoln either of them. They had always and still liked Grant. They even planned collaborating¹⁸⁴ on a life of Grant. Gertrude Stein still likes to think about this possibility.

We did give a great many parties in those days and the Duchess of Clermont–Tonnerre came very often.

She and Gertrude Stein pleased one another. They were entirely different in life education and interests but they delighted in each other’s understanding. They were also the only two women whom they met who still had long hair. Gertrude Stein had always worn hers well on top of her head, an ancient fashion that she had never changed.

Madame de Clermont–Tonnerre came in very late to one of the parties, almost every one had gone, and her hair was cut. Do you like it, said Madame de Clermont–Tonnerre. I do, said Gertrude Stein. Well, said Madame de Clermont–Tonnerre, if you like it and my daughter likes it and she does like it I am satisfied. That night Gertrude Stein said to me, I guess I will have to too. Cut it off she said and I did.

I was still cutting the next evening, I had been cutting a little more all day and by this time it was only a cap of hair when Sherwood Anderson came in. Well, how do you like it, said I rather fearfully. I like it, he said, it makes her look like a monk¹⁸⁵.

As I have said, Picasso seeing it, was for a moment angry and said, and my portrait, but very soon added, after all it is all there.

We now had our country house, the one we had only seen across the valley and just before leaving we found the white poodle, Basket. He was a little puppy in a little neighbourhood dog-show and he had blue eyes, a pink nose and white hair and he jumped up into Gertrude Stein’s arms. A new puppy and a new ford we went off to our new house and we were thoroughly pleased with all three. Basket although now he is a large unwieldy poodle, still will get up on Gertrude Stein’s lap and stay there. She says that listening to the rhythm of his water drinking made her recognise the difference between sentences and paragraphs, that paragraphs are emotional and that sentences are not.

Bernard Fa? came and stayed with us that summer. Gertrude Stein and he talked out in the garden about everything, about life, and America, and themselves and friendship. They then cemented the friendship that is one of the four permanent friendships of Gertrude Stein’s life. He even tolerated Basket for Gertrude Stein’s sake. Lately Picabia has given us a tiny mexican dog, we call Byron. Bernard Fa? likes Byron for Byron’s own sake. Gertrude Stein teases him and says naturally he likes Byron best because Byron is an american while just as naturally she likes Basket best because Basket is a frenchman.

Bilignin brings me to a new old acquaintance. One day Gertrude Stein came home from a walk to the bank and bringing out a card from her pocket said, we are lunching to-morrow with the Bromfields. Way back in the Hemingway days Gertrude Stein had met Bromfield and his wife and then from time to time there had been a slight acquaintance, there had even been a slight acquaintance with Bromfield’s sister, and now suddenly we were lunching with the Bromfields. Why, I asked, because answered Gertrude Stein quite radiant, he knows all about gardens.

We lunched with the Bromfields and he does know all about gardens and all about flowers and all about soils. Gertrude Stein and he first liked each other as gardeners, then they liked each other as americans and then they liked each other as writers. Gertrude Stein says of him that he is as american as Janet Scudder, as american as a doughboy, but not as solemn.

One day the Jolases brought Furman the publisher to the house. He as have been many publishers was enthusiastic and enthusiastic about The Making of Americans. But it is terribly long, it’s a thousand pages, said Gertrude Stein. Well, can’t it be cut down, he said to about four -hundred. Yes, said Gertrude Stein, perhaps. Well cut it down and I will publish it, said Furman.

Gertrude Stein thought about it and then did it. She spent a part of the summer over it and Bradley as well as she and myself thought it alright.

In the meantime Gertrude Stein had told Elliot Paul about the proposition. It’s alright when he is over here, said Elliot Paul, but when he gets back the boys won’t let him. Who the boys are I do not know but they certainly did not let him. Elliot Paul was right. In spite of the efforts of Robert Coates and Bradley nothing happened.

In the meantime Gertrude Stein’s reputation among the french writers and readers was steadily¹⁸⁶ growing. The trans lation of the fragments of the Making of Americans, and of the Ten Portraits interested them. It was at this time that Bernard Fa? wrote his article about her work printed in the Revue Européenne. They also printed the only thing she has ever written in french a little film about the dog Basket.

They were very interested in her later work as well as her earlier work. Marcel Brion wrote a serious criticism of her work in Echange, comparing her work to Bach. Since then, in Les Nouvelles Littéraires, he has written of each of her books as they come out. He was particularly impressed by How To Write.

About this time too Bernard Fa? was translating a fragment of Melanctha from Three Lives for the volume of Ten American Novelists, this to be introduced by his article printed in the Revue Européenne. He came to the house one afternoon and read his translation of Melanctha aloud to us. Madame de Clermont–Tonnerre was there and she was very impressed by his translation.

One day not long after she asked to come to the house as she wished to talk to Gertrude Stein. She came and she said, the time has now come when you must be made known to a larger public. I myself believe in a larger public. Gertrude Stein too believes in a larger public but the way has always been barred. No, said Madame de Clermont–Tonnerre, the way can be opened. Let us think.

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 Fa? 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 bêtes 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 Fa? 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 Copland came to see us with Bowles in the summer and Gertrude Stein liked him immensely. Bowles told Gertrude Stein and it pleased her that Copland 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 autobiography¹⁸⁷ 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 housekeeper¹⁸⁸ 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.

1 hem   

n.贴边，镶边；vt.缝贴边；(in)包围，限制

参考例句：

• The hem on her skirt needs sewing.她裙子上的褶边需要缝一缝。
• The hem of your dress needs to be let down an inch.你衣服的折边有必要放长1英寸。

2 bibliography   

n.参考书目；(有关某一专题的)书目

参考例句：

• There is a useful bibliography at the end of each chapter.在每一章后附有一份有用的参考书目。
• The production of this bibliography is totally automated.这个目录的编制过程全是自动化的。

3 permanently   

adv.永恒地，永久地，固定不变地

参考例句：

• The accident left him permanently scarred.那次事故给他留下了永久的伤疤。
• The ship is now permanently moored on the Thames in London.该船现在永久地停泊在伦敦泰晤士河边。

4 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

• The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
• Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

5 afterward   

adv.后来；以后

参考例句：

• Let's go to the theatre first and eat afterward. 让我们先去看戏，然后吃饭。
• Afterward,the boy became a very famous artist.后来，这男孩成为一个很有名的艺术家。

6 celebrated   

adj.有名的，声誉卓著的

参考例句：

• He was soon one of the most celebrated young painters in England.不久他就成了英格兰最负盛名的年轻画家之一。
• The celebrated violinist was mobbed by the audience.观众团团围住了这位著名的小提琴演奏家。

7 aged   

adj.年老的，陈年的

参考例句：

• He had put on weight and aged a little.他胖了，也老点了。
• He is aged,but his memory is still good.他已年老，然而记忆力还好。

8 bibliographies   

（有关某一专题或某一作者的著作的）书目( bibliography的名词复数 )； 书志学，文献学

参考例句：

• Bibliographies are lists of books and are compiled in many different forms. 书目是以许多不同形式编制的图书目录。
• The sources have been indicated in the bibliographies of the various chapters. 每章中的参考书目指出资料来源。

9 insignificant   

adj.无关紧要的，可忽略的，无意义的

参考例句：

• In winter the effect was found to be insignificant.在冬季，这种作用是不明显的。
• This problem was insignificant compared to others she faced.这一问题与她面临的其他问题比较起来算不得什么。

10 outlawed   

宣布…为不合法（outlaw的过去式与过去分词形式）

参考例句：

• Most states have outlawed the use of marijuana. 大多数州都宣布使用大麻为非法行为。
• I hope the sale of tobacco will be outlawed someday. 我希望有朝一日烟草制品会禁止销售。

11 lengthily   

adv.长，冗长地

参考例句：

• The argument went on lengthily. 辩论持续时间特别长。 来自互联网
• In the endless literary writing history, female and her body lengthily continue a depreciated destiny. 漫长的文学书写史里，“女性”与其“身体”长久地延续了一种被贬降的压抑命运。 来自互联网

12 immediate   

adj.立即的；直接的，最接近的；紧靠的

参考例句：

• His immediate neighbours felt it their duty to call.他的近邻认为他们有责任去拜访。
• We declared ourselves for the immediate convocation of the meeting.我们主张立即召开这个会议。

13 affronted   

adj.被侮辱的，被冒犯的v.勇敢地面对( affront的过去式和过去分词 )；相遇

参考例句：

• He hoped they would not feel affronted if they were not invited . 他希望如果他们没有获得邀请也不要感到受辱。
• Affronted at his impertinence,she stared at him coldly and wordlessly. 被他的无礼而冒犯，她冷冷地、无言地盯着他。 来自《简明英汉词典》

14 subscriber   

n.用户，订户；（慈善机关等的）定期捐款者；预约者；签署者

参考例句：

• The subscriber to a government loan has got higher interest than savings. 公债认购者获得高于储蓄的利息。 来自辞典例句
• Who is the subscriber of that motto? 谁是那条座右铭的签字者？ 来自辞典例句

15 subscribe   

vi.(to)订阅，订购；同意；vt.捐助，赞助

参考例句：

• I heartily subscribe to that sentiment.我十分赞同那个观点。
• The magazine is trying to get more readers to subscribe.该杂志正大力发展新订户。

16 meditated   

深思，沉思，冥想( meditate的过去式和过去分词 )； 内心策划，考虑

参考例句：

• He meditated for two days before giving his answer. 他在作出答复之前考虑了两天。
• She meditated for 2 days before giving her answer. 她考虑了两天才答复。

17 advent   

n.(重要事件等的)到来，来临

参考例句：

• Swallows come by groups at the advent of spring. 春天来临时燕子成群飞来。
• The advent of the Euro will redefine Europe.欧元的出现将重新定义欧洲。

18 rue   

n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔

参考例句：

• You'll rue having failed in the examination.你会悔恨考试失败。
• You're going to rue this the longest day that you live.你要终身悔恨不尽呢。

19 Oxford   

n.牛津（英国城市）

参考例句：

• At present he has become a Professor of Chemistry at Oxford.他现在已是牛津大学的化学教授了。
• This is where the road to Oxford joins the road to London.这是去牛津的路与去伦敦的路的汇合处。

20 Ford   

n.浅滩，水浅可涉处；v.涉水，涉过

参考例句：

• They were guarding the bridge,so we forded the river.他们驻守在那座桥上，所以我们只能涉水过河。
• If you decide to ford a stream,be extremely careful.如果已决定要涉过小溪，必须极度小心。

21 awfully   

adv.可怕地，非常地，极端地

参考例句：

• Agriculture was awfully neglected in the past.过去农业遭到严重忽视。
• I've been feeling awfully bad about it.对这我一直感到很难受。

22 chateau   

n.城堡，别墅

参考例句：

• The house was modelled on a French chateau.这房子是模仿一座法国大别墅建造的。
• The chateau was left to itself to flame and burn.那府第便径自腾起大火燃烧下去。

23 lighting   

n.照明，光线的明暗，舞台灯光

参考例句：

• The gas lamp gradually lost ground to electric lighting.煤气灯逐渐为电灯所代替。
• The lighting in that restaurant is soft and romantic.那个餐馆照明柔和而且浪漫。

24 intervals   

n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息

参考例句：

• The forecast said there would be sunny intervals and showers. 预报间晴，有阵雨。
• Meetings take place at fortnightly intervals. 每两周开一次会。

25 extraordinarily   

adv.格外地；极端地

参考例句：

• She is an extraordinarily beautiful girl.她是个美丽非凡的姑娘。
• The sea was extraordinarily calm that morning.那天清晨，大海出奇地宁静。

26 regiment   

n.团，多数，管理；v.组织，编成团，统制

参考例句：

• As he hated army life,he decide to desert his regiment.因为他嫌恶军队生活，所以他决心背弃自己所在的那个团。
• They reformed a division into a regiment.他们将一个师整编成为一个团。

27 serial   

n.连本影片，连本电视节目；adj.连续的

参考例句：

• A new serial is starting on television tonight.今晚电视开播一部新的电视连续剧。
• Can you account for the serial failures in our experiment?你能解释我们实验屡屡失败的原因吗？

28 mutual   

adj.相互的，彼此的；共同的，共有的

参考例句：

• We must pull together for mutual interest.我们必须为相互的利益而通力合作。
• Mutual interests tied us together.相互的利害关系把我们联系在一起。

29 liking   

n.爱好；嗜好；喜欢

参考例句：

• The word palate also means taste or liking.Palate这个词也有“口味”或“嗜好”的意思。
• I must admit I have no liking for exaggeration.我必须承认我不喜欢夸大其词。

30 feverish   

adj.发烧的，狂热的，兴奋的

参考例句：

• He is too feverish to rest.他兴奋得安静不下来。
• They worked with feverish haste to finish the job.为了完成此事他们以狂热的速度工作着。

31 considerably   

adv.极大地；相当大地；在很大程度上

参考例句：

• The economic situation has changed considerably.经济形势已发生了相当大的变化。
• The gap has narrowed considerably.分歧大大缩小了。

32 infinitives   

n.（动词）不定式( infinitive的名词复数 )

参考例句：

• Her litmus test for good breeding is whether you split infinitives. 她测试别人是否具有良好教养的标准是看对方是否在不定式的动词前加修饰副词。 来自互联网
• Nouns, adjectives and infinitives can be used as objective complements. 名词，形容词及不定式可用作补语。 来自互联网

33 mischievously   

adv.有害地；淘气地

参考例句：

• He mischievously looked for a chance to embarrass his sister. 他淘气地寻找机会让他的姐姐难堪。 来自互联网
• Also has many a dream kindheartedness, is loves mischievously small lovable. 又有着多啦a梦的好心肠，是爱调皮的小可爱。 来自互联网

34 promptly   

adv.及时地，敏捷地

参考例句：

• He paid the money back promptly.他立即还了钱。
• She promptly seized the opportunity his absence gave her.她立即抓住了因他不在场给她创造的机会。

35 apparently   

adv.显然地；表面上，似乎

参考例句：

• An apparently blind alley leads suddenly into an open space.山穷水尽，豁然开朗。
• He was apparently much surprised at the news.他对那个消息显然感到十分惊异。

36 tapestried   

adj.饰挂绣帷的，织在绣帷上的v.用挂毯（或绣帷）装饰( tapestry的过去式和过去分词 )

参考例句：

37 literally   

adv.照字面意义，逐字地；确实

参考例句：

• He translated the passage literally.他逐字逐句地翻译这段文字。
• Sometimes she would not sit down till she was literally faint.有时候，她不走到真正要昏厥了，决不肯坐下来。

38 backwards   

adv.往回地，向原处，倒，相反，前后倒置地

参考例句：

• He turned on the light and began to pace backwards and forwards.他打开电灯并开始走来走去。
• All the girls fell over backwards to get the party ready.姑娘们迫不及待地为聚会做准备。

39 bust   

vt.打破；vi.爆裂；n.半身像；胸部

参考例句：

• I dropped my camera on the pavement and bust it. 我把照相机掉在人行道上摔坏了。
• She has worked up a lump of clay into a bust.她把一块黏土精心制作成一个半身像。

40 appallingly   

毛骨悚然地

参考例句：

• His tradecraft was appallingly reckless. 他的经营轻率得令人吃惊。
• Another damning statistic for South Africa is its appallingly high murder rate. 南非还有一项糟糕的统计，表明它还有着令人毛骨悚然的高谋杀率。

41 spoke   

n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说

参考例句：

• They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
• The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。

42 dodge   

v.闪开，躲开，避开；n.妙计，诡计

参考例句：

• A dodge behind a tree kept her from being run over.她向树后一闪，才没被车从身上辗过。
• The dodge was coopered by the police.诡计被警察粉碎了。

43 witty   

adj.机智的，风趣的

参考例句：

• Her witty remarks added a little salt to the conversation.她的妙语使谈话增添了一些风趣。
• He scored a bull's-eye in their argument with that witty retort.在他们的辩论中他那一句机智的反驳击中了要害。

44 cone   

n.圆锥体，圆锥形东西，球果

参考例句：

• Saw-dust piled up in a great cone.锯屑堆积如山。
• The police have sectioned off part of the road with traffic cone.警察用锥形路标把部分路面分隔开来。

45 standing   

n.持续，地位；adj.永久的，不动的，直立的，不流动的

参考例句：

• After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
• They're standing out against any change in the law.他们坚决反对对法律做任何修改。

46 admiration   

n.钦佩，赞美，羡慕

参考例句：

• He was lost in admiration of the beauty of the scene.他对风景之美赞不绝口。
• We have a great admiration for the gold medalists.我们对金牌获得者极为敬佩。

47 indifference   

n.不感兴趣，不关心，冷淡，不在乎

参考例句：

• I was disappointed by his indifference more than somewhat.他的漠不关心使我很失望。
• He feigned indifference to criticism of his work.他假装毫不在意别人批评他的作品。

48 chauffeur   

n.(受雇于私人或公司的)司机；v.为…开车

参考例句：

• The chauffeur handed the old lady from the car.这个司机搀扶这个老太太下汽车。
• She went out herself and spoke to the chauffeur.她亲自走出去跟汽车司机说话。

49 reposing   

v.将（手臂等）靠在某人（某物）上( repose的现在分词 )

参考例句：

• His parents were now reposing in the local churchyard. 他的双亲现在长眠于本地教堂墓地。 来自辞典例句
• The picture shows a nude reposing on a couch. 这幅画表现的是一个人赤身体躺在长沙发上。 来自辞典例句

50 accomplished   

adj.有才艺的；有造诣的；达到了的

参考例句：

• Thanks to your help,we accomplished the task ahead of schedule.亏得你们帮忙,我们才提前完成了任务。
• Removal of excess heat is accomplished by means of a radiator.通过散热器完成多余热量的排出。

51 automobile   

n.汽车，机动车

参考例句：

• He is repairing the brake lever of an automobile.他正在修理汽车的刹车杆。
• The automobile slowed down to go around the curves in the road.汽车在路上转弯时放慢了速度。

52 automobiles   

n.汽车( automobile的名词复数 )

参考例句：

• When automobiles become popular,the use of the horse and buggy passed away. 汽车普及后，就不再使用马和马车了。 来自《简明英汉词典》
• Automobiles speed in an endless stream along the boulevard. 宽阔的林荫道上，汽车川流不息。 来自《现代汉英综合大词典》

53 tuning   

n.调谐，调整，调音v.调音( tune的现在分词 )；调整；（给收音机、电视等）调谐；使协调

参考例句：

• They are tuning up a plane on the flight line. 他们正在机场的飞机跑道上调试一架飞机。 来自《简明英汉词典》
• The orchestra are tuning up. 管弦乐队在定弦。 来自《现代汉英综合大词典》

54 tune   

n.调子；和谐，协调；v.调音，调节，调整

参考例句：

• He'd written a tune,and played it to us on the piano.他写了一段曲子，并在钢琴上弹给我们听。
• The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。

55 caravan   

n.大蓬车；活动房屋

参考例句：

• The community adviser gave us a caravan to live in.社区顾问给了我们一间活动住房栖身。
• Geoff connected the caravan to the car.杰弗把旅行用的住屋拖车挂在汽车上。

56 harry   

vt.掠夺，蹂躏，使苦恼

参考例句：

• Today,people feel more hurried and harried.今天，人们感到更加忙碌和苦恼。
• Obama harried business by Healthcare Reform plan.奥巴马用医改掠夺了商界。

57 subtlety   

n.微妙，敏锐，精巧；微妙之处，细微的区别

参考例句：

• He has shown enormous strength,great intelligence and great subtlety.他表现出充沛的精力、极大的智慧和高度的灵活性。
• The subtlety of his remarks was unnoticed by most of his audience.大多数听众都没有觉察到他讲话的微妙之处。

58 poetical   

adj.似诗人的；诗一般的；韵文的；富有诗意的

参考例句：

• This is a poetical picture of the landscape. 这是一幅富有诗意的风景画。 来自《简明英汉词典》
• John is making a periphrastic study in a worn-out poetical fashion. 约翰正在对陈腐的诗风做迂回冗长的研究。 来自辞典例句

59 elucidation   

n.说明，阐明

参考例句：

• The advertising copy is the elucidation text,which must be written according to the formula of AIDA. 文案是说明文，应基本遵照AIDA公式来写作。 来自互联网
• Fourth, a worm hole, elucidation space-time can stretch, compression, rent, also is deduced time-travel this idea. 第四，有了虫洞，就说明时空可以被拉伸、压缩、撕裂，也就推导出了时空旅行这个想法。 来自互联网

60 treatises   

n.专题著作，专题论文，专著( treatise的名词复数 )

参考例句：

• Many treatises in different languages have been published on pigeons. 关于鸽类的著作，用各种文字写的很多。 来自辞典例句
• Many other treatises incorporated the new rigor. 许多其它的专题论文体现了新的严密性。 来自辞典例句

61 illustrate   

v.举例说明，阐明；图解，加插图

参考例句：

• The company's bank statements illustrate its success.这家公司的银行报表说明了它的成功。
• This diagram will illustrate what I mean.这个图表可说明我的意思。

62 preoccupied   

adj.全神贯注的，入神的；被抢先占有的；心事重重的v.占据（某人）思想，使对…全神贯注，使专心于( preoccupy的过去式)

参考例句：

• He was too preoccupied with his own thoughts to notice anything wrong. 他只顾想着心事，没注意到有什么不对。
• The question of going to the Mount Tai preoccupied his mind. 去游泰山的问题盘踞在他心头。 来自《简明英汉词典》

63 distractions   

n.使人分心的事[人]( distraction的名词复数 )；娱乐，消遣；心烦意乱；精神错乱

参考例句：

• I find it hard to work at home because there are too many distractions. 我发觉在家里工作很难，因为使人分心的事太多。
• There are too many distractions here to work properly. 这里叫人分心的事太多，使人无法好好工作。 来自《简明英汉词典》

64 followers   

追随者( follower的名词复数 )； 用户； 契据的附面； 从动件

参考例句：

• the followers of Mahatma Gandhi 圣雄甘地的拥护者
• The reformer soon gathered a band of followers round him. 改革者很快就获得一群追随者支持他。

65 vibration   

n.颤动，振动；摆动

参考例句：

• There is so much vibration on a ship that one cannot write.船上的震动大得使人无法书写。
• The vibration of the window woke me up.窗子的震动把我惊醒了。

66 tenuous   

adj.细薄的，稀薄的，空洞的

参考例句：

• He has a rather tenuous grasp of reality.他对现实认识很肤浅。
• The air ten miles above the earth is very tenuous.距离地面十公里的空气十分稀薄。

67 nude   

adj.裸体的；n.裸体者，裸体艺术品

参考例句：

• It's a painting of the Duchess of Alba in the nude.这是一幅阿尔巴公爵夫人的裸体肖像画。
• She doesn't like nude swimming.她不喜欢裸泳。

68 descending   

n. 下行 adj. 下降的

参考例句：

• The results are expressed in descending numerical order . 结果按数字降序列出。
• The climbers stopped to orient themselves before descending the mountain. 登山者先停下来确定所在的位置，然后再下山。

69 vibrant   

adj.震颤的，响亮的，充满活力的，精力充沛的，(色彩)鲜明的

参考例句：

• He always uses vibrant colours in his paintings. 他在画中总是使用鲜明的色彩。
• She gave a vibrant performance in the leading role in the school play.她在学校表演中生气盎然地扮演了主角。

70 possessed   

adj.疯狂的；拥有的，占有的

参考例句：

• He flew out of the room like a man possessed.他像着了魔似地猛然冲出房门。
• He behaved like someone possessed.他行为举止像是魔怔了。

71 mathematicians   

数学家( mathematician的名词复数 )

参考例句：

• Do you suppose our mathematicians are unequal to that? 你以为我们的数学家做不到这一点吗？ 来自英汉文学
• Mathematicians can solve problems with two variables. 数学家们可以用两个变数来解决问题。 来自哲学部分

72 dominant   

adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因

参考例句：

• The British were formerly dominant in India.英国人从前统治印度。
• She was a dominant figure in the French film industry.她在法国电影界是个举足轻重的人物。

73 intimacy   

n.熟悉，亲密，密切关系，亲昵的言行

参考例句：

• His claims to an intimacy with the President are somewhat exaggerated.他声称自己与总统关系密切，这有点言过其实。
• I wish there were a rule book for intimacy.我希望能有个关于亲密的规则。

74 displeased   

a.不快的

参考例句：

• The old man was displeased and darted an angry look at me. 老人不高兴了，瞪了我一眼。
• He was displeased about the whole affair. 他对整个事情感到很不高兴。

75 tout   

v.推销，招徕；兜售；吹捧，劝诱

参考例句：

• They say it will let them tout progress in the war.他们称这将有助于鼓吹他们在战争中的成果。
• If your case studies just tout results,don't bother requiring registration to view them.如果你的案例研究只是吹捧结果，就别烦扰别人来注册访问了。

76 passionate   

adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的

参考例句：

• He is said to be the most passionate man.据说他是最有激情的人。
• He is very passionate about the project.他对那个项目非常热心。

77 passionately   

ad.热烈地，激烈地

参考例句：

• She could hate as passionately as she could love. 她能恨得咬牙切齿，也能爱得一往情深。
• He was passionately addicted to pop music. 他酷爱流行音乐。

78 inevitable   

adj.不可避免的，必然发生的

参考例句：

• Mary was wearing her inevitable large hat.玛丽戴着她总是戴的那顶大帽子。
• The defeat had inevitable consequences for British policy.战败对英国政策不可避免地产生了影响。

79 undoubtedly   

adv.确实地，无疑地

参考例句：

• It is undoubtedly she who has said that.这话明明是她说的。
• He is undoubtedly the pride of China.毫无疑问他是中国的骄傲。

80 decided   

adj.决定了的，坚决的；明显的，明确的

参考例句：

• This gave them a decided advantage over their opponents.这使他们比对手具有明显的优势。
• There is a decided difference between British and Chinese way of greeting.英国人和中国人打招呼的方式有很明显的区别。

81 assortment   

n.分类，各色俱备之物，聚集

参考例句：

• This shop has a good assortment of goods to choose from.该店各色货物俱全，任君选择。
• She was wearing an odd assortment of clothes.她穿着奇装异服。

82 chapel   

n.小教堂，殡仪馆

参考例句：

• The nimble hero,skipped into a chapel that stood near.敏捷的英雄跳进近旁的一座小教堂里。
• She was on the peak that Sunday afternoon when she played in chapel.那个星期天的下午，她在小教堂的演出，可以说是登峰造极。

83 embroidered   

adj．绣花的

参考例句：

• She embroidered flowers on the cushion covers. 她在这些靠垫套上绣了花。
• She embroidered flowers on the front of the dress. 她在连衣裙的正面绣花。

84 strictly   

adv.严厉地，严格地；严密地

参考例句：

• His doctor is dieting him strictly.他的医生严格规定他的饮食。
• The guests were seated strictly in order of precedence.客人严格按照地位高低就座。

85 gratitude   

adj.感激，感谢

参考例句：

• I have expressed the depth of my gratitude to him.我向他表示了深切的谢意。
• She could not help her tears of gratitude rolling down her face.她感激的泪珠禁不住沿着面颊流了下来。

86 repudiated   

v.（正式地）否认( repudiate的过去式和过去分词 )；拒绝接受；拒绝与…往来；拒不履行（法律义务）

参考例句：

• All slanders and libels should be repudiated. 一切诬蔑不实之词，应予推倒。 来自《现代汉英综合大词典》
• The Prime Minister has repudiated racist remarks made by a member of the Conservative Party. 首相已经驳斥了一个保守党成员的种族主义言论。 来自辞典例句

87 complimentary   

adj.赠送的，免费的，赞美的，恭维的

参考例句：

• She made some highly complimentary remarks about their school.她对他们的学校给予高度的评价。
• The supermarket operates a complimentary shuttle service.这家超市提供免费购物班车。

88 confessions   

n.承认( confession的名词复数 )；自首；声明；（向神父的）忏悔

参考例句：

• It is strictly forbidden to obtain confessions and to give them credence. 严禁逼供信。 来自《现代汉英综合大词典》
• Neither trickery nor coercion is used to secure confessions. 既不诱供也不逼供。 来自《现代汉英综合大词典》

89 alas   

int.唉(表示悲伤、忧愁、恐惧等)

参考例句：

• Alas!The window is broken!哎呀！窗子破了！
• Alas,the truth is less romantic.然而，真理很少带有浪漫色彩。

90 robust   

adj.强壮的，强健的，粗野的，需要体力的，浓的

参考例句：

• She is too tall and robust.她个子太高，身体太壮。
• China wants to keep growth robust to reduce poverty and avoid job losses,AP commented.美联社评论道，中国希望保持经济强势增长，以减少贫困和失业状况。

91 aridity   

n.干旱，乏味；干燥性；荒芜

参考例句：

• The name Sahara conjures up images of a desert of aridity. "撒哈拉"这个名字使人想起干旱的沙漠情景。 来自辞典例句
• The name conjures up images of a desert of aridity. “撒哈拉”这个名字使人想起“干旱”的沙漠情景。 来自互联网

92 sterility   

n.不生育，不结果，贫瘠，消毒，无菌

参考例句：

• A major barrier to interspecific hybridization is sterility in the F1 progeny.种间杂交的主要障碍是F1代的不育性。
• Sterility is some permanent factor preventing procreation.不育是阻碍生殖的一种永久性因素。

93 peculiar   

adj.古怪的，异常的；特殊的，特有的

参考例句：

• He walks in a peculiar fashion.他走路的样子很奇特。
• He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。

94 syrup   

n.糖浆，糖水

参考例句：

• I skimmed the foam from the boiling syrup.我撇去了煮沸糖浆上的泡沫。
• Tinned fruit usually has a lot of syrup with it.罐头水果通常都有许多糖浆。

95 meditation   

n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录

参考例句：

• This peaceful garden lends itself to meditation.这个恬静的花园适于冥想。
• I'm sorry to interrupt your meditation.很抱歉，我打断了你的沉思。

96 meditations   

默想( meditation的名词复数 )； 默念； 沉思； 冥想

参考例句：

• Each sentence seems a quarry of rich meditations. 每一句话似乎都给人以许多冥思默想。
• I'm sorry to interrupt your meditations. 我很抱歉，打断你思考问题了。

97 disinterestedness   

参考例句：

• Because it requires detachment, disinterestedness, it is the finest flower and test of a liberal civilization. 科学方法要求人们超然独立、公正无私，因而它是自由文明的最美之花和最佳试金石。 来自哲学部分
• His chief equipment seems to be disinterestedness. He moves in a void, without audience. 他主要的本事似乎是超然不群；生活在虚无缥缈中，没有听众。 来自辞典例句

98 remarkably   

ad.不同寻常地，相当地

参考例句：

• I thought she was remarkably restrained in the circumstances. 我认为她在那种情况下非常克制。
• He made a remarkably swift recovery. 他康复得相当快。

99 illuminated   

adj.被照明的；受启迪的

参考例句：

• Floodlights illuminated the stadium. 泛光灯照亮了体育场。
• the illuminated city at night 夜幕中万家灯火的城市

100 thoroughly   

adv.完全地，彻底地，十足地

参考例句：

• The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
• The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。

101 implored   

恳求或乞求（某人）( implore的过去式和过去分词 )

参考例句：

• She implored him to stay. 她恳求他留下。
• She implored him with tears in her eyes to forgive her. 她含泪哀求他原谅她。

102 discreetly   

ad.(言行)审慎地，慎重地

参考例句：

• He had only known the perennial widow, the discreetly expensive Frenchwoman. 他只知道她是个永远那么年轻的寡妇，一个很会讲排场的法国女人。
• Sensing that Lilian wanted to be alone with Celia, Andrew discreetly disappeared. 安德鲁觉得莉莲想同西莉亚单独谈些什么，有意避开了。

103 vile   

adj.卑鄙的，可耻的，邪恶的；坏透的

参考例句：

• Who could have carried out such a vile attack?会是谁发起这么卑鄙的攻击呢？
• Her talk was full of vile curses.她的话里充满着恶毒的咒骂。

104 retraction   

n.撤消；收回

参考例句：

• He demanded a full retraction of the allegations against him.他要求完全收回针对他的言论。
• The newspaper published a retraction of the erroneous report.那家报纸声明撤回那篇错误的报道。

105 illustrated   

adj. 有插图的，列举的 动词illustrate的过去式和过去分词

参考例句：

• His lecture was illustrated with slides taken during the expedition. 他在讲演中使用了探险时拍摄到的幻灯片。
• The manufacturing Methods: Will be illustrated in the next chapter. 制作方法将在下一章说明。

106 gourmets   

讲究吃喝的人，美食家( gourmet的名词复数 )

参考例句：

• The food here satisfies gourmands rather than gourmets. 这里的食物可以管饱却不讲究品质。
• Here is another example: "Western gourmets are sold on Peking Duck." 这里再举一个例子：“西方美食家已对北京烤鸭极有兴趣。”

107 precipices   

n.悬崖，峭壁( precipice的名词复数 )

参考例句：

• Sheer above us rose the Spy-glass, here dotted with single pines, there black with precipices. 我们的头顶上方耸立着陡峭的望远镜山，上面长着几棵孤零零的松树，其他地方则是黑黝黝的悬崖绝壁。 来自英汉文学 - 金银岛
• Few people can climb up to the sheer precipices and overhanging rocks. 悬崖绝壁很少有人能登上去。 来自互联网

108 gorge   

n.咽喉，胃，暴食，山峡；v.塞饱，狼吞虎咽地吃

参考例句：

• East of the gorge leveled out.峡谷东面地势变得平坦起来。
• It made my gorge rise to hear the news.这消息令我作呕。

109 delightfully   

大喜，欣然

参考例句：

• The room is delightfully appointed. 这房子的设备令人舒适愉快。 来自《现代汉英综合大词典》
• The evening is delightfully cool. 晚间凉爽宜人。 来自《现代汉英综合大词典》

110 delightful   

adj.令人高兴的，使人快乐的

参考例句：

• We had a delightful time by the seashore last Sunday.上星期天我们在海滨玩得真痛快。
• Peter played a delightful melody on his flute.彼得用笛子吹奏了一支欢快的曲子。

111 phenomena   

n.现象

参考例句：

• Ade couldn't relate the phenomena with any theory he knew.艾德无法用他所知道的任何理论来解释这种现象。
• The object of these experiments was to find the connection,if any,between the two phenomena.这些实验的目的就是探索这两种现象之间的联系，如果存在着任何联系的话。

112 stanzas   

节，段( stanza的名词复数 )

参考例句：

• The poem has six stanzas. 这首诗有六小节。
• Stanzas are different from each other in one poem. 诗中节与节差异颇大。

113 impulsive   

adj.冲动的，刺激的；有推动力的

参考例句：

• She is impulsive in her actions.她的行为常出于冲动。
• He was neither an impulsive nor an emotional man,but a very honest and sincere one.他不是个一冲动就鲁莽行事的人，也不多愁善感.他为人十分正直、诚恳。

114 salon   

n.[法]沙龙；客厅；营业性的高级服务室

参考例句：

• Do you go to the hairdresser or beauty salon more than twice a week?你每周去美容院或美容沙龙多过两次吗？
• You can hear a lot of dirt at a salon.你在沙龙上会听到很多流言蜚语。

115 minor   

adj.较小(少)的，较次要的；n.辅修学科；vi.辅修

参考例句：

• The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
• I gave him a minor share of my wealth.我把小部分财产给了他。

116 Christian   

adj.基督教徒的；n.基督教徒

参考例句：

• They always addressed each other by their Christian name.他们总是以教名互相称呼。
• His mother is a sincere Christian.他母亲是个虔诚的基督教徒。

117 exasperation   

n.愤慨

参考例句：

• He snorted with exasperation.他愤怒地哼了一声。
• She rolled her eyes in sheer exasperation.她气急败坏地转动着眼珠。

118 pretentiousness   

n.矫饰；炫耀；自负；狂妄

参考例句：

• Such pretentiousness cannot reflect truth but is an obstacle to truth. 这种装腔作势的东西，不能反映真理，而是妨害真理的。 来自互联网
• This is not your exclusive unrivalled skill. What do you base your pretentiousness on? 这又不是你的独家绝活儿，你凭什么拿糖呀？ 来自互联网

119 infinitely   

adv.无限地，无穷地

参考例句：

• There is an infinitely bright future ahead of us.我们有无限光明的前途。
• The universe is infinitely large.宇宙是无限大的。

120 vitality   

n.活力，生命力，效力

参考例句：

• He came back from his holiday bursting with vitality and good health.他度假归来之后，身强体壮，充满活力。
• He is an ambitious young man full of enthusiasm and vitality.他是个充满热情与活力的有远大抱负的青年。

121 intrigue   

vt.激起兴趣，迷住；vi.耍阴谋；n.阴谋，密谋

参考例句：

• Court officials will intrigue against the royal family.法院官员将密谋反对皇室。
• The royal palace was filled with intrigue.皇宫中充满了勾心斗角。

122 contemplate   

vt.盘算，计议；周密考虑；注视，凝视

参考例句：

• The possibility of war is too horrifying to contemplate.战争的可能性太可怕了，真不堪细想。
• The consequences would be too ghastly to contemplate.后果不堪设想。

123 devout   

adj.虔诚的，虔敬的，衷心的 (n.devoutness)

参考例句：

• His devout Catholicism appeals to ordinary people.他对天主教的虔诚信仰感染了普通民众。
• The devout man prayed daily.那位虔诚的男士每天都祈祷。

124 justification   

n.正当的理由；辩解的理由

参考例句：

• There's no justification for dividing the company into smaller units. 没有理由把公司划分成小单位。
• In the young there is a justification for this feeling. 在年轻人中有这种感觉是有理由的。

125 patriotism   

n.爱国精神，爱国心，爱国主义

参考例句：

• His new book is a demonstration of his patriotism.他写的新书是他的爱国精神的证明。
• They obtained money under the false pretenses of patriotism.他们以虚伪的爱国主义为借口获得金钱。

126 negation   

n.否定；否认

参考例句：

• No reasonable negation can be offered.没有合理的反对意见可以提出。
• The author boxed the compass of negation in his article.该作者在文章中依次探讨了各种反面的意见。

127 prosody   

n.诗体论，作诗法

参考例句：

• Both developed doctrine of prosody.他们作诗都有自己的理论。
• The prosody of Beowulf is based on alliteration,not end rhymes.《贝奥武甫》的诗体采用头韵而不用尾韵。

128 entirely   

ad.全部地，完整地；完全地，彻底地

参考例句：

• The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
• His life was entirely given up to the educational work. 他的一生统统献给了教育工作。

129 artistically   

adv.艺术性地

参考例句：

• The book is beautifully printed and artistically bound. 这本书印刷精美，装帧高雅。
• The room is artistically decorated. 房间布置得很美观。

130 vigour   

（=vigor）n.智力，体力，精力

参考例句：

• She is full of vigour and enthusiasm.她有热情，有朝气。
• At 40,he was in his prime and full of vigour.他40岁时正年富力强。

131 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

• He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
• We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。

132 lieutenant   

n.陆军中尉，海军上尉；代理官员，副职官员

参考例句：

• He was promoted to be a lieutenant in the army.他被提升为陆军中尉。
• He prevailed on the lieutenant to send in a short note.他说动那个副官，递上了一张简短的便条进去。

133 kindly   

adj.和蔼的，温和的，爽快的；adv.温和地，亲切地

参考例句：

• Her neighbours spoke of her as kindly and hospitable.她的邻居都说她和蔼可亲、热情好客。
• A shadow passed over the kindly face of the old woman.一道阴影掠过老太太慈祥的面孔。

134 drawn   

v.拖，拉，拔出；adj.憔悴的，紧张的

参考例句：

• All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
• Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。

135 vet   

n.兽医，退役军人；vt.检查

参考例句：

• I took my dog to the vet.我把狗带到兽医诊所看病。
• Someone should vet this report before it goes out.这篇报道发表之前应该有人对它进行详查。

136 bazaar   

n.集市，商店集中区

参考例句：

• Chickens,goats and rabbits were offered for barter at the bazaar.在集市上，鸡、山羊和兔子被摆出来作物物交换之用。
• We bargained for a beautiful rug in the bazaar.我们在集市通过讨价还价买到了一条很漂亮的地毯。

137 concierge   

n.管理员；门房

参考例句：

• This time the concierge was surprised to the point of bewilderment.这时候看门人惊奇到了困惑不解的地步。
• As I went into the dining-room the concierge brought me a police bulletin to fill out.我走进餐厅的时候，看门人拿来一张警察局发的表格要我填。

138 condescending   

adj.谦逊的,故意屈尊的

参考例句：

• He has a condescending attitude towards women. 他对女性总是居高临下。
• He tends to adopt a condescending manner when talking to young women. 和年轻女子说话时，他喜欢摆出一副高高在上的姿态。

139 Vogue   

n.时髦，时尚；adj.流行的

参考例句：

• Flowery carpets became the vogue.花卉地毯变成了时髦货。
• Short hair came back into vogue about ten years ago.大约十年前短发又开始流行起来了。

140 distinguished   

adj.卓越的，杰出的，著名的

参考例句：

• Elephants are distinguished from other animals by their long noses.大象以其长长的鼻子显示出与其他动物的不同。
• A banquet was given in honor of the distinguished guests.宴会是为了向贵宾们致敬而举行的。

141 delicacy   

n.精致，细微，微妙，精良；美味，佳肴

参考例句：

• We admired the delicacy of the craftsmanship.我们佩服工艺师精巧的手艺。
• He sensed the delicacy of the situation.他感觉到了形势的微妙。

142 prospect   

n.前景，前途；景色，视野

参考例句：

• This state of things holds out a cheerful prospect.事态呈现出可喜的前景。
• The prospect became more evident.前景变得更加明朗了。

143 battered   

adj.磨损的；v.连续猛击；磨损

参考例句：

• He drove up in a battered old car.他开着一辆又老又破的旧车。
• The world was brutally battered but it survived.这个世界遭受了惨重的创伤,但它还是生存下来了。

144 affixed   

adj.[医]附着的，附着的v.附加( affix的过去式和过去分词 )；粘贴；加以；盖（印章）

参考例句：

• The label should be firmly affixed to the package. 这张标签应该牢牢地贴在包裹上。
• He affixed the sign to the wall. 他将标记贴到墙上。 来自《简明英汉词典》

145 soothed   

v.安慰( soothe的过去式和过去分词 )；抚慰；使舒服；减轻痛苦

参考例句：

• The music soothed her for a while. 音乐让她稍微安静了一会儿。
• The soft modulation of her voice soothed the infant. 她柔和的声调使婴儿安静了。 来自《现代英汉综合大词典》

146 agitated   

adj.被鼓动的，不安的

参考例句：

• His answers were all mixed up,so agitated was he.他是那样心神不定，回答全乱了。
• She was agitated because her train was an hour late.她乘坐的火车晚点一个小时，她十分焦虑。

147 varied   

adj.多样的，多变化的

参考例句：

• The forms of art are many and varied.艺术的形式是多种多样的。
• The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。

148 confided   

v.吐露（秘密，心事等）( confide的过去式和过去分词 )；（向某人）吐露（隐私、秘密等）

参考例句：

• She confided all her secrets to her best friend. 她向她最要好的朋友倾吐了自己所有的秘密。
• He confided to me that he had spent five years in prison. 他私下向我透露，他蹲过五年监狱。 来自《简明英汉词典》

149 chuckled   

轻声地笑( chuckle的过去式和过去分词 )

参考例句：

• She chuckled at the memory. 想起这件事她就暗自发笑。
• She chuckled softly to herself as she remembered his astonished look. 想起他那惊讶的表情，她就轻轻地暗自发笑。

150 appreciation   

n.评价；欣赏；感谢；领会，理解；价格上涨

参考例句：

• I would like to express my appreciation and thanks to you all.我想对你们所有人表达我的感激和谢意。
• I'll be sending them a donation in appreciation of their help.我将送给他们一笔捐款以感谢他们的帮助。

151 annuity   

n.年金；养老金

参考例句：

• The personal contribution ratio is voluntary in the annuity program.企业年金中个人缴费比例是自愿的。
• He lives on his annuity after retirement.他退休后靠退休金维生。

152 dotage   

n.年老体衰；年老昏聩

参考例句：

• Even in his dotage,the Professor still sits on the committee.即便上了年纪，教授仍然是委员会的一员。
• Sarah moved back in with her father so that she could look after him in his dotage.萨拉搬回来与父亲同住，好在他年老时照顾他。

153 annuities   

n.养老金；年金( annuity的名词复数 )；（每年的）养老金；年金保险；年金保险投资

参考例句：

• Many companies in this country grant their old employees annuities after they retire. 这个国家的许多公司在老年雇员退休后发给他们养老年金。 来自辞典例句
• Can I interest you in one of our Easter Annuities or IRA accounts? 您对我们的复活节年金保险或者个人退休金帐户有兴趣吗？ 来自电影对白

154 providence   

n.深谋远虑，天道，天意；远见；节约；上帝

参考例句：

• It is tempting Providence to go in that old boat.乘那艘旧船前往是冒大险。
• To act as you have done is to fly in the face of Providence.照你的所作所为那样去行事，是违背上帝的意志的。

155 inmate   

n.被收容者；(房屋等的)居住人；住院人

参考例句：

• I am an inmate of that hospital.我住在那家医院。
• The prisoner is his inmate.那个囚犯和他同住一起。

156 solitary   

adj.孤独的，独立的，荒凉的；n.隐士

参考例句：

• I am rather fond of a solitary stroll in the country.我颇喜欢在乡间独自徜徉。
• The castle rises in solitary splendour on the fringe of the desert.这座城堡巍然耸立在沙漠的边际，显得十分壮美。

157 curiously   

adv.有求知欲地；好问地；奇特地

参考例句：

• He looked curiously at the people.他好奇地看着那些人。
• He took long stealthy strides. His hands were curiously cold.他迈着悄没声息的大步。他的双手出奇地冷。

158 Soviet   

adj.苏联的，苏维埃的；n.苏维埃

参考例句：

• Zhukov was a marshal of the former Soviet Union.朱可夫是前苏联的一位元帅。
• Germany began to attack the Soviet Union in 1941.德国在1941年开始进攻苏联。

159 baker   

n.面包师

参考例句：

• The baker bakes his bread in the bakery.面包师在面包房内烤面包。
• The baker frosted the cake with a mixture of sugar and whites of eggs.面包师在蛋糕上撒了一层白糖和蛋清的混合料。

160 jersey   

n.运动衫

参考例句：

• He wears a cotton jersey when he plays football.他穿运动衫踢足球。
• They were dressed alike in blue jersey and knickers.他们穿着一致，都是蓝色的运动衫和灯笼短裤。

161 persecution   

n. 迫害,烦扰

参考例句：

• He had fled from France at the time of the persecution. 他在大迫害时期逃离了法国。
• Their persecution only serves to arouse the opposition of the people. 他们的迫害只激起人民对他们的反抗。

162 primitive   

adj.原始的；简单的；n.原(始)人，原始事物

参考例句：

• It is a primitive instinct to flee a place of danger.逃离危险的地方是一种原始本能。
• His book describes the march of the civilization of a primitive society.他的著作描述了一个原始社会的开化过程。

163 remains   

n.剩余物，残留物；遗体，遗迹

参考例句：

• He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
• The remains of the meal were fed to the dog.残羹剩饭喂狗了。

164 accordion   

n.手风琴；adj.可折叠的

参考例句：

• The accordion music in the film isn't very beautiful.这部影片中的手风琴音乐不是很好。
• The accordion music reminds me of my boyhood.这手风琴的乐声让我回忆起了我的少年时代。

165 lasting   

adj.永久的，永恒的；vbl.持续，维持

参考例句：

• The lasting war debased the value of the dollar.持久的战争使美元贬值。
• We hope for a lasting settlement of all these troubles.我们希望这些纠纷能获得永久的解决。

166 inevitably   

adv.不可避免地；必然发生地

参考例句：

• In the way you go on,you are inevitably coming apart.照你们这样下去，毫无疑问是会散伙的。
• Technological changes will inevitably lead to unemployment.技术变革必然会导致失业。

167 tattered   

adj.破旧的，衣衫破的

参考例句：

• Her tattered clothes in no way detracted from her beauty.她的破衣烂衫丝毫没有影响她的美貌。
• Their tattered clothing and broken furniture indicated their poverty.他们褴褛的衣服和破烂的家具显出他们的贫穷。

168 adventurous   

adj.爱冒险的；惊心动魄的，惊险的，刺激的　

参考例句：

• I was filled with envy at their adventurous lifestyle.我很羨慕他们敢于冒险的生活方式。
• He was predestined to lead an adventurous life.他注定要过冒险的生活。

169 lament   

n.悲叹，悔恨，恸哭；v.哀悼，悔恨，悲叹

参考例句：

• Her face showed lament.她的脸上露出悲伤的样子。
• We lament the dead.我们哀悼死者。

170 blues   

n.抑郁，沮丧；布鲁斯音乐

参考例句：

• She was in the back of a smoky bar singing the blues.她在烟雾弥漫的酒吧深处唱着布鲁斯歌曲。
• He was in the blues on account of his failure in business.他因事业失败而意志消沉。

171 brewer   

n. 啤酒制造者

参考例句：

• Brewer is a very interesting man. 布鲁尔是一个很有趣的人。
• I decided to quit my job to become a brewer. 我决定辞职，做一名酿酒人。

172 amiably   

adv.和蔼可亲地，亲切地

参考例句：

• She grinned amiably at us. 她咧着嘴向我们亲切地微笑。
• Atheists and theists live together peacefully and amiably in this country. 无神论者和有神论者在该国和睦相处。 来自《简明英汉词典》

173 engraving   

n.版画；雕刻（作品）；雕刻艺术；镌版术v.在（硬物）上雕刻（字，画等）( engrave的现在分词 )；将某事物深深印在（记忆或头脑中）

参考例句：

• He collected an old engraving of London Bridge. 他收藏了一张古老的伦敦桥版画。 来自辞典例句
• Some writing has the precision of a steel engraving. 有的字体严谨如同钢刻。 来自辞典例句

174 dealers   

n.商人( dealer的名词复数 )；贩毒者；毒品贩子；发牌者

参考例句：

• There was fast bidding between private collectors and dealers. 私人收藏家和交易商急速竞相喊价。
• The police were corrupt and were operating in collusion with the drug dealers. 警察腐败，与那伙毒品贩子内外勾结。

175 persistently   

ad.坚持地；固执地

参考例句：

• He persistently asserted his right to a share in the heritage. 他始终声称他有分享那笔遗产的权利。
• She persistently asserted her opinions. 她果断地说出了自己的意见。

176 procrastinated   

拖延，耽搁( procrastinate的过去式和过去分词 )

参考例句：

• She procrastinated her return. 她拖延了归期。
• He procrastinated until it was too late to do anything at all. 他因循坐误，一事无成。

177 ecstasy   

n.狂喜，心醉神怡，入迷

参考例句：

• He listened to the music with ecstasy.他听音乐听得入了神。
• Speechless with ecstasy,the little boys gazed at the toys.小孩注视着那些玩具，高兴得说不出话来。

178 binding   

有约束力的，有效的，应遵守的

参考例句：

• The contract was not signed and has no binding force. 合同没有签署因而没有约束力。
• Both sides have agreed that the arbitration will be binding. 双方都赞同仲裁具有约束力。

179 advertising   

n.广告业；广告活动 a.广告的；广告业务的

参考例句：

• Can you give me any advice on getting into advertising? 你能指点我如何涉足广告业吗?
• The advertising campaign is aimed primarily at young people. 这个广告宣传运动主要是针对年轻人的。

180 laudatory   

adj.赞扬的

参考例句：

• Now,when Carrie heard Drouet's laudatory opinion of her dramatic ability,her body tingled with satisfaction.听到杜洛埃这么称道自己的演戏才能，她心满意足精神振奋。
• Her teaching evaluations are among the most laudatory in this department.她的教学评估在本系是居最受颂扬者之中。

181 stimulating   

adj.有启发性的，能激发人思考的

参考例句：

• shower gel containing plant extracts that have a stimulating effect on the skin 含有对皮肤有益的植物精华的沐浴凝胶
• This is a drug for stimulating nerves. 这是一种兴奋剂。

182 radiators   

n.（暖气设备的）散热器( radiator的名词复数 )；汽车引擎的冷却器，散热器

参考例句：

• You can preset the radiators to come on when you need them to. 你可以预先调好暖气，使它在你需要的时候启动。
• Stars are radiators of vast power. 恒星是强大的发光体。 来自《现代英汉综合大词典》

183 renaissance   

n.复活，复兴，文艺复兴

参考例句：

• The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
• The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。

184 collaborating   

合作( collaborate的现在分词 )； 勾结叛国

参考例句：

• Joe is collaborating on the work with a friend. 乔正与一位朋友合作做那件工作。
• He was not only learning from but also collaborating with Joseph Thomson. 他不仅是在跟约瑟福？汤姆逊学习，而且也是在和他合作。

185 monk   

n.和尚，僧侣，修道士

参考例句：

• The man was a monk from Emei Mountain.那人是峨眉山下来的和尚。
• Buddhist monk sat with folded palms.和尚合掌打坐。

186 steadily   

adv.稳定地；不变地；持续地

参考例句：

• The scope of man's use of natural resources will steadily grow.人类利用自然资源的广度将日益扩大。
• Our educational reform was steadily led onto the correct path.我们的教学改革慢慢上轨道了。

187 autobiography   

n.自传

参考例句：

• He published his autobiography last autumn.他去年秋天出版了自己的自传。
• His life story is recounted in two fascinating volumes of autobiography.这两卷引人入胜的自传小说详述了他的生平。

188 housekeeper   

n.管理家务的主妇，女管家

参考例句：

• A spotless stove told us that his mother is a diligent housekeeper.炉子清洁无瑕就表明他母亲是个勤劳的主妇。
• She is an economical housekeeper and feeds her family cheaply.她节约持家，一家人吃得很省。