by Edward Burns
Gertrude.
1. Stein is probably referring to two of Seabrook’s books: The Magic Island, translated by Gabriel de Hons as L’lle magique (Paris: Firmin-Didot, 1929), which deals with Haiti and voodooism; Jungle Ways, translated by Suzanne Flour as Secrets de la jungle (Paris: J. Haumont, 1933), which deals with social life, witchcraft, and travel in French West Africa.
2. The translation of Van Vechten’s Nigger Heaven
3. Stein enclosed the card:
Génèral De Division M. Goybet
Commandant en 1918 la 157e Division dont
faisaient partir des 371 et 372 R. I. U. S.
To Carl Van Vechten
[Postcard: The Black Watch: Piper, Full Dress]
[postmark: 18 November 1933] [Bilignin par Belley Ain]
My dear Carl
I had a charming letter from your niece but she did not give me any address, will you thank her for me, I liked her letter1
Gertrude.
1. Elizabeth Van Vechten Shaffer wrote to Stein expressing her pleasure in The Autobiography of Alice B. Toklas (2 November [1933], YCAL).
To Carl Van Vechten
[Postcard: Photograph of the Villa Stein (Les Terrasses)]1
[postmark: 21 November 1933] 27 rue de Fleurus
Paris
My dearest Carl,
The dear dear pig has come he came just like that perfectly intact and looking at me so sweetly while I write, but he isn’t a tiny pig he is a very very substantial pig, a very portly pig indeed, now is he the mother pig or is he the baby pig, he seems what you may call a normal pig, but whatever he is he is a lovely lovely pig, and I look into his black eyes and at his admirable tail and am filled with [word?] So much love to you now and always And what is the most wonderful is that it is glass it is almost unbelievable.
Gertrude.
My eldest brother’s house at St. Cloud.
1. Designed by Le Corbusier (Edouard Jeanneret) and erected in 1927, this was the home of Stein’s brother Michael and his wife Sarah. The villa is in the town of Garches, a few kilometers outside of Paris.
To Gertrude Stein
[Postcard] Carl Van Vechten 1906
13 December 1933 [150 West Fifty-fifth Street New York]
Dear Gertrude—
I’m glad you liked the pig—I think I’ll have to send the big one on as nobody is going over now. The Seabrooks won’t go back. Do you know anybody who is leaving?—It is a very big pig, & is not afraid of the Big Bad Wolf. I love the photographs with the dogs you sent. Soon I’ll send you a lot of pictures of myself I take myself. (All alone) I like your idea for a book for [Bennett] Cerf. But I like all your ideas. [Louis] Bromfield has been here & we talked about you & Sherwood Anderson & we talked about you. Lots of love to you both!—1
Carlo.
1. Louis Bromfield (1896–1956), the American writer, and his wife Mary, had lived in Senlis, France, for many years. Stein and Toklas often went for Sunday lunch at the Bromfields.
Sherwood Anderson (1876–1941), the American writer. Anderson first met Stein in 1921 through Sylvia Beach, the owner of Shakespeare and Company, an American and English bookshop in Paris (see Gallup, The Flowers of Friendship, pp. 138–39).
Anderson wrote “The Work of Gertrude Stein” as a foreword to Stein’s Geography and Plays. Throughout her life Stein remained fiercely loyal to Anderson. One reason given by Stein for her break with Ernest Hemingway was the satire of Anderson’s style in Hemingway’s novel The Torrents of Spring (New York: Charles Scribner’s Sons, 1926). The Anderson-Stein correspondence was published in Sherwood Anderson/Gertrude Stein: Correspondence and Personal Essays, edited by Ray Lewis White (Chapel Hill, North Carolina: University of North Carolina Press, 1972).
To Gertrude Stein
2 January 1934 150 West Fifty-fifth Street
[New York]
Dear Gertrude,
I guess nobody but me would have the nerve to turn a duchess into an errand boy, but I have done just that. The Duchesse de Clermont-Tonnerre is sailing Friday (probably on the boat which will take you this letter!) and she is accompanied by the BIG Painted Pig! She was extremely sweet about the whole thing and acted as if she considered it a favor to be permitted to be the go-between for two such charming people! It is to the duchess too that you must turn for the latest news about the Opera. She was in Florine Stettheimer’s studio the day I first saw the divine décors and costumes and she will tell you all about them. Also I believe she has attended rehearsals. As for me I am staying away from rehearsals so that I may get an entirely fresh impression. I have booked seats for the two opening nights and will go to Hartford on a sort of pilgrimage. You will get a full report from me then. But I don’t want to say too much until then. However, there is the kind of excitement in the air that always indicates the arrival of something important and I think something is really going to happen this time! Besides, isn’t it your year?
The Skinner paper in the Atlantic doesn’t seem to me to make sense, but isn’t that the way they always write about the Men and Women who have arrived?1
I sent you about a ton of my photographs a couple of weeks ago and the Duchess will tell you something about my photographs too, as I photographed her. She is an altogether charming person and I was delighted to see her again. Besides she is taking the PIG to Beloved Gertrude!
Alice is right. The pig is not glass. It is a kind of mud pottery.
Isn’t life exciting? I am sloughing off pounds and expect soon to appear in a norfolk jacket, but the thinner I am the more I shall love Gertrude and Alice!
156 red roses and four orchids to you! & Fania sends five blue hyacinths!
Carlo!
1. B. F. Skinner, “Has Gertrude Stein a Secret?” The Atlantic Monthly (January 1934), 153:50–57. Skinner, then a junior fellow at Harvard University, had read Stein’s two early contributions to Harvard University’s The Psychological Review. Skinner theorized that Stein’s “eccentric” writing style, particularly in Tender Buttons, was simply a continuation of her experiment in automatic writing. The first article, “Normal Motor Automatism,” The Psychological Review (September 1896), 3(5):492–512, while listing the authors as Leon M. Solomons and Gertrude Stein, was entirely written by Solomons. Stein’s name was added to recognize her participation in the experiments on which the article was based. “Cultivated Motor Automatism. A Study of Character in Its Relation to Attention,” The Psychological Review (May 1898), 5(3):295–306, was actually Stein’s first published piece. This article deals with an experiment in automatic writing that Stein had done under the tutelage of William James at Harvard University.
To Carl Van Vechten
[postmark: 6 January 1934] 27 rue de Fleurus
[Paris]
My dearest Carl,
Did I tell you how delighted I am with your photos, I look at them a good deal and they do look very tender and true, and that undoubtedly is you. But they do, they really do, the one all light is rather wonderful, and I think what you do with the ears is very curious, ears are curious, but what you do with them makes them even more so. It will be nice being photographed by you. I can’t wish you happy new year too often, because I do hope it will be a nice one, it is always nice when it is. I have just had a charming letter from a colored boy all about the opera, his feelings were hurt because it would appear they said in the newspapers they chose the Negroes as singers because they would not giggle and he said that of course they would not because why should they giggle since of course they would understand. Very sweet of him,1 it begins to sound most xciting and I am almost sorry we are not there, but you will tell us all about it and in a way I suppose it would kind of be too xciting to be there, but from Virgil [Thomson]’s letters it does sound rather good.2 Well anyway, lots and lots of love. It is rather nice weather and I am working a lot, and I am likeing it, and the autobiography is translated and coming out in reviews,3 I will send them as soon as they come out, and lots and lots of love, always
; Gertrude.
1. At the time he wrote Stein, Ulysses G. Lee, Jr. (1912–1969) was a student at Howard University, Washington, D.C. (A.B., 1935, M.A. 1936; he later earned a doctorate from the University of Chicago). Stein was deeply impressed with Lee’s letters to her and she had Toklas make typescripts of them for her agent, William A. Bradley, to bring with him to New York. See Lee to Stein, 28 December 1933, YCAL.
2. Stein and Thomson had not written to each other since the winter of 1930–31 when Stein fought with Georges Hugnet over the title page of her translation of his poem Enfances. See Van Vechten to Stein [6 September 1930], note 2. Thomson again wrote to Stein on 30 May 1933 to discuss details for the planned production of Four Saints in Three Acts. He corresponded with her again on 3 June [1933], 22 June [1933], and 3 July [1933]. These letters deal with contract arrangements, changes being made in the text of the opera, and general information about the progress of the production. On 6 December [1933] Thomson wrote to Stein that the cast had been hired and that rehearsals had already begun. The Thomson-Stein correspondence is in YCAL.
3. The Autobiography of Alice B. Toklas was translated by Bernard Faÿ, Autobiographie d’Alice Β. Toklas (Paris: NRF, Gallimard, 1934). Prior to its publication on 13 October 1934, two excerpts were printed: “L’Atelier de Gertrude Stein,” Gazette des Beaux-Arts (April 1934), 6(11):[232]–43, and “Souvenirs de Gertrude Stein: Vollard et le Premier Salon d’Automne,” Nouvelle Revue Française (September 1934), 22:[358]-72.
To Carl Van Vechten
[postmark: 18 January 1934] 27 rue de Fleurus
Paris
My dear dear Carl
What a pig what a wonderful wonderful pig, the first pig the little pig is a flower and we love it but this is a marvel, it is better than all the douaniers Rousseau’s souvenirs de Mexico.1 Mme Clermont-Tonnerre was an angel,2 she put her hats in her trunk and the pig box into her hat box could anyone be more sweet and charming nobody but he who sent the pig. But really and truly Carl never have I seen an object more wonderful, the nose the eyes all golden all pig, it’s a marvel, thanks and thanks a thousand times. You do know what I like but this is better than anything. We had a nice lunch to-day at Nathalie [Barney]’s and Mme Clermont Tonnerre told us all about the opera and all about your flat and all about everything and it was very delightful, and I am as pleased as can be and very xcited, and the pig is between the two Picassos in the corner on the Spanish meuble and I can’t stop looking at him. Thanks oh more than thanks, he is a wonder. Alice adores him for his embroidery but I adore him for his shape, love and lots and lots of it
Gertrude.
1. Henri Rousseau, called “le Douanier” (1844–1910), was a French amateur, or “Sunday,” painter. As a young man he enrolled in the Army and was assigned to the 52nd Infantry Regimental Band, in which he played saxophone. In later life he claimed that the inspiration for his elaborate, fanciful, and exotic pictures derived from his service in the Mexican campaign of 1861–67. There is no evidence, however, that this is true. After leaving the Army he worked for the French customs service. In 1880 he began painting, and beginning in 1886 he showed his works.
2. Note by Van Vechten, 21 January 1941: “Elisabeth Gramont, Duchesse de Clermont-Tonnerre who carried this Mexican pottery pig all painted with flowers back to Gertrude. “
To Gertrude Stein
[Postcard: Briarcliff Lodge as seen from an aeroplane]
19 January [1934] [Briarcliff Lodge Briarcliff Manor, New York]
Dear Gertrude:
I’m glad the pictures amused you I am dying to get at you and Alice.—What is the name of the colored boy who wrote to protest? I may know him. Do you know anything about Dr. Hay? This is now his sanitarium & I am on a diet there, getting very healthy for the opera for which I have seats for the opening night & the dress rehearsal. Everyone asks me will I take them. So I guess everybody wants to go. I am staying away from the entrepreneurs as I want it all to be fresh. I hope the Duchess [de Clermont-Tonnerre] has walked in with that nice painted pig intact. Think of travelling by Duchess-express. Quel chic!
Love to you both
Carlo,
I go back to N.Y. in two days.
To Gertrude Stein
[Postcard: Rockefeller Center, New York]
27 January [1934] [150 West Fifty-fifth Street New York]
Dear Gertrude:
I knew the little pig was not enough. I knew the big pig would not be an anti climax—but what a lamb of a duchess to carry pigs to G. Stein! … Next week I am going up to Hartford to see the opera & hear it. Henry McBride is going up too. I shall cable you & write you. It is already announced it is coming to N.Y. for a run on February 19 & I am sure it is going to be grand. “Grand” grand opera at last. You’d better come over later & hear it & have your photographs taken by the old Maestro.
164 red carnations to you!
Carlo.
To Gertrude Stein
[Postcard: View from Carl Van Vechten’s window. Photograph by Carl Van Vechten]
1 February 1934 [150 West Fifty-fifth Street New York]
Yesterday, Bennett Cerf called me up to say goodbye & he was going to Nassau, and I said, “Aren’t you going to publish the book of the opera,” and today he telephoned me that he had cabled you & you had consented & he asked me to write a preface &, as you know, I am not writing now but I could not refuse to do this. So we are appearing together again & it will be out in 2 weeks!!! So again I must write something you will not see until it is published. Will you please like it? Lots of love & I’ll communicate with you directly after the opera is produced.1
Carlo
1. Cerf cabled Stein on 1 February 1934 (YCAL) offering to publish Four Saints in Three Acts under the Random House imprint. A second cable, also 1 February (YCAL), asked Stein whether she wanted to use the text Thomson had established for the performance or whether she preferred her original text. To establish an American copyright, the text used by Random House, and published on 20 February 1934, was slightly abridged from that used in transition (June 1929), 16/17: 39–72, and in Stein’s Operas and Plays.
To Carl Van Vechten
[postmark: 5 February 1934] 27 rue de Fleurus
Paris
My dear Carl,
The first night is drawing near and I am getting very xcited, I kind of feel that I am feeling and seeing it through you and that is very contenting. The big pig is so much admired we are giving a party for it next week. Bernard Faÿ fills the little one up with pennies but he says he has not had as yet in these days coinage to commence filling the big one but he xpects to commence very soon. I met the Duchesse [de Clermont-Tonnerre] at dinner the other day and I told her how you called it the Duchesse Xpress and she was delighted.1 She is immensely looking forward to her photographs they ought to be very amusing. Everything is moving along sweetly and we love you very much oh so very much, Pépé is being taught to love you, Basket does so already, and best to you always2
Gertrude
1. Note by Van Vechten, 21 January 1941: “When I sent the Mexican painted pig to G. S. by the Duchesse de Clermont-Tonnerre I wrote Gertrude I was sending it by ‘Duchess Express.’ “
2. A dog Stein had acquired in 1932 shortly after the death of Byron, her Mexican chihuahua. Pépé was named after the painter Francis Picabia, who had given Stein the dog.
To Gertrude Stein
[Telegram]
7 February 1934 Hartford, Connecticut
OPERA BEAUTIFUL TRIUMPH1
CARLO
1. Van Vechten attended both the invitational preview on 7 February and the official opening the following night.
To Gertrude Stein
8 February 1934 The Heublein Hotel Hartford, Connecticut
Dear Gertrude,
Four Saints, in our vivid theatrical parlance, is a knockout and a wow. I cabled you when I got home from the invited dress rehearsal last night (I mean you were invited to buy seats). It was a most smart performance in this beautiful lit
tle theatre. People not only wore evening clothes, they wore sables and tiaras. Henry McBride sat just in front of me.x I haven’t seen a crowd more excited since Sacre du Printemps. The difference was that they were pleasurably excited. The Negroes are divine, like El Grecos, more Spanish, more Saints, more opera singers in their dignity and simplicity and extraordinary plastic line than any white singers could ever be. And they enunciated the text so clearly you could understand every word. Frederick Ashton’s rhythmic staging was inspired and so were Florine [Stettheimer]’s costumes and sets. Imagine a crinkled sky-blue cellophane background, set in white lace borders, like a valentine against which were placed the rich and royal costumes of the saints in red velvets, etc. and the dark Spanish skins. The wedding funeral in the third act was like an El Greco. The manager who is taking it to New York expects it to be a success and I am sure it will be something. I’ll ask Virgil [Thomson] today if he is sending you programs etc. and if he isn’t I’ll send you some of this kind of thing when I get back to New York. I suppose your clipping bureau will attend to the rest. But I enclose a couple of samples and the coupons from our two seats. Now, please let me write this preface.(2) I really think you should see, hear, and feel Four Saints. Maybe you and Alice can be persuaded to try it out. Dollars go farther here too now than they do there and perhaps you would escape the revolution.(3)
love always,
Carlo
x& was really wild with delight.
(2)I have to send it in today!
(3)& be photographed officially.
Edward Matthews as St. Ignatius in Four Saints in Three Acts.
