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Notes to Chapter 1 Notes Notes to Chapter 1 1. Alfred Stieglitz to Dorothy Norman, quoted in Alfred Stieglitz: An American Seer, by Dorothy Norman (Random House, 1960), pp. 110-11. 2. Ibid., pp. 111-12. 3. Stein mentions the Stieglitz visit and their subsequent discussion of the visit in Everybody's Autobiography, p. 72. 4. Alice Toklas, What Is Remembered (Holt, Rinehart and Winston, 1963), p. 23. 5. Agnes Ernst Meyer, Out 0/ These Roots (Littie Brown, 1953), p. 81. Quoted in James Mellow, Charmed Circle: Gertrude Stein & Company (Praeger, 1974), p. 16. 6. Hutchins Hapgood, A Victorian in the Modern World (Harcourt Brace, 1939), p. 131. Quoted in Mellow, Charmed Circle, p. 209. 7. Leo Stein, Journey into the Self, Being the Letters, Papers and Journals 0/ Leo Stein, ed. Edmund Fuller (Crown Publishers, 1950), pp. 185-7. 8. Shari Benstock, Women 0/ the Left Bank, Paris, 1900-1940 (University of Texas Press, 1986), pp. 145-6. 9. In the Virago Edition of Everybody's Autobiography 'initiative' has been misprinted 'initiation'. 10. Although it is called The Autobiography 0/ Alice B. Toklas and told as a first-person autobiographical narrative, Gertrude Stein was in fact the author of this 'autobiography' of another woman, her lifelong mate, Alice Toklas. 11. Leo Stein to Gertrude Stein, 20 December 1900, Journey into the Self, p. 5. 12. Ibid., p. 5. 13. Quoted in a letter from Mrs. Michael Stein to Gertrude Stein, 20 J anuary 1897, The Flowers 0/ Friendship: Letters Written to Gertrude Stein, ed. Donald Gallup (Alfred A. Knopf, 1953), p. 12. 14. Maurice Sterne, Shadow and Light (HaFcourt Brace, 1965), p. 53. Quoted in Mellow, Charmed Circle, p. 17. 15. Leo Stein to Mabel Weeks, 19 September 1902, Journey Into the Self, p.13. 157 158 GERTRUDE STEIN 16. Mellow, Charmed Circle, p. 27. 17. Rosalind.Miller, Gertrude Stein: Form and Intelligibility (Exposi­ tion Press, 1949), p. 146. Miller reprints all ofthe essays and stories Stein wrote for her English c1asses at Harvard. 18. See Richard Bridgman, Gertrude Stein in Pieces (Oxford Uni­ versity Press, 1970), pp. 133-4; S. C. Neuman, Gertrude Stein: Autobiography and the Problem 0/ Narration (University of Victoria, 1979), chapter 3; Lisa Ruddick, Reading Gertrude Stein: Body, Text, Gnosis (Cornell University Press, 1990), chapter 1; Wendy Steiner, Exact Resemblance to Exact Resemblance: The Literary Portraiture 0/ Gertrude Stein (Yale University Press, 1978), chapter 2; Donald Sutherland, Gertrude Stein: A Biography 0/ Her Work (Yale University Press, 1951), pp. 1-13; and ]ayne L. Walker, The Making 0/ a Modernist: Gertrude Stein from Three Lives to Tender Buttons (The University of Massachusetts Press, 1984), chapters 1 and 5. 19. Leo Stein, Journey Into the Self, p. 194. 20. Bridgman, Gertrude Stein in Pieces, p. 35; Mellow, Charmed Circle, p. 44; and Benstock, Women ofthe Left Bank, p. 147. 21. Leo Stein to Alben Barnes, 20 October 193,\, Journey Into the Self, p. 148. 22. Dr. Lewellys Barker to Genrude Stein, 30 ]anuary 1902, Flowers 0/ Friendship, ed. Gallup, p. 24. 23. Leo Stein to Genrude Stein, 3 February 1901, Journey Into the Self, p. 7. 24. Benstock, Women o/the Left Bank, p. 147 and MeUow, Charmed Circle, p. 45. 25. Mellow, Charmed Circle, p. 59. 26. Bridgman, Gertrude Stein in Pieces, p. 45. 27. Although Stein was ]ewish, she identified herself as an American and a westerner, but not as a lew. In all her observations about her nationality and about the elements of her character that might have their source in ethnicity, Stein alniost never alludes to her ]ewishness. 28. Mellow, Charmed Circie, p. 47. 29. Leon Katz, Introduction to Fernhurst, Q.E.D., and Other Early Writing, by Genrude Stein (Liveright, 1971), p. xviii. 30. Ibid., p. xvii. 31. Sterne, Shadow and Light, pp. 47-9. Quoted in Mellow, Charmed Gircle, pp. 16-17. 32. Mellow, Charmed Circle, p. 58 and Bridgman, Gertrude Stein in Pieces, p. 45. 33. In Q.E.D., the Stein figure, Adele, who is travelling with her brother in Spain and Morocco, thinks about the glimpse of sexual passion she has had with Helen: 'She thought of it NOTES 159 as she and her brother lay in the evenings on the hill-side at Tangiers. .. As they lay there agreeing and disagreeing in endless discussion with an intensity of interest that long familiarity had in no way diminished . .. she enjoyed to the fuH the sense of family friendship. She feit that her glimpse [of sexual passion] had nothing to do with all this. It belonged to another less pleasant and more incomplete emotional world' (FQED 67). It is likely that, like :Adele, Gertrude Stein tried to keep that other world of her sexuality apart from the world of 'family friendship'. 34. Although Stein remembers Young Girl with Basket 01 Flowers as Leo's first purchase of a Picasso painting, he had actuaHy a few days earlier bought Harlequin 's Family with an Ape. 35. Picasso had no less an affinity for Stein than she for him. He was, of course, grateful for her patronage and support. But more than that, he genuinely admired poets and poetry. Stein was one of a number of poets who were his elose friends and who influenced his work - Guillaume Apollinaire, Max Jacob and Jean Cocteau, for example. Moreover, according to his most recent biographer, Picasso was fascinated by large women and had a 'penchant for lesbianism' Gohn Richardson, A Life 01 Picasso, Volume I, 1881-1906 [Random House, 1991], p. 304). For many reasons, then, Picasso was predisposed to take an interest in Stein. 36. Stein calls 'Melanctha' the second story of Three Lives. It is indeed the middle story in the published book, but it was the last of the three stories to be written. 37. See Roland Penrose, Picasso: His Life and Work (Schocken Books, 1962), pp. 114-20 and John Richardson, A Life 01 Picasso, chapter 26. Richardson gives slightly more importance to the painting of Stein's portrait than Penrose does, but both writers agree that the tendencies visible in the portrait of Gertrude Stein (the depiction of monumental women and the use of a masklike face) had other sources and did not originate during the winter in which Picasso focused so intensely on this model and this work. 38. Even when Picasso painted Les DemoiseIles d'Avignon, a painting which at first displeased his friends and admirers, he still had the enthusiastic support of Wilhelm Uhde, the German critiC and coHector, and Uhde's friend, Daniel-Henry Kahnweiler, who was to replace Ambroise VoHard as Picasso's dealer. (See Penrose, Picasso, p. 127.) 39. Gertrude Sein to Mabel Weeks, ND. Quoted in Mellow, Charmed Circle, p. 77. 40. Leo Stein to Mabel Weeks, 7 February 1913, Joumey Into the SelJ, pp. 52-3. 41. Benstock, Women olthe Left Bank, p. 153. 42. Toklas, What Is Remembered, p. 3. 160 GERTRUDE STEIN 43. Ibid., pp. 41-2. 44. Ibid., p. 44. 45. Leo Stein to Mabel Weeks, 7 February 1913, Journey Into the Selj, p. 52. 46. Forfeminist responses to the SteinIToklas marriage see Benstock, Women o/the Left Bank, pp. 18-19; Blanche Cook, 'Women Alone Stir My Imagination: Lesbianism and the Cultural Tradition', Signs 4 (1979) 718-39; and Carolyn G. Heilbrun, Writing a Woman's Life (Ballantine Books, 1988), pp. 79-80. 47. Catharine R. Stirnpson, 'GertricelAltrude: Stein, Toklas, and the Paradox of the Happy Marriage,' in Mothering the Mind: Twelve Studies o/Writers and Their Silent Partners, ed. Ruth Perry and Martine Watson Brownley (Holmes & Meier, 1984), pp.130-1. Notes to Chapter 2 1. Stein once advised a young writer to 'think of the writing in terms of discovery, which is to say that creation must take place between the pen and the paper, not before in a thought or afterwards in arecasting' Oohn Hyde Preston, 'A Conversation', The Atlantic Monthly [August 1935] 187). 2. For a brilliant discussion of Stein's indeterminate (enigmatic) poetry in the context of similar twentieth-century poetry, see Marjorie PerlofI, The Poetics 0/ Indeterminacy: Rimbaud to Gage (Princeton University Press, 1981). 3. We know ofthese intentions because ofthe notebooks in which she planned these works (especially The Making 0/ Americans). Stein's notebooks are available to scholars in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University, hereafter referred to as oVale Collection'. 4. In the published version of Three Lives, 'Melanctha' is the middle story, but we will consider the stories here in the order of their composition, with 'The Good Anna' the first written and 'Melanctha' the last. 5. Given the date ofits composition (1905) and theprevailing taboo against the outright depiction of sexual acts, the sexual content of 'Melanctha' is, understandably, suggested indirectly through the use of euphemism and symbolism. Thus, Stein refers to Melanctha's awakening sexuality as 'her power' as a woman 'stirring within her' (86), to her sexual desire as wanting 'it' badly (87), to her promiscuity as 'wandering after wisdom' (88) and to sexual intercourse as a kind NOTES 161 of 'knowledge'. Stein uses trains (and men working on trains and inviting Melanctha to sit on their engines), ships (with their 'dark and smelly pi aces') and construction sites (with their cranes and the workers' invitations to Me!anctha to 'stand up here on top where I be'). to symbolize male sexuality and Melanctha's flirtations as she wanders after wisdom (89-93). When Melanctha falls from a high place and breaks her arm, a metaphoric sexual initiation is hinted at. In the case of J ane Harden, it is not c1ear because of the indirection in the text whether Melanctha becomes her lover or just her friend, although the former is suggested by passages like the following: 'She [Jane Harden] loved Melanctha hard and made Melanctha fee! it very deeply.
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