TH^ TACTIC REVOLUTIOl/ ;

ABRAHAM LINCOLN GILLESPIE / I

EDITED BY RICHARD MILAZZO

{

OUT OF LONDON PRESS

ix Preface

xiii Theo-Syncopation by Richard Milazzo

1 WORKS

111 LETTERS

129 JUVENILIA

161 PLATES

163 Textual Notes

183 Bibliography

187 Abraham Lincoln Gillespie: 1895-1950 by Sol J. Leon

vii

PREFACE

The Syntactic Revolution comprises the collected writings of Abraham Lincoln Gillespie. All known original manuscripts, typescripts, and publications were consulted to establish the text for this the first and authoritative edition of the author's extant writings. Two texts, "Proletarreaderia" and "Dissynthegration," and a construction by Gillespie, his working notes, letters, many (all, if student yearbook publication is discounted) of the photographs of him, and the marginalia (and juvenilia, if student yearbook publication is discounted) are previously unpublished. The texts, and transcriptions of the letter entitled "Device­Contribs to WRitext & WRiteFor'm" and of the working notes found among George Antheil's papers, are included in the section of the book designated WORKS; transcriptions of the LETTERS comprise the second section; the third section is comprised of JUVENILIA; facsimiles of the construction, marginalia, working notes, and of the letter to Caresse Crosby, along with photographs of several of Gillespie's contemporaries, are included with the photographs and drawing of the author and reproduced in the PLATES. Editorial interventions throughout the book occur only when absolutely necessary and are signalled by brackets or numerals (subscripts or superscripts) or both. Because Gillespie used footnotes, subscripts are employed in the WORKS in order to distinguish reference to textual notes from reference to footnotes, allowing an unencumbered reception of the author's texts. Thus, while the superscripts refer to the author's footnotes, all the subscripts refer the reader to the Textual Notes (TN) at the back of the book. However, in LETTERS and JUVENILIA, subscripts are not necessary and all the superscripts refer the reader to the Textual Notes. Brackets unaccompanied by subscripts or super­

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scripts generally indicate difficult readings. Empty brackets indicate indecipherable material. The Textual Notes are followed by a Bibliography of writings on Abraham Lincoln Gillespie. The book concludes with a bio­graphical essay on Gillespie by Sol J. Leon. With the exception of the working notes (here simply entitled "Notes"), "Truth Circumstance," "A Poem from Puzlit," "Device­Contribs to WRitext & WRiteFor'm," and "Reading Modern Poetry," the book contains all of the texts (WORKS) it contained when Out of London Press inherited the project in 1976 from the just then defunct Something Else Press, which were the results of five years of research and inquiry on the part of Dick Higgins and the editors of the press. While editing those materials, there emerged the above mentioned texts, the letters, juvenilia, and all the photographs, the drawing, construction, and marginalia. However, it cannot be asserted unreservedly that the book is finally insured against textual errors, and for these I am solely responsible. The purpose was to prepare the way — and, in doing so, not to betray what I believe was also Gillespie's purpose — for others to enter the relentless gates of textual experimentation which unfold a neurological and cosmological world intentionally formed into a permanently radical shape. Acknowledgement and appreciation is expressed to the following individuals and institutions. Francis Steloff and the Gotham Book Mart furnished four original typescripts by Gillespie ("Pizzikats," "Proletarreaderia," "A Purplexicon of Dissynthe­grations, Dissynthegration"), The letters by Gillespie to Samuel Putnam are published with permission of Princeton University Library. Charles Amirkhanian found the notes by Gillespie among George Antheil's papers. He also discovered the Gillespie marginalia in two issues of Modern Music. Reade B. Nimick provided the 1904 Germantown Academy Class picture of Gillespie and the issues of Academy Monthly containing Gillespie's juvenilia. Sol J. Leon was instrumental in obtaining the photographs of Gillespie at Germantown Academy and Penn State. He obtained the photographs of Gillespie in his later years, taken by Joe Zinni, courtesy Leo Rodgers; and the photographs

X

of Paul J. O'Brien and Marty Hyman. The photograph of Gillespie on the frontispiece is by Marty Hyman, courtesy Hilda Hyman. Reproductions of the drawing and of the photographs of Gillespie were executed by Elsa Ruiz. For their generous cooperation, my thanks also to Khani Begum, Manuscripts Assistant, and Hilary Cummings, Acting Curator of Manuscripts, Special Collections, Morris Library, Southern Illinois University at Carbondale; Charles H. Ness, Assistant Dean of Libraries, Pennsylvania State University; Reade B. Nimick, Board of Trustees, Germantown Academy, Fort Wash­ington, Pa; Leon J. Stout, Head, Penn State Room, Pennsylvania State University Libraries; Joseph H. Treyz, Director of Librar­ies, Memorial Library, University of Wisconsin­Madison; Katherine Lockwood­Vogel, Curator of Rare Books and Special Collections, Princeton University Library. It is my belief that Gillespie, had he known their effort to preserve his work and known their enthusiasm for it, would have dedicated this book to Dick Higgins and Sol J. Leon. Let the dedication read as.such. Personal appreciation is expressed to Lia Colla and Bonnie Nielsen for their patience, to Joseph Gross for his kindness, and to Debra Satz for her gentle support.

R.M.

August 1980

xi

THEO­SYNCOPATION

God­space broods like a pink void, spawning a jazz geometry of sub­atomological linguistic ultimates, electric time­yokes. The three­dimensional illusion of form (the world) is charged with the clash of two parallel lines (the grandeur of the precipitous). With each collision in the domain of non­Euclidean temporality mind stumbles into a line drawn perpendicular to the diagonal of the absolute. Ultimates are temporal entifications of the precipitous. Semantic actuality urges the vectors of entification. The guardian language impedes but cannot halt the precipitant. The extravagant mortality subtending the vectors reciprocates the urgent, irre­trievable sense­particles which prompt mind­utterance and inadequate the guardian language. The precipitant is deflected by the entity as object of a strict a priori configuration of vectors. The guardian language instan­tiates the deflection, renders the temporary linguistic substance of the object stationary and parallel to the posit which dominates the entity (positive but inactual substance), and in doing so esta­blishes the language­stature of the entity, its extrinsic destiny (inactual position): it reifies the object­articulation of the vectors. The statural object, governed by the petrification of the sense­particles, supplants the entific object. The statural entity postures as such by curtailing the entific actuality of the precipitant. However, the deflection cannot endure the voluptuous extensions of the precipitous. The guardian language succumbs to the

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pressure exerted by the fleeing onslaught of sense­particles. When they heed the particles' intemperate necessity, their hectic implacable essence, the vectors articulate the pressure and actualize, rather than deflect, the entification, compelling the object to Its space­moment, the negative substance of its actual position. The objectual entity extinguishes the positive but inactual substance of the posit­dominated entity, and by exacting the im­pressures of the sense­particles, the objectual entity (substantiated ultimate) surmounts the inactual position (domi­nation) of that entity. The objectual entity (entific object) transcends the statural object. Space factors as void­adjective to the ephemeral destiny which sorts the insuperable quantities of temporal substance, including Its most articulate entifications (Space itself), the deciduous nioments of deflection. Essence, the void­destination, sublates the adjective. Its negative substance occasions a geometry of entific objects whose space­moment negates the geometry of statural objects. Ultimates, then, are actualized negations. Semantic ^tuahty subsumes the totality of vectors. Mortal totality — Death the wolf­feathered essence — taunts the object­articula­tion of the vectors and yields the temporal entity of Time itself the passing weight of the sense­particles. Subject to the strictures of logico­contextual stature, the guardian lanpage must hinder the weight of the particles, defend against their I. .^­pressures; whereas mind­utterance entails their distended motion, enables their extensions. The geometrical exaggeration of the object and the strictural form of the deflectant bracket the time­collision; this sweet mortal excess reasserts the entity as ultra negative figuration. The object becomes merely the temperament (weight of distension) of the objectual entity, a glittering mass of startled impediments. The precipitant­reciprocation of the vectors sustains the drastic qualities of the object­articulation of the vectors. The mexpugnable motion of this marvelous obstacle (the object­precipitant) becomes the content of the figuration. The entity constitutes itself as trans­spatial fault and vanquishes the language­destiny which guards the entifications. Mind­utterance is pure (unattested) in so far as it is peculiar to an

xiv

illimitable negation upon the guardian language. The sublated stature of entification, sanctioned by the bracketing modal figures given accidentally and sumptuously through natural perception on the one side and imperatively through rational form enactment on the other, manifests the trans­actual content of the negation. Actualized entification claims the set of actualized negations. The syncopated (precipitating) context, determined by the drastic (sudden, distended, emphatic) motions of the obstacle (the object­precipitant), effects the negation by stressing the trans­negative figuration of the sense­particles. In accordance with this peculiar purity, speech is the catastrophic dimension of language, theory is the art of theory, and Beauty is critique. Actualized negations galvanize temporal entification, while the vectors of sublated entification elicit for the negations a synco­pated context. The passage from negative substantiation and actualization to trans­negative figuration graphs the negatively substantiated actuality of the absolute. These processes reverse the history of a single space­moment — which may be construed here as intuition provided that it is accorded its full cognitional dignity, which is to say not merely but also its intellectual figure, this (the intellectual intuition) in seeming opposition to Kant: these processes render the thug­ecstasy of sense­particle figuration into a dazzling unbound essence, disinterested, dimensionless and exultant. Reverse history splits the space­moment in the case of the objectual entity, and ruptures the obstacle, the time­collision, in the case of the object­precipitant­reciprocation of vectors, in order to precise the concatenation of ultimates (actualized negations). Their sundered gravity is the syncopated context of the entity constituted as trans­spatial fault. The precipitous, then, is the ceaselessly sub­divided beat of the absolute caught at the juncture of ultimates as they rush toward eriormous stringed death. Mind­utterance externalizes the reverse unattested history of this unforeseen, condensed and fallen God. The concatenated object­precipitant approximates the helium­lipped cranium, a tran­scendent negative, of the absolute. Like a para­deity, the transcendent (the acute passing) motion of the obstacle (per­

XV

pendicular entific unbound essence) abolishes all deflectants, all hiero­ideation, and procures, with an awesome orange gravita­tion­snap of trans­rational necessity, a single bewildering inhuman volt of theo­syncopation. Thus, in return, the precipi­tous grants mind­utterance the peculiar shapes and scents of a syncopated transcendent negative. The nexus of burst time­collisions which burgeon negatively from externalized reverse history engenders the neo­real. Here, the obstacle is finally uninterrupted; the point­thrall (the world as such), unsustained. In this sense, the obstacle is pure (con­tmuous), and judgment impure (discontinuous). The former is the case even where the absolute is the exhuberant death of form, and because purity, here, is an illimitable negative. The latter is the case not so much because actualized trans­negative figuration of sense­particles (theo­syncopation) risks judgment's exhaustibility — imaginary divinity merely obverts miracles — but because mind­utterance risks the obstacle's inexhaustibility, and as such it is judgment itself which exhausts the guardian language. The continuity of the pure obstacle is unattested and reverse, and therefore it is in actuality sustained distension and thus pure discontinuity. The obstacle is pure because its discontinuity is uninterrupted; and the discontinuity is pure because the dis­tension is sustained. In so far as thesfc externalizations are themselves uninterrupted and sustained, the obstacle's continuity is pure and the distension absolute. Thus, the obstacle actualizes as pure discontinuity and externalizes as pure continuity. It is externalized as uninterrupted actuality, and the externalization is actualized as pure discontinuity; the actualization then is ex­ternalized as puce continuity. Judgment is pure when deliberation is continuous with statural necessity and functions as vectorial guard, and impure when it is continuous with the actuality of the obstacle and the vectors (of entification) are unguarded and deliberated by the pure continu­ity of the obstacle. In actuality, judgment's pure continuity is sustained deflection, while its impure continuity is sustained distension and thus resumes the pure continuity of the obstacle. Pure continuity of judgment realizes itself respectively as de­flected risk and as purged temporality in relation to the obstacle

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and to ultimates; impure continuity realizes itself as sustained risk in relation to the pure discontinuity of the obstacle and as semantic and entific actuality in relation to ultimates. Where these externalizations are themselves deflected and purged, they render the continuity of judgment pure and deflection absolute. Pure judgment is externalized as unsustained (deflected and purged) actuality, and the externalization (unsustained risk and statural temporality) is actualized as pure (deflective) continuity. Impure judgment is externalized as sustained (undeflected and entific) actuality, and the externalization (sustained risk and unguarded temporality) is actualized as impure (distensive) continuity. Rather than purging itself of the (so called) illicit temporality of ultimates as well as purging the temporality itself — deflections which are in themselves impurities but which are not in fact imparted by the obstacle — rather than fending off the precipitous, judgment here reciprocates it. Judgment discontinues form enactment and the natural percept which opposes the obstacle to it as its given foe, sublating itself and interrupting the guardian language. Sublated judgment now encounts the obstacle not merely as (even) the illegality of judgment itself but within the unguarded and entific continuity of theo­syncopation. Impure continuity of judgment­as­obstacle (sublated judgment) discon­tinues deflective continuity of judgment­as­judgment and obstacle­as­obstacle (parallel posit­ive of statural judgment and statural substance which ordains inactualized ultimates) and risks, the pure continuity of obstacle­as­judgment (actualized judg­ment). Jucfgment forsakes its self­imposed extrinsic statural destiny and actually shapes the geometry of the object­precipitant, and reciprocally the obstacle shapes the reverse destiny of judgment. Impure judgment and the pure obstacle extend themselves reciprocally in the essence perpending astonished deliberation embodied in the processes (externalized actualization and actu­alized externalization) of reverse history; in so far as the essence is unbound, it is the pure continuity of the precipitous which educes the neo­real, the trans­syncopated absolute. Ultimates, finally, are actualized judgments. Mind­utterance, like

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an obsidian sun casting shadows into the spectral ditch of the Unattested, discloses the distended temporality of undeflected risk. The continuity of the pure obstacle measures the concatena­tion of actualized judgments (ultimates). The petrified sense­particle, its pure (fearful) stature, is usurped by the syncopated sphere, by the forbidden (pure) continuity and perfection of the wager, the radiant unity of risk itself. This unity­as­excess­ion is the ultra negative figuration of the neo­real. The trans­syncopated context of the transcendent negative imparts to judgment, to the vectorial totality of all subsumed models of the Guardian Universe, the radical shapes of the neo­real, a Shape which exceeds itself inexhaustibly. Semantic actuality imparts to judgment the mortality of the absolute. The obstacle­as­judgment, like a blessed fuse, like a neon cosmic rip in brain tissue, thrives in the mortal calm of the precipitous. Its continuity merely banishes the world (thralldom) from the world's own imponderable evidence.

Richard Milazzo

xviii

WORKS

MUSIC STARTS A GEOMETRY

\ Whence occurred the LeaveOff? — the TakeOnAgain? It has seemed that the Intent behind 'Phonic Music was something more than Contrapuntal manipulation of Form­Means for Vocal ends; since this sung Polyphony alone so finely imboded the (neces­sarily) nicK­Spacing of early Art, so patricianly embrood­spawned itself as Potential for later pan­Emotional^ glint­runny fluidity. Certainly we have Music (all will agree on the up­AND­into­Mozart) fulfilling the rigorous Induce­exactions of a Behav­iorism — to what Purpose?? — May we say, to have self­structed platform­layout for all future intrinsic­to­Tradition Musication? BUT, what happens???!!! — This: after Beethoven's forge­poundings had intoned a new Amaze­World of FORM­livable^

i musical experience, the Romantic (i.e., Individualisti­Lyrismic) enjoy­possibilities of such were all that spine­intrenched Parloritis cared to remember; that is, Beethoven's process of arriving­into­LyriAbsolutism was something too retchy for the now­eager­to­

I gidflut Listeners — "Give us them Sawngs, sweetly — warmly! — VYVASHUSSLY!!" (one almost hears the for­Us cream­sweat­ooze of their Soul's Romantickley petule­plea). SIC, the rudi­mentarising of Creative attention away from Thought­as­Form,

I because no encouragement of Form­as­Thought® (no applause j from the mystified Saloners for any such) — a Farewell­Fanfare,

then, for the Musical Toreadors!!

point apparently unconsiderated by the Monodists. i

2 BEETHOVEN'S been a hard nut for germinal cracking — few have done more than

more­or­less Fleely savor­remember his Influx­into the­I­of­us­not even ANTHEIL sole to­date Regurge of BEETHOVEN (if we are permitted to omit synthe­fluffmg WAGNER) has been able to NEO­re­use these (B's.) CRAIGian scaffoldings.

3

Thus we can visualize the jawgape HeroWorship tendency springing up in a no­Ionger­actively­KNOW­participating public, a public Euripidee­dinto flatulently revering a Brahmsin Goddess Ctrick' poetess, clept Monod6) who pettifoggingly secures a NEROian vise­hold on aesthetic attention, i.e., Kiss­Song­spue is thereupon written onto the longsuffering Piano! Resuming the original picturization, what happened to the (TimeSpacing) Geometry? Let*s say that Arithmetical diddle­dodder (this, comparatively a Nursery­lapse) now obtained SKlaf­squeaking parlor­parlance; no longer was there any horizontal make­Equation exaction of Feeling; only, rather, dame­boundy jumps from first­to­next sum­verticasements, all perpendickey Chord­Moments in neat­succule figuration — ZOUNDS !!! (Not that the WhaleBlubber­OldFriend! sort of EAR­RECOGNITION has been outgrown, o no!!) We implied earlier there had been platform­spawning, up­and­into MOZART, which was to (could) have served as launch­pointage for all oncoming musication. One wonders if MUSIC will take a scour­analogy­lesson from Philosophy, the which so repeatedly has had to purge itself of much a­priori cIog­matter[.]2 What is this imperial Narcisse, MONODY? Is it, FORMly, aught more than a baby­gurle­and­waddle species of treacle­gagged Phonic (usually Afa(?c/­grinny, at that) carrying on at best in clubfoot senility, wherever its doggerel­Impute grim­facely attempts Seriousness? — is it more, in short, than easier thinking? — and — If this Monody is actually muted Phonic,^ why not chiropract a virile Phonic? Eh bien, a Thesis­Suggest: That our Composers regroove their launchings in GeometRUN (Poets have an "Instinct for the Artificial," Limitation­liability evidently doesn't hurt Grandeur

®this obverse somewhat reveals the preoccupational order ordained by the Artist for himself.

^elsewhere I have discussed the crono­sequence, Homophonic > Polyphonic.

4

or Intensity) — let them cease arithmeshing EXPRESSION in chordeasy 'pervade­squatting' — and rather free those many verypassing impact­masses momenting in Consciousness, to entitically® panache-deploy their Totality — in this manner EXPRESSION (a psychophysiReality) may cocoon­seat itself (all that is necessary for and at it). Its outer Associate, FORMdeploy, on the other hand needs conscious Tendthe­Engine! — reverence — such, probably (due allowance for the myria­manifold ways of the Ear­Mind's listen­lurking on Self) is all the socalled Con­scious­WILL can here hope to do, 'pas?

(The inner­Expression of all Instinct > Feeling > Emotion > Concept > Ideation must needs be exteriorised into the organised > organising FORM — OrganiKable of the considerated Art.® If one but lends a moment's ear­eye­scrutiny to our Music's present Form­OrganiK, one sees portray­adequate (i.e.,'precipit­full)

Variancy Compositional Breadth possible only thru (and as)

^ Expectancy the Overtoning coruscapers of PHONIC — the 'ODY­swimming at best resounding but further BRAY­incentive toward Self­Secretion from the any Orientals in our midst. Further, if only to check prevalent Bathos­Wallow in Mood-VISC, let Composers (for half aacentury, say) delete all attempt to present Wave and Curve MOOD in Music; rather nick­embroidering such erstwhile' cancerineUmbilicalage into skimp­suffice MOSAIC® (i.e., re­embroidering such back into the earlier

^implying here, that much of each cerebrate Ideate­Moment will otherwise escape the Enthus­drugged Consciousness.

®CROCE, — "Aesthetica," for fuller development of the Expression­Precipitasis called ART.

a half­century of MATH­pursue might moid­unfold Roentgen Panaceas for such (as­nowadays­poked­out) plague Wasting­of­Time.

®wherc CURVAGE but strew­collccts; RECTILINEARS Enrein the Pattern­Narrativity.

5

Geometry; Spherical **TRIG"® being an as­yet Quantita Incognita to our locomote­festered Aspectance) into at least tidy­up sweep­tighten fitnessing. 1 wish Music solely incipientated in runny­Happy Geometry, its whatever weave­pulse depict­varying only from this geometriDynamic!!! (One advantage of such regrooving would be the Listener's Attention never lagging; BACH's still popular, isn't he?) Note well that WOMAN has composed NO (Curvage) Music, yet — why, then, should MAN pound his head incess­further on the "ineluctible modality of the Intangible"?

^Pretense to such, by contemporaneous Instinct, has produced most of the balloony Languor­slime current.

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TEXTIGHTER EYE­PLOY OR HOTHOUSE BROMIDICK?

"ABSTRAKTIDS"

(PhraseMoments illustrating Grammar­conduced­to­Horizont­Sequence)

infradigit­enunceColor Plastic nowhere­within­Space transcendCommand Nirvana nowhere­within­handy­Space Chinese Floatlnfinity sweettrustmisery­Eyed hurtbyherMan­Woman motherready­responsewarmth cashregisterAnnote dissemlNFO fragile­cleanslobber­purity Virginal tinctburden sorrqwsweatintocheesejoy Plastic exudeforget lewdtalk­CourtesanPsyche nosetweak­survivewhine American Voices tender­regretreminiscEcho LETTU CE­crunch shivlexist AlsoRans Senescence' Hope­to­recover­YouthJoy, sans­Ignorlnnocence

Love for young girl quasi­'Bo Mego­lntimerie Gab chewdripMother­lipcorniceSmile fullblowing­girls^ sewerquiet­underflow­residue Social Acceptancy cackvoice­putresceChina AmericanGirls­Shrill Marmoset's peet­teeter traject fartsootMurmurs distecho

^These two 1 call to attention as somewhat illustrating Mr. Pound's "Echo­BACK­on­itseir possi­contrapuntal Context in Literature "monolinearity."

7

fugueflight­silksteam ashsift-oozedry-declamlmpersonal-voicechambers­Flop Aneli-

Speakstance. before Minddecree­drooIsput­leakLipsSPEAK

The inidal examples illustrate a style of Word­Phrasing which, attempting barely­covert continuity in minimised grammar­sequence, could give the propagand­Urge of Write (shortly, Talk­) Communicate a more streetpass­PolyContact­Adequacy a broader­gamuted JOLT­POSSIBLE, like to that given Plastic Color by Pointillism. The necessity of "impressionistic" begin­the­incarceration­of­Grammar changes in Language­functivity may seem question­able. A further step, then, is to suds a Fels­Napth at the EXPRESS­Shirt of precipiThinking,® commence­examining its PhraseFront for WotVit­matter­how­much­the­Reader­is­Overt Inulted bleedpleadCommunicate inhering to or as it approxi­mately. Implying, 3 acetyleaning WRITE­tendencies, current:

(A) INCOMPATIBILITY — team­tustling FORM O CONTEXT.

(B) DEFlimination — rathan than Condensation to EyeMoods favoring enhance­the­Context; StillLife­Emphases.

(these I have observed anyHow from Debussy Laze­

HTt.TPMPnij r" ? FORWARD­on­itself Delineate, in the ByProduct­HaltTEMPORARY­NounEntity of capitalised Imageates within the PhraseMOVE with ^eir immediate resume­Adjectivhomaging­the­last­lmage return to the Caravanserai. NOTE. ­ I wish now to vmdicate the above ­Phraseds" as fuller Apprehends than those arriving through face & ears­washed! Crammarisc.

especially the CritiReact sort.

'certainly the PsychRhythm'­flecting PHRASE­of­Words is first digpoitit forcompress­~ Pomtillise the Phrase per se. ridding it of

­ PleinAir­BROADERS (for any Filfull sentence > paragraph NEO­Unity) are rclegate­NEXTS for someone's Wayfelt. KNOW­MORE sculpation.

8

DEVOUT to EyeDink­MOASIC, the latter the Iguess-theForm's/orContextsort)

(C) FillUption — non­WeaveBelongs, padinteresticed skews of authorsSELF­OBTRUDE (v.­HEMlNGWAY's absence of same)

(a broadspread IrrelevUp­startry, probably a "permit­ted" Retrieve for the LossSuffer taken up (C) below.)

anent Tendency A, — Musk > Blubber CandyFORM soon­or­late gets on CONTEXT'S psychophysickable nerves, — ensues, then, a SubWilled GrudgeFunct of (C) below,

anent B, — demfew Logogriphs being cut. For an exception here, V.­Joyce's recent work, (transition)i\ PunPassing IMPORT­Neo's, combining museMindBespeak with fetirhapsic SONE­Tumble­display.

anent C, — What's been dough­clogging the sieve­process of the Speak­Mind, what's been shunting off part WORDprecip of the original flashsearConsciousness QUANTITY of Images, that polygonating Impactseries of the was­aspected Ideation? Surely the Psyche apprehends other than the 2'd sorts of these clashMeets,® other than ApplauseSeek­Impactage sirop'd in grammar­seequenced fledgeling­Placates!

There, possibly, we have it: The aforementioned asyet bleed­pleadNeed, Grammar'd communication. GRAYMAR. Academic Bugaboo, stuffshirt­PaunchPace­Idealiser, Nujol­Insidiate pet­tisogging us in GET­drippy Complace­brewing HigherConsch­Pretense — lardrousing our slobAdmire of a Mind's jello­sieving us neat precipiseries of 2­imaged [(]2i.e. dingle­series of but ONCE­impacting) line jamclashtwangs. This maybe locates the Americo­perennial Bodenheims.3

But, can Impact­Onces — halftreacle GramAffixes, verb­conju­cates, twixtvises, prepositions, articles, ­ly's, ­tion's, etc. — aspect the psyche justly? A soonglance locates all such NORM­

®Rather apprehends contrajostles of PhotoMinim­IMPORTparticles.

9

cramming Expression as lullaby­WAKE Bromidick, at evo­best semisubliTitter­Barrage same, effecting but Nursery­gulpgrabs of the involved photo­arborealising brainplay. HULME spoke of "every ideation, the impact of two or more images ["]4 (ex.­HE­RUNS, etc., through embroid­stages into recent tweakease). One hassta ask, "Y not more PHRASE­MOMENTING 'Or­More's"?"® Is it because our TreeHarp­scorning Kindergarten TEACH­Minds can't­race > don't­permit SteNeogriphs? As to what hasn't been precipitating through, I assert­venture that there are 1­5 nick­Ideate particles, ImagePeerFlints grammarwise unpresentable, even ungetatable — wriggle­or­dent­IN Sculp­Fillers of each centrosomicant MindMoment, the which would, given steNeoALLOW­Utterance, come through, to teemly con­voke vraies idiographes d'intirit — ideographs knit with byProduct­Addits not only FORMstressive, also Context­so. We have such preciclusterage in our some­alreadyGreat MUSIC.' Why not in a much older TimesSpace­Organise, SPEECH. As above and herein illustrated, disintegrammarising Impact­GATHER handles my Think­AesthetiNeeds — I feel I have rightly thrown bureaucratic Grammar merely the hack­left­overs. One additional point — The prefacing Stylisms toward phrase­MomentUnity (the stenlDEO­or­TYPE Cluster, and similar depictWraps­around­Personality) mark, I feel, a Next­tendence in Time­tightened CommunIkspression[.]5 The nick­particles essay nucle­cluster in phrase­carrythru­synthesis, Context's core­points majuscul­indexed or placed TeutoGalli­phrasely last (at least our WRITE­Sense might profitably be so treated, a while, analysprawling Englishers!) — such way there may be gradate­imparted to English the runny Geomlntegritty of a J. S. Bach.

0 Surely the FacetMiriaphony of Modern Life clamors for adequacy­such.

n I think of J.S.Bach, Mozart. Beethoven. Debussy, Salie, Stravinsky, and Anthell.

10

i

; ANTHEIL & STRAVINSKI

>

1. Conversation with Hungarian Composition student, mem­quoted from Marc Blitzstein, last year, Paris;

(MB) "What, you don't care for Modern, for recent Music?"

(HCS) "No. Not for any of it?! No. Not even STRAVINSKY?!! No. NOT FOR ANYBODY?!!! None, save Antheil."

2. Salzburg Festival, 1925. "Given the spiritual pollution of the superexpressionistic age, it necessarily and abruptly follows that the new tendencies in art should take on a clear and restrained objectivity. The ego — — — the I — — — is ehminated, the symbols of the switchboard and the beats of the powerplant find expression. The way to this in Music is via Igor Stravinsky many follow, but do not attain him only one does so, George Antheil, an Americain, who passes him, and makes the whole mass of contemporary composition this year entirely unimportant "

(H.H. STRUCKENSCHMIDT, Melos Critic).

Underlinings mine, to emph­remind that the German Psyche has never (as it presumably does in other Arts) exot­purloined its Music Constructik, condition maybe entitling Teutbloods to such occasionedal AbsoluteDiscludes. That makes three of us

11

mine an Ear­HAFlo ViewFruct­SpanDarrive from (A) NYC­Philada.'s since 1921­MusicSeason, the "representative" fm­de­seigle MewsicKails (pardon) there splawing my musicpalate k la guzzlingsodapopwhenwater'scravedi — — a delude­drown immedlmbibeJoy from Stravinsky, with Y­Duty?­postreflective EvolceMuggies from the alsorans; to (B) coze­mingle Pounce­Notions of DynaSTART in the then Antheil's HaxatComposi­tion, comparatively DawnGleams by the by. Incidentally it may be addventured for the benefit of the (m)any who, looking with their eyes, hear not^ worthSEE­Hearings^ are seldom given by aughtbody, even the composer himself. Two exceptions auprfes these chemalgShows I know; Stravinsky's wasp­lyr­Benevols and a Philade­'22 Happenln­MicroSalon­PianoSight­Read­Interprexplaining, to JN and the writer, of the first Stravinsky­scores to hit "south of the MetropoBelt." Here occurred almost­morenecessary Reading than the composer himself may've also where given. Blood tells; both the S. & A. Mother­families are Polish "Dabrowskas." To arg­strat, the "only one who passes him," eh? — — Howhere?

Structurally both polyrhythmical homophonists^ twould have been straits­difficult, even dischronatural for the Me­of­'22 to fail to note­believe that the younger's Tour­de­Force moment­noticed diabolickeen clich^clickant improvislmitations of any Composer (usually his Remembrance­worthy) would, shortly after his 7­22 sailing for Europe, pull Furthru an already

HomeTown theory has it, "The.. .Orchestra will always sound as well as its leader looks."

2 Eyetrustable not to Mindvolupt­Eardissuade.

My nowNotion of Rhythm's NecessLim as Kaleido­Caravan deems no further Evaluate here. 1 would only animadvert the following glintplea for neo­Academic Music­Schooling: RULE­Compulsion for compositionists to first publicise a rigorquantity of graded­"passing" Homophony. at least covert dissimulapes of 5 homophonic Giants (Bach, Mozart. Debussy, Stravinsky, Antheil — Beethoven and Chopin reserved for ED­secondary RemoteVeerage, as being tanj­unapt IMIT­ldeals for the primary psyche) before any polyphonic '•diddle['l2; (really, folks, we don't KNOW cnuf yet to tamper larger Liablcs) be permitsprung on the jawgape herofaithed Public — QED?

12

hyperGenial Tend to ultimately OTHERY­scourfreed MileStone­Composition^ — — to fleurifunct thereaft, riftAware Chrysal­OWN, indef­5a/i5 shellacontemply equiv­wanehueing into the "5 & lO­Picture Writing" of the sometime Stravinsky.® A deodorous (if ever) Comparison, tri­favoring AbstrEstim: take, 'cept the Oedipus, any Stravinsky Work will be found, in cornuContinuum­plenty, Searchcomplexed FigMelodment, rhy­thmically variconvulse­teaseseizing Melusication ® Ditto Antheil. But, etc. (v. below) But, in Stravinsky's Harmusication' occurs Hithertooze, in normalcyairgulpings of comparatively waneMaturity'sclutchat­diatoneyYouthunintresting soughfrequency, Rummage­dashgid­dy Polytonin & Aboutisms flotillating KeyThink­ "basehug"­ProgressionTruancies.® Contrast here Antheil's "Death of Ma­chines" Sontata (this, merely his first uniPersonal Achieve) in one DervFlash Arpeggio approximately three harmonic progressions STENCE­AROME­occur, i. e., Harmonik under­going a good EarPoint­FurthTighten. The folowing may elabconvey me: Stravinsky's Harmostat functs paunch­rub Furiosity, evokes sheenspray­FlumeCLEARs; Antheil's mechaccords sheenspray­EmeryCLEARs, i.e., from

^Starting chrono­with the "Death of Machines" Sonata. Hcnceon I find Antheil definitely past Stravinsky, this, notwithstanding the associa­GrappleHook Incredos of several reekcogging "Thomases."

^Anent this ­ Quotelnduce 1 "sometime" reserve judgment, not having heard Oedipus Rex.

®Akin to that FaithlnterestEvoke­something Unct­connecting­the­particles found in the Know­speaking Voice, the Know­singing Voice, straitly in the typewriter, in the immediComposition­SONErhapsody of Gertrude Stein, and particularly in the Etude­Pace­NEXTing work of Joyce Ciransition n° 11).

'considerated here as Tonalfelt PhraseTransit­AddUp > OBLIT > Ply­intoNext­Momentage, thai Ever­ByProducess HedonFeelMemAnnoted by the SateFlux­connotive EAR.

®ln fact, Stravinsky's use of RecognDevices carries to a point of minisuaging AttentPix­Pleasure, sets up a Distresslota akin to one's banquet­receiving another richDish when a CUT­Course is plea­expected.

13

Antheil I get Music's first corniceNudgeOuts to FurthPeerult­synthableSpaceMinEIim'd Aspection, tritely, a some precipavoid of HarMamma's ApronStrings. Wherefore, this SuggestConclude: Is there Need of backsafe!­splashdiving imo ConsoPASTease in these trumpetYourSELLF days? I hafta feel that the SelfSubstiPitifunct Public likes the Hurrah!­ANY MasochPossible in the redundbit of "L."

14

[NOTES]

(A) inore­ne[u]rounder­startI+immediate Momentumusels(=Speed­Gest & WeightLaunch & JointCoord of Chaplin & Ath­lamerican, t[he] MaleProof­Dignassert­TakeCharge­Author­ITie Demeanor ((contrast wEngtype)) || (([PJistPlunjMuses)) {(In[c]e­inU­Curvs)[)]i MALE

FEM

Europe's SmellMeshCiv h[a]s caused EURPersonality to adaptselfinto wrigsway — alors, Amers, skyKscrap­muscafW/!!

Amer's RidicFear (trace to SelfConch > SexDefe[d}tism > TraumGuihs) has inhib'd his Thinking, aswellas Expresself­Respect no keepexploriggling by his Psyche

tend Mechanform?

AB Hypress[al]esMan Busybodies GroupFemNeuloeu/ IntellArrivistype (2nd Gen — 1st born Amer child)

cant feeldO[r]Eurinherit[ ] & KeeponWrigling in NewTerrain

Newtoyfinders & SHAMeComplex (of Parents)

Delfy­Intell­at­expense­oHeart ' AthletlndianDance

PlasteneoNaturalism Amers, ONSERTW k la

15

Enginearing, don'trynitty keep­on­wriggling k la Eu­ropFeelCapac[e]neease

3 Conditions Nessfor AmerPlastic . tranquility, NATpain, CrowdendLivQuartez

PhlegmSpleen dishouts rite aupr^s des Fran^ais

AmericaNO

16

EXPATRACINATIONi

I. (a) because in Europe I find MeaningScurry in tiieir Organise­Self­Divert — hours loll here all simmer­rife­Expect­lush­stat, GET is less­necessary.

( b ) because of the absence of Tight­blank faces here. (European Maturity seems of the in­touch­with­Youth­Pulse ripe sort[.]2)

(c) Liquor­Gamme abroad somewhat breatheier. { d ) abroad, as if transplanted to an ideating DreamStance­

Indef, the me­expatriate remenvisages America­the­Spectacle, initsensing its cosmintegrality, critifocaspect­ing its Univeering probably for a first time, (local Econs are so intrude­mussuppy.)

II. the Spiritual Future of America is not to evolve till a present diabetes is admit > removed, t'wit: America's total lack of parent­sagacity to exprimply an especially­while­correcting­them goodwill toward, and to cull an early admiration from the children. (The EffectLoss into Personality is enormous!! — contrast the majority of French Parents' Methattitude.) THEN — the American Spirit will commence­sing as naive­direct­elimgoalpursue­clearly as its present FolkMelod — "PopularSong," frequently as blare­Outr6Fruct­freely as its dynaSaxophoneyc. NeoPolite­ObserveRigors will scourge off­away the become­cloyuseless of our present SklafMan­ners — survive­a tiff with Russian Defeatindivid­become­CollectiMass output, our EconGrandees will have also residonned the surrealise raiment of skilledlaborer­integrality — the SportSense will have been furthalloted into a

17

StreetPass­Calistheno (i.e. Fair, groove­compulsed into an inevitaBanter­Fair — we are a GoodWill­Collective — will assume social sensitude, a BodyClap­RazzCourtly deft­joice­skew­Apply­akin (somehow) to the finesse of France's Golden Period. The Busybody­GoodWill will have insidAmericanized Eu­rope (thru Dawesian EcoHighPressures, "Galette"­addvice, constant­rub­away of Europeans' giving in to the squarepeg­insists of Fringlish­voicestressing^ travellers and resiDents, spillover­manifest of America's Nth degree­PRODUCE­Molochism, etc.) Semitised Russia will certainly psychYap doubly, its individuentsremainingscorn­evadedDefeatists, speaking their present flapdoodleNonDigninholdLiable'd rushout­heedless­0­Self!­stuff. (Russia's soon­enormous CoIlectiOutput will yet lag indef­behind America's shrewd­ingeniuity'd Get­Rich­Quick­Fellers!'d individ­catalysing Produce­Outvent.)

III. Communism, Surrealism, Anarchism — degrees of Lyri­Protestism — since Lyrism is based in Individualism the BureauLyrism of C. is an obvious paradox. — A.'s hysterLyr will always ultimately grudge­pendule­reactionate, stay the destroy­(to­begin­over)­hand (tho subjectively A.'s appli­cable into a Recherche for the expression of the Conscious­ness betwixbeyond the Abstremities of Thought[)].3 S.,. a French (psychanal­filtfree) Try has obviously essayed to continue "correctness," has but barely enlarged the Gamut­Possible of the Hithertooze­"Inadmissible" — enlargers Braque, Ernst, Michonze,4 obviously their Self; the rest, GoodManner'd Dada? — S. lacked gutsweat adherents collect­able to trek the toothsome of the Psych­Running­Down (In?) DreamStateProffClimbs­into­Reality which Andr6 Breton skim­the­FreudSoup­touchly impicts. Possibly S. failed to posit a NeoAgonyProCreate.

^very important, since the move­forward stress of English wordage is the more battle­survive­"dominant."

18

IV. My work veer­expresses my relation to 20thCentury Reality, a relation I feel­think to be fillfuller than any hitherto CritiCommunicLiable, i. e., mine, the necessity of lending consciousative LOGICATING to the AromeClashBuild­innerising FORMTrends of Music's MelodSyntheBuildA­

• long, the gradaccrue of which (both delib and acciByProd) may­will tot­add sub­et­Supra integerColIects for furthing the Context'slmputationise; at the same time possibuilding, in English — sole language evophonically free enuf to do so, — SensationForms rhapsintrest Composenuf to aesthCon­comitate these neo­gather­imputes of Thought, i. e., the MarryMomelntentsity matings of hovexpect Indeation & Vehicle­BecomePunct. My ArticlQ {transition 12)5 delineates the techBuild of this.

19

A PASTDOGGEREL GROWTH OF THE LITERARY VEHICLE: LANGUAGE'S RELAPPROACH MUSIC AND PLASTIC

To be presumed Times when coastbevels suffice­fashed the vehicle of the art­unity, the "theme­giving"^ life of preScience eras was fewthingsphased. Now that spirituality lush­pollute­hiber­nates, creativity rationally expanticipates no aesth­objectifise *thout deLush­roughchewsing chaos­mulps of geometreatable current facetphase, IntuitEctoPlastCatchVagues, to be boildown­choiced into High­estCommonFactor­Entensities. The more, that polydeatic Unity besets our nowaday, with, in TimeSpace work of pretense­water, Overtoneagearomaccumutanjingspillphonicbyprod-bewilder-she-en­spray­associativity. (ThoughtContextly et Musicontently) A readers retrieve­solve to this problemSituate — touching as it does the supraspectral play­realm of a considerable Triune QUANTITY > INTENSITY > QUALITY ­ is found in skimp­quick­browse­Peruse­prepsedul­racethru­Intake. (Coffee incite­slugs phlegm­dispose). Thusway is DemosPride^ shedding its DefySkin. to don at­least­ScanceRaiment of I­like­wot­knows­me character.® Herein germ­starts of robotemp­yet­discrimming EsseFeel may be imbedded. For consideration:

^vis. — Miss Riding's "Gertrude Stein and the New Barbarism" {transition June. "27).

i"know"l wot­I­Iike (obviously impossible outside the psych­laboratories). 3 ((like) } Shouldn't the depict­communic Active Voice Agency be attrib­d only to the IdeoFeel­

Qualities Expositionatively fructassaulting the Conscious? Attensh to "I­do" relations certainly fendoff­cut­&­retards IMAGE­Precipivoltage­Q.I.Q. (see above).

20

(a) Subjective SubObjective Objective (b) Unity Coherence Emphasis (c) MUSIC LITERATURE FINE ART

The parallax of (a) & (c) is an already Accepted. To estab a birdsfeather Tend among all may we assay Coherence, demago­gue at worst or best, to be the especial character of Literature (both being process­obliged to jugglpose sub­and­objective pick­ings) — that Literature,"^ with artpulse functly amouck twixt Sone­organisEvers and HighPressureTheatrickLeaks, is actuelly veer­warranting Coherence's (1) cease­docile­obeiss to an Aini-Unity's gimme­only­icecream control­summons (2) gullabye­to­cradleRockCommuNorms­ly give­ear­to CadetEm^hy's rumm­agey loudtisms (these, if, certainly stress > phrase­nearer INITResponse — psychAuriginals). As instances of such Reader­OUT­with­some­ProcesStriveGets! transveering personalities in modern English Literature: (A) Gerard Hopkins, "Poems" — here, KidEmphy's rib­dudges were DebussyConcern­applies into the placamediantising broth­er. For one finds (1) quasiChurchChant nick­stresses eyecoying Ear Inhale (2) WordOrder­paradoxes formlifening the phrase­Mome and, if postponing Context's immedinsoak, additfurth­glintbitting Prosod­rhythmicity. Here, then, two important contrib­features neglamorised by those contemporary malleators of Language, the Poets. One only (Miss Riding styles her a "Primitive") seems to have TakeOn­pooled the latter device into NEXT­Exhibploitable, i.e.: (B) Gertrude Stein's PhraseOrderParadox. Two sorts: (1) a whereby Lend of poetic PhraseContext to Music for DiVehicon­tentise bandy­for FormPoss*s invigNeoBreatheHappierise (2) furthrending the musicated SoneMorefragmentate, the Once­, ChopMomes, into petriMove­StillLife­interclashCubifragmentis­

4 Literature, considerated here, not as Ensconce­Impart­of­TubeSquiri­ThinkGold­in­an^'­

paiataVehiclise, rather as ReudceMintMalgWright ofTinderEssenceMENT in ultrievable­ONE MarryMomelnevitaCarriage.

21

ed.^ (my "furthchop'­interp may serve to explocate the quasi­Meteor­flocale of Miss Stein's many Contextumbling divagas­sociable shuttle­about rhapsodies.) Here, firstime­seem in Litera­ture, is found the fitting arrogallot — to the SensationSelf, of the Sensate's artrightrite to nonhamply flapdoodleise® its own (THE INIT­)LyrPaeanise — by his now­thinking­"Well­kid­guess­its­your­turn" truly­of­the­InnerFolIowOrder­of­Croce's­two­theo­retic­ExperiLevels'd IdeationBrother. The gamme­gain alone will have atoned for the now­impend­years of mobby crhapsexploit. Comparannototalising, Hopkins' "WordOrder­Paradoxes" are the primergestes, cataclysweetmeats, the Tentanecessary spore­wee GrowthStart; Miss Stein ing6nieur­analyspans a Thought­Norm into hoverhandy­choppedparsleyspawnlay, the phrase­quents contemplundergo furth shuttlecock­dissectage, finally chrysallise in StillLife­UNaivet6, timespace­pervase at any When of a formunified somusicality. What then, for Vehiclise, this Hopkins > Stein tend? Shall we say (a) the encollar­moulding of NeoCoherePoss (b) Language's (i. e. the i?u_^­of­Literature's) — EmphAchieve aesthetic maturity athru the distort­expense of communik­sythertooze (c) the rendering possible an equiv­inroad into ProseStatusQuo, clut­terealm where must occur an Upheave­necessary damrush­washoutcome, whence: (C) James Joyce7 The contrasject from the above two, "Pastorals" — whose contemplaglint aspection necessarily legates MiniaLyr­MomeQuiet to the "Ulyssian" spacestride­hypervelox­sym­phugal, gives feeling of sudden expunge into leaves­collecting windspaces or that of playuponstardust in astroVoidRealms.

^Every MomeSectUnity of Miss Stein's insones the inevita­FrostPanemusication of a Vladimir de Pachman.

a still­young permit­grant, by the way — the gyracontours will be slapstick a while To be recalled (I) that our locomAspection is still dont­dizzy­me (2) that the SoundMarv of great Poetry somehowAbsolutely yet fix­enhances the Text EarlyGeom.

7 SO much has been said­to­point of Joyce that I shall try­avoid Re­itroes by checking all

tempt­me panegyrges and limiting my remarks to the Joycian VehicliseContrib.

22

Breath­caught clarified then, once asks what is Joyce doing to fomefurth the "PastDoggerel" march of the SoundOrganise­Lit­Veh, of SONE­evoke, that is. The sheer permaze of Ulysses' Stream­of­Consch speaks selfoquently of its FirstMemlmpress­of­Rhapsody delight­calibre, IristTwinklisms and VocSaUim­banques abound­woof the ContinuSemb desired. As to his present Achieve of "EtudePaceNexting,"® I must now back­trace. In a 72 article, "Opera In English,2" I commented extensely^he SoneContrib of English: this Language's palate 'coy­Drawl­Color'd­clankfilled gamme, its polyethnic conson­fileage, etc., resulting in its unique (im­)personal DiscussDeclaim. This, then, Joyce's Veheireditage. As to his enviraBecomeSelf one has only to note his remarkably "conditionised" packtight supraceltic intel­lemasspolymagery® (still lava­d6noueising Secure­indefseemly), Ulysses, besides apexfinishing the NovelNorm, phrasenormly brings psych­impactity into the satisZenithRealm of AesthOut­Pour­IntuitPossi.^° As to its sheer SoneVariLushUncannyExact — well, most of us can recognise Shakspere when read unKnownst­aloud. That makes shortly another, another to have Chefly quintessorganised EarPalateDelight. In "Work in Pro­gress" (transition, actuelly) one observes the furthRadex of a Device's insidicostal­complexivate­the­FORMflow­of­SoneRich­TumbleDIsplay, in the PunPass­DuoMeans of ince­possi­halt > resuming­the­CONTEXT's SetUpAdditlmpliqs­Bouquet. Allans to Hopkins­Stein­Joyce, then, — Hieraphants of that soleequitising RhapsiPoss­Realm of actuality. Language — A BAS, for a while, the Timegrinny ToneChiaro' of "strait" Music — rather, HERE'S TO the immeditrekadvance of stenocrypt Son'Oscuro, as Nonlnsuher of AttenshVoltage! Rhapsody, an always Necessary, oil­gush­feeds Lyrism, Rhapso­

g as stated in my ThesisArticIe in transUion No. 12.i

^poirn for an Equip­shirking Age!!!

^^here StillLife­PhraseAbrupts i>inerclash KaleidoMovie, the fugue­paced ConscStream­Context permitting no dance­a­polyaan­PageMome.

23

die groovedecence seems to be going­on only in WordSound­Organise. And Lyrism's (naive­yet­) sTimeGrin must ever be sciss­glinted intoward CryptAdequacy, in fact this always Occurs in lasting Composition. The Arts are compenetrating — so far only so­much­mutowash, if you will — yet compenetrending.

* « *

Indubitably the work of such as Stein, Joyce and Breton show — proves that the Novel (as Literature) is thru with feed­my lambs! concernments. Breton counsels what may be styled the Movie — ThrowBack­Inverse in his recommendHeroes­doubleNose­Thumbing­Reader­&­Author Suggest. This is that ince­new'nuf to give our Gramormers a sufficomplex'd rewrite­Context Con­cern. A propos nose­thumbing, "TOM JONES" does­so the Reader, almost, one feel­thinks, the Author, i.e., in the upspue­wreckimpasse­shamemoral­psychSituates which off & on style­flowsalong­outheave­present themselves (one sense­feels a resign­incapac in the Author to furth­right­the­Hapmore­trend, that he will leave results to the develgrind of Process.) TO WORK THEN, Gang, Miss Stein's & Mr. Joyce's peal clearly that the Vehicle is now The exrudimentablising CreateConcern, a now­yawning DisHibernial plasticklable at least. To furth­pursue ThoughtContext at neglexpense of VehiFormConcomitent will be ludisastrous. Already two FormWrights of Skill­freed­to­breathe­HigherConschPretense calibre, they, lone Entitles to directly race­pursue BigFishCatchings. Will there be more? A i/e/j/^r­mention for those of us engaged in tend­the­engine radicDetailery.

24

AMERIKAKA, BALLET

PROLOGUE

Curtain, Spots show (right­left) raised platforms (R) Belly Dancer (L) Salvation Army Group; 2 Men, drum & horn; » Woman blindfold, tambourine; mute Bus, MUSIC each Trio, rush­posture BarberShopChord­"geUogether, TABLEAU­Instant, lights off.

SCENE I

stillmanurey AMERICA (Thanksgiving) (rear) 'ong Table, raised 4­5 feet, center of table facing AUDIENCE, "GODDESS," huge, statue­austere (sit­) pedestaled; 2­6 iNai^^­A S S I S T A N T S s t a n d i n f r o n t ; K K K ' s E L K ' s F E Z ^ K C s TEMPLARS, etc. seated along table, both sides of Godded (ENTER) opposite sides, NIGGER with watermelon, WITC with Turkey (pumpkin) jawgape­offer same, ASSTS. (Bus.­Hellenic Acceptance) take to Goddess (ENTER) 20­30 backslapping SOUTHERN "COLONELS & PILGRIM WITCH­BURNERS (Lights, Platforms, reveal Gal­lows & faggotted Stake) search, recogni­catch Nigger­Witch. hoist each onto platform, imprison; unnoticmg, Banquet has proceeded BALLET (CHOREO) synchronised HoipEAT­slap­back­WASSAIL, Prisoners'cower, between mouthings dodder­paunch GrowlFace "Platform­Importance^' from Banqueters, Lynch Stylises from SC's & PWB's, Jawgape Half­Turns from Banqueters at Speaker's VociFlourishes followed, at '^ssts. plea (G. Motionless) for release of prisoners, by their Laugh­Offs Liberty & Assistants motionless till end, Stylismg (all) continues

25

step­slowed k ralenti, to Curtain; WhipCrack heard off stage, moans. (ENTER) chestslapping SIMON LEGREE (whip) lockstepping Negro CottonPickers, S. L. cracks Whip (BALLET) short Whip­&­Shuffle [RHYTHM, frequent WhipSlash unexpect­irregular Crescendo StompGathers, Niggers (SPOT) gloatspasm each crack]i Goddess tower­rises, torch upheld, points (imperious summons­MUSIC) finger at S. L., at Niggers (Hned, center, mumbling* at herselO­ S. L. jawgapes startle­Recognition, "I­Get­Ya'­nodsalaams whip to Assts, to Goddess, cracks whip, gleefully! Consternation (all) War­Evoke Musicrash, 15­25 se­conds flourish, youngster M6kaniK whirls Solo across stage (EXIT). (ENTER) 6­8 backslapping NORTH­SOUTH GENERALS, armsful muskets, PWB's & SC's zip­slide­scurry­hulkgrab guns, align, rush r. & 1. stage slowMoviePace (Bus. Shooting) mean­while Legree giving each General a Westerner's slapback­"Haya"­Ingratiate, slipping between escorts them DOWNstage, joins MapConference (centerfront. Bus. PiffleGestures & PaperFlap­ping) Shooting continues same pace, only niggers fall, S. L. takes dice from pocket, explainthrowlooks, refereely holds up North General's hand, S.L.'s other hand absentmindedly slapback­consoles South General, Shooting goes on, to TenPin falling negroes (restand again, if necessary) CURTAIN (NOTE­the slowing­up Pace concurs everywhere) (Jawgapes & SlapBacks everywhere) (P. S.) Some shooters stop for "have­a­drink­cigarette"­Insist­Confabs, etc.

ENTRACTE

Lights after Curtain show BellyDancer with Salv. Army Drum­mer, observes her (BUS. specul­jawgape­fascination) Other plat­

•at all such moments, Musics "Breaks" for VoiceSoneAllol.

26

forrn, other S. A. man, S. A. women (still blindfold) register as before, SHORT EXPOSURE, Lights off platforms

SCENE II. — BlindParlor ERA

(SCENE) rightleft tapering toward Goddess' (Pedestaled center­Rear, life­size) 2 stereo­bathroom­facade­HouseRows, 3­6 Hou­ses, each row foreshortaper, back centerward, suggest Long­RowMonotony. Lights show Solo Dancer (now ManSize ME­KANIK) playing up to Goddess (DANCE) TemptFlirtSeduce, Goddess wawksway­yieldstarts descending (BUS. — JawGape 'Ovaryish scramb­alacrity) from Pedestal, wavers, restances self on pedestal, MUSIC­BREAK, offstage sawtooth SKryabinesque murmur (APPEAR) doorways, Ladies­of­the­House, all, like drab Institute­Ginghams, Shoes­Hands­Epaulettes of formida­bristling ScrubBrushes (BUS) Come out, scrub door­steps neigh­peer­imitly, sashay militantly (opposite pairs) glare­scour­align­"straighten" each other, tendevel unwitting Nthdegree BD­SA CakeWalkHysteria (BUS­each Scrubber, SA­austere, & Scrub­bed, BD­giggleOff, interchange, work into Hairpull­Street­Brawl* Suggest). (ENTER) backslapping PEDLARS, bundles, cart, set­up (rear­center) HouseLadies jawgape, caper delight­rummage (ENTER) backslapping Curiosity­bent CROWD (late 19th Cen­tury Costumes) jawgape, also crowd around Pedlars (BALLET­"Sell­Buy" Hilarity— Pedlars demonstrate StarchCollars­Cuffs (BUS) 4­6 diffident buyers, after meek­purchase, sadistigrab­"collar" respective companions, each Grabber works Self into OrgFrenzEnthus, coaxes his "Grabs" to buy, Grabs fidget amoebawiggle­away I­dun­wanna Diffidence­of­kiss­asked­young­girl (MUSICBellyDance­GiggleOffs) selfhyp'd Coaxers finally hypress­thrust Sell Collar­cuff outfits onto Grabs (BUS) why­did­I­buy­this JawGape­Bewilderment, glee.* Scurry­escapes of sellers, slapstick group­pursuit by now­indignant Victims (CHOREO flight­polydiagonals secanting Complace­

27

Swirls of Crowd) Let's­all­play! (BlueDanube­HeelRockDiddy) Burlesque impends, Music disintabrupts, intones grime­sneaky Fanfare (ENTER) "PREJUDICES" (3 groups, Reds, Aesthfairies, Koon­Kath­Kike TRIO) Crowd gives way, P's parade slowly down­stage, posture DefyCowers t[o]2 JawGape­Astound then RUMP! Give 'em! of all (3rd Rump is held) (EXIT) P's, Rumps unknowing same crush­converge on assumed­still­there Prejs, detonating WhipCrack (Goddess) all straighten but (backs toward Goddess) Bellydance­rump her (moment TABLEAU, Music holds its moment) Goddess registers puzzle­conster­indignation, starts to recrack whip more threat­sweep­ingly (MUSIC lunge) huge Billboard dropfalls, conceals Goddess, "May 15," Lights (platforms) reveal StrawHat counters, sleek­Clerks, People stampede for hats (BUS. Gimme!­Hands air­slice AciStretch­Appeal) Clerks jamboree­whizz hats onto upstretched pleadhands, "Correctitude"­PARADE (AngloLeg­brisk Saunt­Strides, "Have­a­Cigarette!" Confab­gestures, etc. MUSIC into TypewriteFussy clickpicts, chins­in­air, 2's­3's), also parading (ENTER) many more Backslappers (3­5 OneMandummies) all strawHats, save one, REBEL, push­edged toward Platform, given suggest­chance to buy, wont, mobbed, Kickrolled amiably offstage.

DYNATABLEAU (FINALE)

(1) MEN, hats on side, cigars jaunty, lapel­fing goats, toe­balance Satisfaxsh, etc.

(2) WOMEN, unwittingly BD k la Puritanne, folded hands, thumbs twirl, saintly JawGape Faces

(3) CLERKS, lean over Counters, aligned, prissly creamslob­smile, fingcluck BD­ing Ladies Short TABLEAU­in­Motion

CURTAIN

28

ENTRACTE

(CURTAIN) Spots show both SA­Men on BD's platform dancing her rhythm (other platform) BD­Woman (rear, kneeling Try­Devoutness) rises, as if wishing to embrace SA­woman (forward) still blindfold, still facing audience, unaware of BD­presence or defection of Men. Incertitude stops BD, dynamic Tableau, lights off

SCENE III. — Some Passings & Dawn of NeoPolite (Tempo—InevitaHorror of LowGearWindUp, incessant)

SCENE (General Tone) ThermapeuTense Architecture, Sky­ScrapeVertij, MechaMoloch ContourHue, Shimes Square be­come ProleAthenian Agora, 7­11 MichelinTire­CorpMerge­CityBoss­Capitalists (platforms) loll back in CubiRoman­Horn­AHardhart banquet chairs (Child­Goddess serves them drinks) Large Telepawriting, NeoAlph­StenoCrypt­Dictamessages, seen forming on blank wall of building (Glare Ukases, MichSynods to Populace, TeleRad 89­in­every­Home) Big Pieces of Wood & Steel sound Omin­Tolldin background. VisuWriting pauses, SklafMotiv (MUSIC sounds bonbon squeak­cluck­defy effects k la childrens' party) (ENTER) 6­10 indignifussy Whirling METHODICKS, arrange selves centerfront, motionless, prissypose (increase in MusicFury) commence Whirl, GutShriekAbrupt.* Methodicks collapse. En­sueSilence, trap­doors mouth them below stage (snapback) 25­30 seconds motionless oppress­AbsoVoid­SILENCE, muttermur­murs.*3 heard offstage, grow­mount into feet­stampSone (ENTER) glassyface CleanCollars, trick­step, preserve, stamp­Sone, gearchain­wind around front and center, arm around Neighbor's shoulder, free arm­hand wave­pleads, when passing same, relent­Benefection from unnoticing MichCapitalists (BreatheHumStereo from CC's) end M.C. rises, yawns (MUSCIC­FatCurdle) plugs, in switch, cellar­vomiting (ENTER) as many

29

clank­metal­in­oil­squeak ROBOTS, impass­disrupt Gear­Chain, each R. floors a CleanCollar, supine, Robots travest­Lawpomply plead Case to always­nonobserving MC's, squat, mechiropract each victim's spine (Bus­writhing, TolIDin intones StressApplies) MichCap. plugs another switch, robots rise, drag CC's into bentover baby­in­the­Hat line (backstage, rumps toward Aud.) R's come front, fusilpelt them with white balls into Offstage RetreatExtinct. Autowriting resumes (ENTER) (Music finalFuryGather) StreetCrowd, incl. children, watch writing, backs to audience, motionless. Gongs commence Punct­sound, rhythmspaces stress once­a­barly each successive beat of 5 (Robots work backstage, align in shadows). New deeper TollDinNote, Crowd eer­slow­starts WalterCampy­armLift­Tor­soRaise­NORMveer­Kalistha (huge Oil and WaterGurgles, Pis­tons, Metronomintones, etc. offstage) Body­LoosenUp effected, crowd commences NeoStroll, Cambodistylise­StreetPass­Nick­Lunges, mutuaware RituoweGesturates, hard­cold GreetGeoms, must­posturated STOP­simultaneously by all (BUS­Whim Vari­Choice of 5­6 figures) during which a few, certifExceptions, (ENTER) rollerskates, EXIT other side of stage, every 20­30 seconds a Music­"Break" HaltGrab, mutufirm­but­not­irrita­ruthless disHib­pressgrab one's NeighPass, standardise­where, gradually relaxed, 4­6 seconds. Communegroupments gradually formerge (PirouetteCurves around JabLinears) Patterns veer Individeletely sashayward, into ultatavist Finale (Music color­flares, HolyRollerish Apotheo­SuddenBecome­GROUPconsch) (ConviviContapJazz R^sumd of WhipCrack, Fing­Cluck, Hy­pressales, AppealPleadStretch, Have­a­Cig, Lynch, Wassail, SlapBack, JawGape, SlowMovie, gearChain, etc.) MichCaps rise, shout­crack whips, MUSIC into Slough­Off, CURTAIN faj^ to StampSONE of feet, Whipuncts, audibreathelntake, steroSylla­PhraseChantomimExhale.

30

CLARITY IN LITERATURE

Language has two functions: it evokes and it communicates. Its one function is to make us feel; the other to make us see. In the one function it acts by suggestion; in the other by definition. Language as used by the creative artist tries to make us feel — tries, that is, to make us respond to the emotion, the situation, the condition, or the object it evokes. Language as communication is the m^ium of the critic, the philosopher, the report writer, the technical "describer." Its business is to explain and describe. It makes us "see." The 18th century^ in both France and England was the great century of see­ers in literature. Descartes was the father of clarte in French prose, and the tradition descends through his disciple, Malebranche, through Saint­Evremond and La Rochefoucauld, to Voltaire, Montesquieu, Vauvenargues, the Encyclopedists. In England, prose took on firmness and clarity in the terse elegance of Dryden, the forerunner of Addison and Steele, of Swift and Defoe (Defoe the essayist). Critics and essayists, all of them, definers, men who stressed the communicative in language and developed it to such an extra­ordinary brilliance that for the time it seemed to absorb all language. Not one really creative work was produced in that period; and even when, toward the end of the century, the revolt came, the prestige of that prose held on and influenced the creative work that followed. Out of it we get a bastard form like

^"The age of prose and reason" the academics call it.

2 Information enters into nearly all creative writing, but not purely as information. It enters

as a means of conditioning the reader's response to a given situation (as when a writer uses description to carry out mood).

3 1

the novel of ideas — that is, the [digression]i about the subject for a plastic progression into the subject. This was evidently a confusion of values. In informative writing, the center of interest lies in the material itself. In creative writing, the interest lies in the development of the material toward conditioning our responses. One is an end in itself, the other is a function. The quality that makes for perfection in one does not necessarily apply to the other. The qualities that made for perfection in the communicative prose of the 18th century made for frigidity and deadly formalism when try­applied to creative writing. The writing of Edmond About was such an attempt in French. Students in French are still forced to read fragments of his stuff. Shaw's work shows the bad result of this confusion; so, to an extent, does Meredith's. We cannot think of anything which possesses so completely as their work, the feature of un­necessity. Paul Val6ry's work can serve as illustrating both communicative and evocative writing. But never mixed. Essays like those on la Crise de I'Esprit and Adonis have perfect clarity and precision. There is no ambiguity, no loose ends of thought. Everything is caught up, every detail adds a facet of meaning. His evocative writing, on the other hand, is full of evasions, of nuances, of ellipses, and veiled meanings. Often our responses are condi­tioned by the music, the stress, and hesitancy, and rush of syllables, as much as by the words. When, for example, in the description of water, the fall and lift of syllables takes on the beat and cadence of the sea, one wonders if the sea­sound of the music has not more immediate influence on our emotions than the rather inadequate words. And one wonders if in creative writing the rhythm is not often at least as important as the words.

^As in this passage from a modern writer: "He leaned his elbows on the table and shut and opened the flaps of his ears. Then he heard the noise of the refectory every time he opened the flaps of his ears. It made a roar like a train at night. And when he dosed the flaps the roar was shut off like a train going into a tunnel. That night at Dalkey the tram had roared like that and then, when it went into the tunnel, the roar stopped. He closed his eyes and the train went on, roaring and then stopping; roaring again, stopping. It was nice to hear it roar and stop and then roar out of the tunnel again and then stop."

32

In giving the effect sleep should not the rhythm be sleepy, full­voweled, and slow­cadenced, and to give dance must not the words quicken and dance? Words are often only counters of speech worn smooth and flat with use, with none of the old image, the old boldness and suggestiveness, sticking to them. The 18th century created many stamp­words and narrowed others down to stamp­meanings. The whole effort of the 'NQO-clarticists has been to make language a string of counters; ie. a mechanism for facile conclusionizing. Very often the creative writer of today feels that many of his words, instead of richly conveying emotion, actually muffle and deaden it. They are simply chunks of dead language breaking the current of his relation to the object. Instead of conducting they insulate. Using them the writer has an unhappy frustrated feeling of not getting at the object, of missing its immediate flavor­richness.^ It is because they have narrowed down to their more explanatory sense. That was a false direction. The clarity of evocative writing is not that of communicative writing. Language as the artist uses it is a matter of flavor. The technician's language \s a matter of precise exposition, a definite communication of 'mechanico­precise ideas. In creative writing, clarity is not a matter of making clear statements. It is a matter of being immediate — of catching the flavor of the object, not its mere outline, but its fullness, and meatiness, its density, and heat, and solidity. It is not something to be got by definitions. It is to be got by selection and juxtaposition of words and material, through rhythm, through tempo, through contrast, through the allusive­ness and suggestiveness of words and images. Not just any juxtaposition or any rhythm, but each adapted to its function. Every detail and every expression is to be subordinated to direction. Good writing is always deliberate. There is one clarity demanded alike from the evocative and the communicative writer — clarity of conception.

4 Editorial Note — Observe, following, the stress upon the object and the direction.2

33

MONOGRAPH FOR HAROLD WESTON'S "EVO­LOVE SERIES"

(pl­2) water water cast­ups gulpends, water (ulploamD]i

water onduwater sheell shell pseudreamdream suffice

pulsthug yawconsch wave trytugs evolupotent water... animatryx must­go­ons crawl subsidream...

water slough water water lave

(3) Awakens anticiplay HEgosome

indepenarciadonisent Lyrfeve knoweyes artravailbirth evodestiny (knee up, ol' fella, yours, Conquiesce) tossoffAccomplish HistrioMoraleTRYspect

SHEgosome nestoil bevfullc Startmust painlunge lifecircuglowse geyne pressitch legclawroot kissEarthadieu, anguitaste­pre­

mid­now aft bathe­in sorrowcenturies Acqui­gewjaw­SilenceFeel sleepconsch dreameality BuddholINspect

(4) PLAY child's scuttle­acquishowoff­piracy?

34

I

no here j first Mutuflower ( Yearnborn Sollicitwodear ' Hunger Spirit budhonest primordask —

except­ye­become­as­little­children (Vwondermeant)... He, stalwist Fine, mutunipleadriven She, Howsaynay­Sweetmoist­momedelaying

(5) clouds, away libido­see, dear God, percepscient Homagcomplish "OpenBeauty's" lovecommitting Holyne HUManUS Grandeur (EERieVokeBloom ReasonPush) deepweepstanced pVeerthrall

' twixtbodyReverelAylR, tofromutuplaque fulminatrances Sexparacy

wmeld­transindivisuating the Disparsomate

fulfill Equindividuotye

urge, fulfill, Urge

(6) apotheoFunct goalsight sympathrivachieve

MALedominacquirelentlessigh Femsuccessent relaxbrews

suff — buff — bear, pospontiv Fern coopleadtake

yearn. Legs claps, Arms give, Womind, 'thout Headbend

yeuthanasElate past Pain!

35

(7) bornEcoming TransfigurE'er

[TRUTH CIRCUMSTANCE]

Truth circumstance

'salways a gripe relish acefetidy

antitharmorplate

to breath strinct­scoriate one's

fellociate

in public

And awksquirms?

37

A POEM FROM PUZLIT

sardonically towers

ghoubrel

i shing my ostracization

come back!

come back, I implore you

no — stay away

here

i am ecstaticly.

38

READIE­SOUNDPIECE

(after a suggestion of Hilaire Hileri) (synchro­with Orchestrauto maton)

(two chord­puffs, trumpets) [(]2Snaredrum, stringplucks, mandoline ^ t t (PP)

POKER funny­ ­'post­'adolesCollege­days­ ­Fall­ ­return­ ­Glee

^ ^ ^ ^

Club­ ­rehearse­ AssemblyHall ­walk­fifteen­minutes­ ­FratHouse­ ­supper­rush

(insts.swoon) (typewriters' clickpict t !

­eat­late­arrive­ ­inside­ quantity­Freshmen­flit­past­

< > (fife­peers, recherche intermingle) t

­inaccountable­ ? ? ? ­evident­very­few­Glee­stragglers­ ­rath­seem­wandbent­

(muHo­chords (bassoons, etc.) devel, 30 seconds, a mood­view t[crescinto]3 an offkey­thResolution of Accordon & Jews Harp

­fulfill­YMCA, ­nightclass­regs­ aiitiii­gone­

ing rhapsody) (only a Metronome) (smeasy fiddle­! LENTO t

backstage4 ­redescend­dark­redrich­theatre­plush­BoxCorridor—EldChap­arrive­

-zizzes[)]5 ^

flits-along-side= -rush-loatHe-despise-Silence-waft-acCompany­WONT-talk- -perforce-must

(muted Cornet whinds­in­up then ACCEL.) > out (low Clarinets) "Wal­I-see-the­boys-are­back­anybody­outa­this­bunch­

(fruity jabbu, lech­timbres­pianissimo < t

catch­a­lil­poker­tonite?"—he'd­turned­to­me me­curdonvulsed­ ­his­obstract­

< SILENCE) (Accordeon t

impersonaptrich^e­glaregloom­pleaVoice IVe­no­memory­of­his­look

grunts sillily) (one whang­clash of Cymbals, delicato) !

funny

4

(dullicate Gongflunets, each ictus) » / • /

­I­smell­surmise­wopulent­finishalesman'd­Alumnus­ ­Campus Visit­ "our­turn­Boys!'

( )

I I I / ­deerol­Alumnibus­wants­tbe­youngear'd­again! ­chap­'bout­midforties­ ­willing­lose­

/ ­careflingly­

/ I I ­"listen­in­on­rehearsal, ­ol'man­ ­afterwards­Gang­chez­moi

[(descrip]7Music,­Orchestra,­*Collegiat Sing Stare Serious'< Toko Party'0]8 t (40­50 sees.)

(Music­sodgo­into­pedalpoint­2­basso­notes­9 ­superimposed­high­Arabic­wailMelodQlio ® LENTO • dies

­hearable­only­distypewriter­ACCEL.&CRESC.­to­end.

rrettroactinggingg­memries­ ­seeryussy­Collich­Boys­grimface­barkssiinngg musikaka­sonorities­ ­friendly­mayaiding­rafters­ dragonfly­airyairplanen­stencil­" "Prexy"­smile­beams­ postoasty­ ­adoliscentious­thoughts­ggoooddaayyss!! !!

chips­ ­chipsix­siix­players­mellow­courtly­pal­voices­"correctly"­hiding­jackal­eeeaggerness­ ­PLAY!­ ­two­feelout­[pots]-i2 ­Mr.Jackhill­intrest­[diverted]-i3

­I­rememb­regardead­him­once­pass­fleetly—praeterranean­mood­visc­swimface­ghost­mask­gentility Mother­guard­your­young­Thru­The­Ages !!! then»» that­

I I I I I I third­pot!!! ­cards­unlooked­Jackhiirs­voice­snapabruptakeschargei4

(percuss­muted­revolver­shots, each first syllab) > (aft rubberband snapsigh)

OPEN!­ ­RAISE!­ ­RAISE!­ ­RAISE!!! ­ ­TREBLE­RAISE!!!­ ­met...mutto

(distant speech­voices > mutto­gurg­suavities­Keep­Tvoice­impent­diabolism­ ­just­polite­enuf­not­get­nerves

incl.voices (Waffle­selling­Cornet < (Absilence) 10 in.rouleau

! t (ratchwheel P<F ^) ­SHOWDOWN­ Jackhill­tops!! 2hrs. ­2 more­ a half­

Kettle­drums <cymbal> t

'cept­5­6­desultory­pots­JackhiIl­W! I! N! S­ WWIINNS'SSS ! ! w i n s

^ (Metronome dulls thru the following) ^ ^ [" "]i5 allright­fellows­midnight­i­said­i­was­leaving­ ­rendez­vous­ ­you've­studies­play­tomorrow ? ? ? great ! ! ! ­take­this­thirty­bucks[,]i6­tomorrowWrinks­ ­let's­have­a­bang­BangUP!!!!" " " gap­silence­i­suppose­he­went­out— ["­"]i7­geez­says­Leyden­that­was­funny­almost­phoney­ ­why, ­his­voice­raising­sounded­GAWN­[satisfakting]­i8 ­Chirico­horizoning­streetscenes— ­tweren't­human!!! " "19GWAN­Bens­ya­silIy­mysticketeardrop­twas­only­/7w­turn­(big!!)­tonite­whheee11­s­c­a­t­c­him I I I

PIANO (faintly) stressicts haphazly t nightly­poker­all­week­ ­results­same­ ­samey­same­ 8th­nite­half­hour­before­

Huddle­my­room­(Jim­Armstrong­speaking­) (Electric Fan joins, nearer) ­"fellers­only­dubs­like­us­get­ridden­like­this­or­would­have­failed­to­saaay­didn't­any­of­you­notice??­DID­YOU­LOOK­AT­HIS­FACE CLOSELY?!!2o­IVe­been­talking­things­over­with­a­fratBrother­(P.G.ing­in­Psych)­lissen­from­what­l've­told­him­he­deduces­that­man­Jackhill­is­a­Visitation­an­Apparition­no­more­corporeal­than­an­abstraction­or­"Connection"­ ­possibly­a­Mesmo­L.C.D.­of our­undodesiring­libidego—no­more­actual­flesh­than­thought­ ­in­this­case­thought­incandesced­to­absolute—NoTime­WILL­a­daemonised­ThwartEcto­of­"DearLife­asked­Spirilecheality2i

­creepy­stuff—y'all­look­up­eh??­yeah­as­far­as­I­can­see­this­chap­Jackill­is­hyprobably­disembodied­[WillaftDeath]22­seeking­a LIFErstwhile­unrequited­satisfact??­Poker­and­get­this­was­in­life­brainKnacktivity­so­dynamicharged­with­PlayLonging­that­this­tour­de­farce­Luck­at­cards­we've­seen­this­week­formerly­meantacted­­Will­to­Accomplish­monoinsanely­carried­over­post­mortem—became­a­groupswayable­psycometeor­of­our­Universe­roamoaning­for­Poker (Chordbust < > Astronomic Timbrality Horns & Percussion) ­gatecrash­punching­"the­hole­in­TimeSpace"­that­Antheil­speaks­about— —and­we­are­its­pleasure­prey­victims!!! probably­an­old­or­recently­dead­alumnus­of­ours—IH­make­it­a­point­to­look­[up]-23 t (oboe d'amour&marimba) the­last­ten­year­poker­fiends­probably­this­bloke­never­came­near­winning­enu IS­SOMEONE­ENTERING­THE­ROOM??? lights­iced­fizzes­highballs­imported­cigarettes­smoke­hazed­atmoambient—" ^cupboard­Link­I'm­off­fellows­cupboard­slippers­cup".. ."25 damfool­dank­id^e­fixe—'s been­sounding­in­meze

­two­minutes­an­eternity­of­gadfly­dinsistence­wot­liquor!!!—stop­shrieking­guddemmit­willya???—you

(MusicBoxes) i well­gang­cupboard­cupboard­guess­Jackhiirs­pushed­off­outa­town­leaving­us­cold­

cupboard­what*s­the­other­term? slipboard?­Iippure?­

losers­rm­all­for­an­hours­study­then— one­second­you­fellows!! Ig? ­I­rush­slippup?—s­l­i­p—pers!!!!

over­open­my­locked­closet­rummage­shoebag­moneyclink­clashwishpapo­[hanclutch]28­emerge­> (human tune­whistled)

Banknotes­floodChange—STARE ­greed­eyes "t"29 look­gang­here's­practically­the­exact­amount­and­I­should­think­the­identical­money­we­all­dropped­in­the­game­­'cepting­the­thirty­for­tonite's­d rinks will­each­of­you­figure­out­your­loss­and­take­it­from­this­little­pyramid—my­losings­were­what­was­left—1­think­most­of­the­boys­have­never­spoken­about­it­outside­we'd­be­razzed.'so"

T

READIEVICES

>» small, clear, might be long­broader, better'n Hyphens at certspeeds they'll be soakcepted)

«< clausending, inclosures, tcreate passtress (supplant Under­lines)— wherwhen Writer wishes Slowintake, marvellous Backfirade

SPACES for omission of notquitextlySuperfWords, Emphsi­lences

REPEATS for CinePaceStressling j DECOREM BELLDYNES ad intuilib j The Stockticonnectiv, j the Spacetwixt restpoints the Reader

HYPHENS tremain Textfunct (v. »>, above) DASHES Delayemphyphens, Musicologs CAPITALS (entire syllable or word)limn accumajminor ­unct­

points of now­unistreaming phrases­formerly­lines

the READIE­FINIS

KALEIDOSOEM (antiphlento) (quoted) ... ."Beneath>alI>Words>

which>might>dispense>with> Words>as

So>unds>but>not as> Signs" .... (paradophrasing>John­Rodker.. .transition 14)i

readlie>affective>contacts> depths apportion ment erst>glee>trickl >buttapup knives — — — knives — — — sallow tongue>

47

sleddickl>nickdicker>hemorrhoids sash>wile booze aramint>poothtaste>err­er­er aheheehoh>ahehahooh>WOPS

(fugaxel) dental — cyclose — teething .. stoop — cranny — bugabah oil — broil • teem

leek — turmoil — DRAWN bike care — yussiyuss potatoes — grOOve dorn

BURSTlakechewed stealthramloin groan­nurstgeTOSS eetabytapeepO

Portrait XYZ (stocktickreadulous) eerchased>Tragesire BeDOthings Imbo­declarity>pursuing (toujours>prissnuzzed >gleamouth)>phalli­durlDitty YOUyouyou ... Y»immutexh imposture "shoor

wanna!>be!>noticed"<I flighted >candle>henc>lucking >aSCETIC • • • .Sweetsweetness... factmatterd>Nth>Degree (Claritty) S­­0 „_Y—E—Tweakaciding­Rain>PUNCTS>TOothclampa ngelici­ty into toodeyohto>adjectisecondry>ManlFest­fester Power LUST ... FrustustRateo>Quiesqueaking> PVenomower (prizzepallic) (ifnecessry)> pRACE>these sweatglare>underamply Subs­TAN Tivmpliq­paradecorrode>a>dourkoffeed­Bach

<monVieux much>i>have>tr YLOVED You ... (imboclairgleam­despite) ewer grrrRaspb

urn­InsistFond>scentchfaiIs to>man—err ly>al­lotme Wishgulp equality THAT>Fruct­reality ««howeviscerebraised»» ALWAYS>AFFECTRANS'D> <WANTED­FRIEND!!! ^ you­powersmeeking S K E W ! . . . r a n c o r s m e

48

DEVICE­CONTRIBS TO WRITEXT & WRITEFOR'M

to be remembered that Mindality does not, with all respect to its ampIEXpsychEGESIS, provide the only contributors to Writing, occasional Mindi[tl]ease are found whose Temper deemust demploy the hum­bler (i.e. avoiding the bum­blur) scantertiary momes of life, the BehavioRising of these spawn­LAyRES I can & do measure­trust, chief among these to­dayte indubitably is Bob Brown.i

his "1450­1950"2 bursts the chucglister of the quality­best of humorists today, at same time prydelving a nicknice into the shyer surfaces of wist­feeling. i spose its readers are either enchanted (page yours truly) or left flat­foot B.B.Bewildered. WOT HOE, youse latters, pRovence aint for youse. it has struck me that somehow — shall we say mildly, shyly, wistrudgely,

^ delicasunsmilingeringly — BB has here joined Ronald Firbanks as the other contributor to Lightouch­FormPLAY (rilly, Read­ers, Writing has near­always lacked tonality­variplay).

a pract[er]itiOH of the above more­wellapplies to Brown's "Specimen for a Readie­Machine." a yacht pleasailing an excelsearich salad bowl­might describe my add­it­feeling. modern writers afumb for new deviSings of thoughtinterplay could wellintake the scholiastrymes and annote­chucks of said work. Bob Brown keeps me tingly exalt­in­the­desirideoxcellence­of­my­own­writing — and, of course, this, to me, is THAN Tribute.

[maybe quote]4

49

MEMORY !

spawn — June 11, 1895

Univ. of Penna., B. S. Phila 1918

School Teaching

'19 Love Affair hoapless, anything 'yond necking

nauseated her

'20 Start note­jabbing (thorts)

'21 forsake suburbs for city­psych­BOheems

'24 discontent (reaming Cahiers)

'26 Yurrup & Antheil

'27 Actycoccles — Transition <

May 20, '29 sober

'29 — '32 Riviera (avec Paris Jumps)

April — Philada. (not unlively, depressin, cordial gals

Picaresks pending.

Link

50

VOKS

(1) Ah! — FEM, ReceptAffabil, SymbExcusMerit of Le­thargy, HARP, ITALY, grassGreen.

(2) Oh! — ripe­happy, — 'cause­guiding MASC; Selforge­Imperessonality, HORNS, SPAIN, ORANGE.

(3) Ooh! — delishfright, huddleDebecstacy, NEGROES, FLUTE, BROWN.

4) Eh! — stridemetalcrash glass, coldseer­penetrinsist, NORWAY, INKBLUE, CORNET.

(5) Eeh! — squeakassure spoiled­child, approbaconfi, FIFE, Categoric, psychophysRidRiggle from Lyrnew, SILVER, nonFrance CHINA.

(6) Uh! — snailDisapprob, grunt of flat surfaces, Sub­(putt) conscesse of MidRegisters, BASSOON, ES­

QUIMAUX, mustardYELLOW.

(7) Ooh! — BassEsse, Wonderment's rounded lips, ENG­(put) LISHHORN, GERMANY, heavyunctVaseline,

OCHRE.

(8) Ih! — Hypothetic, evaneswhisp, delicanick Satire, pur­Chit) sueRemotldeal, FEM­DecoyVanish, VIOLINu­

anceldio, INDIA, LAVENDER.

51

(9) Eh! — BRITISHubconschlnvoice (the conschposed (met) ResiduVowel of Shorthand), coolness of steady

gentle breeze atop hill, the loco­fatalised Edu­cate, KOREA, SITAR, almGREYN.

(10) Oy! — Humor, haftexplorealm twixt Go(o)dWill & Logiseriousness, edge­spilling piecrust, the plea­sure of a Surprise, the catch­one­off­guard­ly Realising a Hope, ZITHER, SEMITIC, PINK­&PURPLE.

(11) Owh! — HurtLearnSlide, ToothPowderThought, Ban­joMettle, HUNGARY, CLARINET, WHITE­GOLD.

(12) Awh! — Earth, thresolution of Ash into Personality, PuzzCredule, mouthmushAssim of Ultra­Modern art, TROMBONE, SWEDEN, DRAB­COLORS.

(13) Alt! — raspcontinu­socialty, brackDissillusion, Char­coal of REED­Instruments, refme­whisper­vel­vet, FRANCE, BLUEBLACK.

(14) ehyeh! — U.S. pioneer­diphthontrenches in T.B.M.­ultb­drawl EvStress, Wot­GO­DO­now Impatience,i knifigorlndividuality lollmoming with wane­VoItAgress toward dutystupor, CELLO­TryRe­gistDeclaim, muddied BrightBLUE.

52

PIZZIKATS (SERIES 2)

(1) Paunchrubberyapproachers (Conservatives)

(2) pseudsnortsnivelophistry (Continental JazzBands) stalliompatient Stride (AmerNiggers' JB's)

(3) Neceshity (Dada)

(4) Ireality (nowaday)

(5) staitannic (NYC)

(6) scholdemployfurv (Chopin, "Etudes" — Joyce, "Work in Progress")

(7) impetusatient Musinctervaleaps, NirvanShriven Conflauntrasts (Chinese Opera)

(8) Instextpression (hypressaleoning Moderneed)

(9) doffensive Mechanism

(10) chewsovery Grammahs (Dickens, Aldous Huxley)

(11) puRETannied Fems (AnglAmerica)

(12) obsessease­gyraclutch (Woman for first lover)

(13) innerisembite (Gallifaces)

53

(14) circaurambl (Fem) pistplunjice (Masc)

(15) brayzing MorSpiroptimiasm (Christian Science)

(16) Confourm of PassFeelfull­facurldeaCTS (MachinAryanism)

(17) Cowduty deficlaims the Permitted (Churchmens' lusty Hymsing)

(18) Peersapouts (Tourists)

(19) melegant (Cannes)

(20) loosiditties (Thdrink)

(21) SwombDeath (Wagner's "GetOffCanvas")

(22) craftseman (Cellini)

(23) hybergeois (Englishmen)

(24) annihimmelvoid (NeoBeethoven)

(25) preempressionises Rabelayblarely (Rubens)

(26) cerebrunappies Monofix (ArabMusic) harmamaxem­slumbsawngs Monofix (OcciMusic)

(27) shoort everywhair­lifetime (AmerPopSongs)

(28) flushlest (Woman)

(29) Spreenout (oncomeSpeech)

(30) LevDream COMBThRUE (Bledsoe)

54

(31) Constompselfask "Y­cant­Cr6peChine­washRag?" (Gersh­win, "American in Paris" 4th Movement, Finale)

(32) plastiquantswing­troughnalitymomes (Antheil)

(33) Ifishouthooks (Grammar)

(34) SocOnchARatioceanate (Joyce)

(35) Infantrum (ParisTrafficop, jam)

(36) Ahssopurient (AmernglishFems)

(37) BreatheFrazors (Garden, Baklanoff, Bledsoe)

(38) hewmaimitey (NYC Taxis)

(39) beesomething (Prose & Poetry) GETaboutsomething (Critiproseliter)

(40) NOwHopeFrustrum (Kandinsky)

(41) sheapHIdehowlogees (ReUgions)

(42) Accuradlcor (Hiler)i

(43) ayeArcheatabl (Cezanne)

(44) Patrix (Muratore, Braque)

(45) Puritan's "Releaswish" (Jazz)

(46) Scilogical BYurnPROse (Ameirdealism)

(47) *Disjunkt' for Croce (Amerlodic)

55

(48) Mcntalertsaving Pigsnoutweak (Gallifaces)

(49) hardent plasticandy (Archipenko)

(50) LienBacher, memories (Wagner) , no­mems (Schumann) , wiJl­mems (Weinberger)2

(51) Pollymeutonality (Schonberg)

(52) blackswiths the Heroic (Beethoven)

(53) LoComassort (Universe)

(54) taggive Secondiramensproutfeeld twords ("purrplexicons';)

(55) Askounds (Childrens')

(56) Wagnearishuccul (Eric Mendelssohn's UtilArchitecture)

(57) Joygony (Antheil, "Aria")

(58) BarkarollinMelodick (OperaFeeld)

(59) SelfPritty (Chaikovsky)

(60) pickaperUpsures (Antheil's eernext-footland-HarmesuroIu-

tions)

(61) StareClimbing (Weinberger)

(62) bourgouachy (SuburbGirls)

(63) Paulianna (X'y)

(64) prEyed (CantReaders of ModernLit)

56

(65) Englee­downlines (Epstein)3

(66) Curryewsurer (Lowenfels)4

(67) protExotremhick (Mencken)

(68) Artycullation (France's, for Tourists)

(69) EddyFoyler (Tzara)

(70) calligradistsort (Caricature)

(71) Metaforayze (Speechneed)

(72) Megagamania (Frank Harris, "Autobiography")

PROLETARREADERIA MUSE­NOTES (SERIES 2)

actuelitrature belongs to reader; writer nowonly bharpvoice, sympharmonicurv for eyearable readaptsatisfashelfing

In (I) themTEXTPunch vanishmelts towardlinto a paollygone­blarimagery

^d'aprts HILER.

58

I

, ?hotogra/>, <«•

«• I Gare

Representat

\

attractive GetOffRealm

to

'BuyourTickets, MM­Mmes where you wish!"

Garaptstract

E: ("Bouguereau­Junkshun'y

— get off

(Wagon "Creation")

PICASSO'S

(descendestin6e)

( 1 )

The PlastCreators' firstyears presumare a biproacchal veerfunct along this saolute­graphailury, always­Toward­someday, sodes-ceniiez­communeedoing, develling necs­brainpickraft, tlater scellf, anonydiscrimpalpsurely, to Anon­Juries thus, corrose the Fastid aWayfrom gidsweatstainProffs

LOOK OUT FOR CIRCE­STATIONVENDERRS! & "Classi­fied STACClishays"^

(2)

a bas sentyMENT, haut le SENT­I­meant!

(3)

Music "STYLE" — whipflingcrack oTradition "MANNER" — Comtribuposer's ChronofLyght on the

Whip; he, become the coruscabloomomen­TanjDecorPreen onf an Inescapaswerv which will­y he but contribitions

(4) LITHOUGHTosound notonly Meltearxt, allsoCordehltexdura­

lity (v­any polygoing Eyklusts)

(5)

Antheirs Sporge, tentlarge­duaWaywith POLYTrOaNdALIT­cornvers —

'^quotusing a remark of J.P. McEvoy.i anent some defoetiPaintStudents' "exclusuperla­tives" in talk.

60

abcdef — Hypotharea demoting the Ultpossibillings of

Polytonality

\A's Musicompsation^

(6) Poet'sCern is Qualight, rathan Quantext

(7)

Or, considheard as QuantextENSitey, isnt evry feeline oFree­Verse time­stress­quant­samey?

(8)

JAZZ IS BOIST (hinTOrchs)

(9)

actuelle Smass oLitPropag, tprotrect Smallease

(10)

Wruongord­ExpressAge (Gillespie)

(11)

Prophunct­Sollicitreachl

d aproposame, many find Antheil's PianoPlaying (wotever its technicrust) has musicly no peer[.]s

61

(12)

anent Produce, AmerPoets, note your­INcAlkalie­Textiness — Pound alsowes, buttadds Scholaden WordFruit!

(13)

APosTeryore, something to get eoutinto Painting

(14)

JewelRitAccelCounterpsychor­WoRdite of AcadeemPoetry, of scholarcerned "Monolinearitey" Supurbans wantgethis; Streetrats, rarely

(15)

Mateariobjex could be newrescene!

(16)

The White Foothinkers shamussed JAZZ to an OldMade, Orchestration. leskU, which Personality's become dominante?

(17)

Y does the AmerWoman have so earlyfe dissexcharming odors? Because (a) SexWonder playnly neerwascaroused? (b) Water doesnt alcaline the Blood? (c) SelfDirectAssev neuracidifies Femininity?

(18)

SuburbComplace is an IgnorConfidence

GritiCroupBe

Conschpirit BYCITS Bhudedits — AWAITS impour oFactimagery

REPROJECTS

62

YOOGOon­musdevel­Rejoind, SequIndvent­FolIowThruanswervs HolinTimeSpace­Maybreaches PoIypherdVoicingtrafudes

A PURPLEXICON OF DISSYNTHEGRATIONS (TDEVELOP ABUT EARFLUXSATISVIE­THRU­HEYPERSIEVING)

punziplaze karmasokist DecoYen Pompieraeian

scaruscatracery timmedigets outrage Opinducts

pretensnarrant MustEVit spirackrete broidevel

inducound proleany conclueshunning eeriesponsybil

greak trystsparklers misshits Amerdeality

Chroameo thoualkt dienernlarging sklaferry

ethquikability vichycles eunipursonality woarships

libigo moodeaffex crallrighting sublimasturb

walloaminds dwintrospectiv nackuracy infrisking

evypressoar pronownshamentos creallocate

selfoistenuto bitacting pleastic Amerforts

negassing stillyfrememuse syntherile corout

snoub examplimations FanelliHopper marvellusty

broachure sprnyde Wlldeals equitty sklaflout

64

fear! Gallopheel sexpect huevents kissimmer

willdid puearlvoice alcohawlic gushot

wrympersonal self­conscious inshintuate whoaman

allustration essensual ,aesthound cosmasspection

plastrepoise infalliable ejaculiss spectackle

restcue terrifugalee phornotgraphy senseeminded

folksiedead pirouethink sklafeatus democrapicky

keylusion wellded conattension mechallous

shriekreen pierc[i]ilver insite dability colorganise

slyting selfpitter IntOne lyreams negrowisms

meateorvalue permcore disjinncts cloakull

womankneeless vocabullery squrdge psychlic

factidya spurmport punaLludlT philocity

precipidwell decksquisit initoutpourpretens

assentsualimbs bullycose freaxtreams reliefaugh

ulthink Tootons synexdochrowth plastraggle

bumpalludes preocreation missoarientations

praggressiv. ovarylease temperanant whoboozer

tolernjoy repmew chucklut anarchetype iotea

65

followswuppers Aeolyrpegging calculallow

hoptimystic shrewmord obliterary smellspect

soneyes decoyr factea readch pleorgasm

renaissorganise psickisms imnexplicit plisstening

statUresklye purrhaps hillycredulosity padmirme

dykasting raspirations graphickle ecstensieve

tellesclewtinates infaccuraceize pticklup Expatriaints

hintstructions gadjects tainterior utiliterary

scourfelnthesis harmonkey explerimince

calligraphour imputility phallacious yappetising

stintuitiv pickuppety tryganise counterphit

harmonicallush enfaithrants prymate graphorror

furthrallusions sodgesire psychrowcess denticipate

perceptarea­ise nousquince abstenced enhewge

Conductours impklick preppery sense vapremote

plastcoince reachieve cleanxpect arrabiffons

cerebriscretion mischerch6 looklist himport

freequality cerebrawl harrigant plastral

suberblatulence blasexalt6 bid6es goolustration

66

rawcoreal writempo sentimiews presumaybe

siloction aperfeeling meticulately vapmosphear

dontdizzymeres nextricing Angloaming whirdeations

freasonable feeligns cernamic flatubloso

proecursing adjectimea^brs punditty anonymintake

oughtobografickl ginferences cackontrast artburn

snifficant tright Chiricous pp<ffluktility

peopvoice syllintrickl happeezd hierxoticlassic

67

DISSYNTHEGRATION

These Lexiconnings tryrep an hypothactuelling GroupVoicIndy, a thrumpunning Nextrecogabl of nowadayMent, livin a stage which man has too­image­whirdeately groanoutinto. Hence this stimass of "stewpart kinventions," to extrymeet the bang!­feeling of jostrushpellsiidescuroarooilflitsadismulctrivetauraideadening Hietend­LivCircumsts which our Psych must radjustself in. Sadisfaxly this has been & still is my wayouting of certain dinsistent Inneards. It has struck me that its purplexikonning massarray can serve tinsite­hypressketchup­scowrout the ignor­confidacency, the dontdizzymeasly graphookingsodyprevrending the times.

68

READING MODERN POETRY (THRU A TRACE OF ITS BASEWIAS)

These interSuggestOpmines may not shaft comfortly in the hearts of othWise­Interminded Modern Poets whose worksuch is here exemplastructootillised. However, naught Dissuch concerns

I mhere. Poetry having clearly proved its 'pondaff Demosurge, no I longer belongs to AwThor­Wonmond­^nterptyronny; rathis Scaf­

fmchegrate ofor respondaffectiv layread­Groupising­Qual, clas­sjcoining that Realm of ThoughtPLAY (bach­to­Back?) yetso­scantly communveaghed in the Occident, ALLUSION.

Allusion — Aroamic Wondermen, ToeTip­Solicit, Clerk­knowhappy­Wareshowing, Hypurboring SelfBourge, AssociaTingLing, ByPropener of rounding­the­corner'd Ter­rorains ofFurthKnowImmidibouquet hightime?

P U B L I S H E D P O E M S B E L O N G H E N C E F O R T H T O THEVERY­READER's ADLIBREACT. Democracy! [P]lizz postulate actuppahy else drego the Way of MechaMonot­Passindy­Prolekultaria[.]i Question: Is there definirecurlctus in all ModernPoetry? — er — Is there definirecurlctus in all Tradijious MP? Ah! Consid MP­Forebar (GreatAunt, Grandad, WetNurse, wothavyu), the CHURCHANT[.]2 Here occursed constant Uniformity­within­Variation [Qsco/re Gravitation's Akcel), being'd ofcourse by a necessSing­condition — 2­5 notes in a bar into which ususome 5­20 syllables ware to be phrasinctporled, viz:

69

j J J

(A) G6d, the almighty, the 6v6r­(B) lasting; M^ker of all good things, the onl^ (3) Righteous 6ne.

(etc.)

These staidlaced Eyectus Feelds are easlowcatables. Do we impugn a samelar RhythQual burynhering in "tradijious" MP? Take:

Pdris; this April sunset completely utters utters serenely silently a cathedral before whose upward lean magnificent fdce the streets turn young with r^in, spiral acres of bloated r<5se coiled within

cobalt miles of sk^ yield to and h6ed the mauve

of twilight (who slenderly descends, daintly carrying in her eyes the dangerous

first st^rs) people move love hwrry in a gently arriving gldom and s6e! (the new moon fills abruptly with sudden silver thfse torn pockets of lame and begging

cdlour) while there and h^re the lithe indulent prostitute Night, argues with certain hduses.

(The Metricts, mine). Granted this example is musicly nextrainvolved. It howev carries

70

along, in considerations which constitute brimgoutable Larger­PupOrt. Someany will ask, "Y limit the Ictus to one syllaber­Line?" — Because, Prowlyreader, one feels (a) that most lyric modern­poetry's Intuiflow need­contains but one Accumustress^ but one perline (b) that, broadschemely, each line is to be hearfeylread limitin the same TimeSpaceQuantSwing; ergo, that this DynergeConForm fascisteasly makes Ictune more groof­romphurry­probable,^ (c) so, because of various Musicnativel­lEycDevices blendScur Presornting­Employabs of actuel Jazz­freed "PoeLicence" (some in the above poem), usuccurring RubatowiserAntuitextpectly. Anent (b), I cannot feel myJPrassumption the genericly in error. I personal shall enjoy the'daycome when one may hear MP tReadto the Accomp of a Metronogongne, sproviding flat­dull­subseRvich TIMeBRict­Setting, t'UNEnformitaise the (hypotho­dic) PsyCROCEsthikinto becomeYeastAryan Pleascern^[.]4

Anent (c) scrutigazeat Mr. Cumming*s poem again. Firstofall, note (lines I, 12, 14, 19 — v. footnote 3[)]5 oneach the ANTICIParadokfirStyllabyncopicturus, somehow reliefresh­"pickup'­unexpequivto GongTronenter in Chinese Opera. Next, note two CoupleQuanthemes (notext!) paradstate their An­nouncection­wUtter. AFFolIows their — quantstill — Em­broidevell, where Dissenti^rfifZ/w pointtatmake­hurrystroke­shor­tends these secthemions, rw^orwise, for three lines; then lo, a Syncop/4w^w«n/heline dropshunt­arabasques the Text thru a sort, of subtonal­stressinging Maze­PiroueDeLivery, to coast orijagain in the themal PoemUne's[.]6

^atimes the Accumulct paradiokomet'd, onto an earlySyllastress. Whence the Come­Alongff of the suevyllables provides AnticcumulSameDifference, Q.E.D.

2 Atimes IVe found twicts, rarely three, never four, in some ModlineSchemes.

by Arysuch, I implean that fluksensing PassFeelFuUs (treading some Uniform­within­Variation) tot­are TheGetsuff FunMerict of all TimeSpaceArt, par ex.. listhe eergonic Typewriter. Hence todate JudgeStandards (ghettoey percepreculls) — atbest the Bureau pedaguogue's Graphold­PowerVanity, atworst paralymfamtile DontDizzyMees — need Overthrownging.

71

TSQuantSwong ("people move love hurry etc.").i Here, AUGS due the three verblights are DIMINsquelched fAVor Rejoin­tenuity­Flow; however, an ACCEL compense­pervases Carry­AllongEsse inordtobringout the ClimeThoukht's Consumma­chieve. A CesuraMome, ofcourse, the Reader quantowes himself after "gently" (thonly gulpfelt). Here Buskincts augmundread (these torno pockets") a faint regurge of the QuanThemOrigCoaStIN, TempWhoastponyng the VeloxupsurgeFinale. A half­third Pause 'fore "while," a Textful P aft "while"; in these two imagina­patience­delineastances, Quantimespasewing amountstin­to sheer Allusion! To climaks the Formove, ChrOMMAtic­homaging Breathiatus (inevidaft "Night" — the Courtly of the Homage will remove the BreathFlop which usualies there) will inculcoastoss the Lines textoffy the Canvas.

These Suggests, as MountintoConCREScomething. Will some­one Hardyer (some intuifreer PrograMoveMentality) oblige?

72

wOWde to COWL­[oe]i

trench trunch [heimweh]2

skids skeeDADAS holocaust couviHness pooey­bah —

DIAL dialectic tinto diailogic

Matter? shoor Y

Knot

how many

lost generations nick­dip­

piste­ache­O­burn­broil­

cheeves!

tranch (my friends) tWill slice

SEMANTICS BEGINNA CANNENG^

(the SHOTTLACTIC­of­DUALlSM is NOT the IMPORT — RATHE BYPROFEELINGUS^ dvomensonally AB­Oi® said S­o­D, HERE [COG­NOTESje THE REAL)

I

it is to be rememb'd that GESTURE (as qwell as itslated, SPEECH) had­has prarctive Psychannalys of Major­Minor­Passing Values.

re the MAJOR-V'S (Birth of the APPELLATIVE Function)

(a) in Gesturd's [EvolvaggretionJr­tinto­Languivalence — cumu­due, of course, to the indiverticidual's throat'd Hormones aseak OUTing Quexpression — there appaired, Sevty­VALviewinging, an Evidsuch in Logning E^arlyMan, a firstertiory METArticuNeoture, a Mitalphoring Grophth of his Kinesthemusclia: NOUNAMING.®^

^(A) READING of less than muldimens­PRworDS is insulvint® to the Fertelligence — a SubTitle here would be: [COMMAINCING^ THE RECHOBACK. (v­35)3 (B) Moreover, WRITING belongs in­to the READER. (C) Conestabbing AEYLLUSION. (D) Subjex­matt gets­a­way from the Wrighter.

^the superSCIGNTIFIC of, say. Prof. Faure (Sorbonne) is indicated.

^thanx to E.E. Cummings I articuneo these Wedge­Puncts to caret a Tacet»Omissry StremphreMinding letter (i.e. "EVearly" Man [connoCarries}i "EV­olution" and "every'0[.]2

74

(b) MAN taptelates!"* It is howev, to be annoticed that this KinesthryKActik is but­still a VoicePointing® at Single of Person­Creature­Object­Thing® also that theach Sonic was muccompled by­with [previaloustyjig GesturecKmos. This — aidabattended by the uppounding Nexcess of HOMO­VERTICUS!

Addit­BIoodEnergy­even­while­he's­at­VerTiRest; inits anti­gra­vitational Strug quellevelling bRainal­Reservoirs tord subject­it­cise APPERCEPTION (a sPort of Premidposcepience) — was HEasyVOLVA. Albeit these Name­seving Puerceptions were thumped out with GRepherential Memphasis.

re PASSING'Vs —

(a) in the Cadenspace betwe'an any­two­seried Gestures lies Opporspateality for seriatimeyesing the Gapt with quaysi

^did JOY prexist this Arrivel? — 1 think not, J. feels something CogKnition'd (witness the Child Helen KELLAR'S (first — ) SmilexQ.Jis

passing Consider here of EARLY LYNGUAGE­CONDITIONATING LA­THOUGHTent: machyllating it, "VoicePointing" may be analogram'd as "VoiCeption­ing" — CEPginning also consid­as illuminningw the cohearing 'Urrlinesc of IMAGE­Striucturi7­Space. (JOYCE as Scin negating tHidPace.[)]i8

®to be inferenced that (such as) the GODsest­Sweep (Referent: the Totallspace of th,e sunned Heavens) came Anthropicanny — later, inna Feyse of Im­mensuethsaying.

6a (A) an underlined letter, of course, stands for [anyja­occupy­the­same­space "Abstrac­

tionate" Letter­Change (here "W") PUNPASSONE stry — creating a Metaphiary. (B) complete­word Capitials, of course[,]9 for the usual Accumu­HIATUS, CENTRI­

DEO[.]io (C) sPEEUNGS herein are obviUSly, a throeing­of­STRESS­BALANCE to Present­

mean the vairygaited CONTEXTilMAGE, this "GuidElves," Itraited articonceptly by ReflUSE, begain the HUMIRANCLE: (a) a Formerge­{MOUTTerance]ii of ACTIONisation, a LaveTroll graduly­more­stresshapening, the "finunciative (duNeortic) VERBirth\ — this Verbang[,]i2 a Purpassoing, is THE Sapciencive GREAT HUMACCOMPPELLEMENTAL­LYNG — [nowdon the Bipedallenguinomo's]i8 Psyche WILLoco STWRIDE, he has threel Dimensonally sublimachted, i.e. related the innerds of SELF to PROCESS. Thence (i.e. the stremph of us soccident­all­s.) Verballetting, all his [In Nexiquences^' locorganicly praggress.

75

floamoveFatigPoise­n­Counterbalance (note the straighten­up BackStretch Peripherry of the rhythmachtig AxeMan on his UpSwing). Knownaday the instinctively­coming­to­Rest "VANISHOUNDS" of Vocal Anatomy (theyVe barium­been scientificly ascertified), let us retroperate:

(1) there had 'peered fact­likely, in PRYMAN'S Nownaming AnalogSuch, a minarticu Shospiring Audiple as laving Mucrest < VOCarry OVER comphornetically from­thru one "Appellemph" to Connexting One {SerlaC). (2) affirstly! this hantcing — the Appellymphian ["advanish­cing"]2o Sighsonal Mutmur'' from, say, the Directing (8)2: KCANNeMAN® a sort of interply® appartent­RelieK, was plossibly Somethinartickly in the Eyears of the GROUP, sevoking in them a weecanee himpression that he himself had better remove — or — aMORbetter Connexsonemphastrect­[disguysupterraficate]23 (this Extruvia) minto an ArticElating WONDERvoking STREaSSURE!

Result: (a) (n)24quixpedient ConnexByPrOdductive, pushinto­ning connect[­]25furth the NAME­RH a bit, thereby soundcharacommenced the extra­no­menclasting PHRAYSE­of­ContexTHINKING.

[in]26 this Phray (a Passing­VALev yields NEOJ:MEN­TION FRoot) birth[.]27

(b) this Spazeal AddippRelph to be connosidered as now­doomning Roverfrow of PHreVIGest­Mour­menon.^° extrHEarfor appeared firs OVertorgninc of PO­WERKANNY­in­MANNY no longer merely his indiGiving­Thororders in­by Caltorific Simples of

•7 or say, Connexhaling Vapor.

®POWER transitting to POEINT.

A get three Majdeos[,]22

76

Stress, now deliveraddyng an int­wean'Addone'­Sigince­Perkonkaption of that Tryangularge "Guid­edELSENESS" we now call EXPRESSION) to Priman this was a MAJREACT, the POAINT!

(a) MAN, now having LANGLIA, is memphiliatext­sured.

much of PRIMEXPRESSION — undergoaddead by Analy­sprawling [SnuffEx]28 of later RACEv­litterally rimerxing GRAMMANTICS — had to MOdernMan been regrettably lost. It is pullossibly only Recoverablivid (a) thru "Mental­Catharses"^^ of WORK­HABITS [(b)]29 in the Assoma of CREATIVE DANCE."

(re the MINOR­V's):"®

the ADJECTIVE is actually an alchemised VERB­form (v­Funk and Wagnell's Dictionary, "Language" — mentions the A. as a "Word Attributing or Predicating" — we'd have said "Predicat­tributing," for (EX.) "BIG MAN" was [mentoriginally] "MAN BIG" (i.E. "MAN BIGS!'X]3i

the ADVERB as a Sophultone, Mino­rti­ccently asGram­later

these mallengthy "Varbellations" are, for the abetreath Ephrase of Creativ Writing approach­due­do: in­as­of then all that I mycellf (a CRI alive hideolist) conDoDuece is but pull­gethparenthesy, skimpdicatory — a Socideaura'd LEngthearrantor (MAL­RAUXvian?) Mind is needed, to greatively mandle such Assonequences. (NOVEL­CHARAC thereby to validonce sonly a Construemery of Henry­HlLLERunJAMESeON Autobservation.)

"our FellowAnimals remaining dulish. (i.e. no "wife­make(s)­bread," etc.)

incl. his SULtimate ABSTRACTIONS and Correlativitotes.

13 notably thorose of DR. BAUER (?), Berlin Psychiatrist.

"Point taken up in the Author's Articles­to­Martha­Graham.30

I4a. it is assumed here without furth devel­mention, that the MINOR GESTS (meaning

those mild­or­carraft Quals of PreSpeech MAN) carryovr­became impulstinctively the Restidue of GRAMMAR.

77

Embroild — a gurliguey contenuate dont­dizzy­meerThrowBack to V­thru­ADJ. PREPOSITIONS, ARTICLES, etc. — found­traited as House­KeepairingLocoatticles, latter RELiCLicks vertsatissying HO­MO­SAPIANTIC (of Early < NOW Stage) (these PROBN­CLITORICS, Rhythmakely, are SiMilly's; theyr Progcuscion grosstomps no METAFORT)[.]32 NOUN­QUALS — ?? — v­(!2)33[.]34 GESTURE, therefore, as not only preceding SPEECH — also distillfly preseed­middurcessively I­n­Forminglinguashing it.

II

(werepondring) (a) how dWell had GrammaffixEmpseunateness^® (my guest­begging in the last to be pard­ONning'd) aggruited itself into­as LANGUEXPRESSIVITY? and

(b) did its EGAddit/® finaley­hopely, in Agclaimed Writing, begome a ROTERY of [Faschesty]37 Locodeddle? anent ([b])38 — (concredensing the re — thatsg NonDUE of my SOhnEPHwriting) one[^4o CREspanse feelthinks that all WRITExstances, save those of the NEOLAGER" so­do­my­rely.^® (We consider the straight­languaged "DOCUMENT," even, as basally a LOCObjectifux venairing a Shirking­of­that­INNER'd GRYMlNGL­Direcessary­to Creative­Writing[.)]46

^®Pointe already hownded by the Author, 1927 in (the Expatriate's Magazine) 'TRANSITI0N.*'39

^®v­GE, 38 under (a) twice.

"lech 'sept Miss STEIN's "tenderideos" and their nonneolagery Human ISshey! TheSHE[,34i whose NOn­"Artificial Emotions" NOLEOmarOin a butt [oasional]42 (Syllad­be Scylla!)43 Hwolcyword­in­Punpgasso. (EX: her Portrait of PICASSO, "father" becums ''farther[.]"44)

""mererrly" apropOKes here, ('side the MassturbOFFLing of POWORDI.]*#)

78

answernt (a) — ErstmajRies' Polygrammaleot achieves essayling FINEL^® FLOWER in James Joyce [(]47Kunstrutting Martyear­ling a Poliana's annecmotel Copicause). In JOYCE^° ALL­I­US^^ realismitelly Upfluffs, SCHOLDARETY giggestraitly wingows caribbony i?ounDelays, A Conseptic ADDated VIESTUPER machieves PerSONE, Rhythmickled Shorts­and­Doodads 'come flaffirsi YEArnest^^ of surFachey SomusicalciMien. The NAgi­PROpEDA­Scholarse* YOUMENON (­thruw Basturmix) mani­festers Quasipparance (aul Tideouldy), (1) much­and­morelyss can be gainstaid: JOYCE, PedavonAgog MiMagentativ, Enjoy­mellingerer of Music­for­hithertooz­rung­rinceasonings, an A­VEctord beefuncthing a Splatense Vibrato. YON PADDYWAX (e­wenmerst­wile Mucigalia) jWf/STORD52???? AIR!^^ The Con­fabulumphaltic of a sungsing Scaldigrezzonicator.^ the "Wheirazure" of Polychronideotic^® JOYCE is, of cousre, lasturdjSplenchid^® foreVealing the BA^AL­RIDIX of Therma­

dont get SPINEL.

20 J. Rhythmicly, has so caliglearly forsaken the "Rappellemphases" (in sconcentrating on

the IcKL­dickl of the curlicuitous SiMlLEY LANGUIX, away from the Rat­Tat­Tat of Metaphoraysing THORTEX, away that it is difficult to find two (let alone three LONG STRESSONCS in any phraySINGL Contection. Thereby he's blargely disinherited himself from the OCCIDENTAL'S (Hellenic­Modality­born) MASSERIES of SHOR­BIT­CONSTRUCUTIONS.

21 beside the Associal "AlliedOtherness" [(]contextly implied)48 there [rccurs]49 here

mtraSemance­Use of ProneOwn­FORMSicatrix — v. my PROLEX Article "INTEL­' LECT (vs) AINTELLECT.­so

^Snark!

23. I.e. all they waxly Hittight is an "aire": "Anyhillation­in­fSYLLASJsa SOW sPlay­a­

bowryng, rathan rapOuring.

24 [MosTseachers)M lieke to SING, ("case" the mlissofitting Pchew!) — boblacking­the­

KrvjtAoXt-qua'BelCmio doesnt [InevitENDJss, sohnly a Pastive Forsing­AfEANS­eudophistry.

26 c/o the Paragraph on page 439?. (Girl­on­Roadside­watching­Display­and­Think­

Flirting) "Ulysses," which POLYVES (a) "FIREWORK" (b) "ORGASNIC­DELIGHT."

26 here is [Btfgindicaitedjse a (ByProN"b"and"d"ourne) WerbEchoBack (v35) of SY­

LABS­of­SOUNE, i.e. "Spl­urj."

79

ginativ Function.'' Thairby the othere IMAG1­, notewithstand­ine POUND'S "Cave!" agnent­hearing WAGNER, all pur­Suez]57 the T^ecda­StOUGH'dss of J's ANEMaginatiVeritruss (morelly an OPAN u­n­us­l­Versing"' — hear­in tHey­make fewserrurs of Comassion, ween less of the OMiss­ary. Their Sociological STlEmeUP to Capltallysm is Hevident. There­way, to be sure, nareachieving the TOTOLITY of a PROAMBL^ MATHOS. Such Proflegmphasso is IndeVIVer^ic, Caligric, nair­MASSiVIStic. (read Vendial CapItallysm[.]6o)

the Langthigde of my FUNCTENT^^" differrs ­ rathan MIDST­rayting, it is (of) the Adzoyling sTrait­Semaginativ, a STRES­SEMA, an Apbelling of RELCLUSTS, a nologully Assoffecteyev Commukull, a ReckspLitsit pointellisting CRITALLY of VEC­stemmage, t'routout the caligrog­d redeandant Modeifiers of QuaSmilly Inflecuage — with it's subject­MATTatimes [Re­sorte]64 sympointanta­SEMyquensponsing to the idioMEmphas­timullg of some AeRs­Thimmung, to that Sensu­US MAIDEN­TUITHER^® as a vivideotic PReferent ForMe to ScaffoacsONc, all this rawly for Critaeschism's Shoultimate [SevocloakalCom­maincing]®'66 (espeshoulldy when othan my usu CRIT­of­IDEAS). In my work I'lieve a GLongeSTRESS­TypiContext­Trundense METAPHERIA[)]7o [(•]7i etc.) "Holds[.r73 And (atleast) (above all) it adds ALLUDIMENSION to LOGY­

^'•'chron­after J's "Work­in­Progress." this Caligigging (­qua­Creative­Function is allso­crated only to "stulliFey" Gertrude STEIN.

^reporting to the SPIRIT a BoUTheoreticual of [Scnsu­CHAR­A/l/ME­tn­AN.)s9

2®the CRITlCon's re­spawnce, of course to the PromUTOne of the [AR'MM.1»

30rcad the above as PROTEXT. not as "SOUNE" (only for an in­to­the­[Reder>T

UnderTonallty­Contrastlv­MuttRest may the "CRICTURE" perm' [solsounny)« Kal­(c)igribbonings" as "Sevo­etc.." "espesh­etc." et al.)[.l69

.save the DANCE of Martha GRAHAM. ECNTRESTHION is allong ways off. (it may WRIGH­ly formerge from­thru the morToring "Document [.Jtj)

80

RESP0NSEBILITY[.] S4

a [Scentration}78 (a) on Shorbits of SONIC — (b) on LogiTryVia for ALLUDIMENS' assymbowlic panimajetting FexSTAYcy­MOME­[YUSE]79­ISSO­(recho­back)­RAIRn — with Apropu­esthymbs^^ [perpetojsi "faunch'*^^ the Swheetex'd ClustiCali­gribboning of hithertopzy Mimaginative^"^ TRITING. These Wrytes of mine atimes 'Kom' rout­personal Petits­Cris, necho­bracking^85 Splince of a worldshape RELity, "parputo para­VelliGNOsiologicalloy^° tHEBEseeching SEMPidentiffAcets­of­DIFFASE.

(a) does this EVer­ado the TALEng Creator? (anontyet, you say?)

(b) EVive­the Shorbits! — BReef ALL PASSING­VOWLUES! = c

III

in my RIT there's someCHompression (a) conchly (b) ByPrOdductionly (EX: "locodeddle," in­as LEFTRIGHTING,

31 1 am not sure this Paragraph SOUNDS my claim — there is tho, I feel[,]75 a glaven

puetic "BOISTpC'^e in­it which "floses STREVERKT[.]"77

^^®at bleast. ASTAUNICHING. [.Jeiget 7 images (and Appelyingly, consuh (I) (6)62)[.]63

32 this Term may go on­record as [sniflikenrnjao of the Probloompending COLYDEO­

CLUST.

33 wheth ANGELTIC or iginailly Genevieve­LARSSONyc,82 I cant say. The Termsa

SOUNES!

synsist here with Remedipoint: ToDate's "IMAGINATIVE," atrybe Resparktably EVOLC, resortstill to Foarms­mimpallonging­the­(in­anygoatee)­Tale: the T. (being only a LEnGing Excression­ism) when largedda'd [a­constarchicates]84 amost a woteknotty CALIGRAIL, Kensuries late — Q.E.D. — all that TimeSpase­ART can ECCEet, for for thousands­years, is SumayBegimpax, mostly as (affew­s) Pro­Sequiturn'd ShyreBISme­lemens.

81

byproses "code"[).]86 APPROPOSTULATE, then:

(a) the TALEng Sentencia Functly is smeloductively monoUnear —

(M) — a MAYBROIDER of CONTEXT.

(b) the MIND'S ActuaRycording (polassyomage'd) CREAT­MOME, rath, als is harmatterly burst­bloomive —

(c) applied to WRITING there comes the Impasseo­of fusing these two functions a­d­inegrally minto LIFentivity. To alludo this midequately the Echo­Beck "Opporspateality" must be [syllassendvisagje? ImagesTufft MUST MO­SAICREACT tite­sear IMAJEXTURE, (what­are­to­Un­prepAired­Reople) aMazed [JIMJAMBLING(S)],88 naw­der to be a Left Right klearning dart­pointConstrastace — the Point here's this a­non­affluviannec®®89 TraitRE­£LM must bestart(l)ed{iht GO SPACES tocomalleong, iffownly in slater Writers)[.]9i

(d) Miss STEIN has demonstraited the Whieling POwrssibs of VerbANormity^^ — one oft has wondered how any honustly­Imaginative Writer (of the between­S­and­JOYCE Perioii) could KEEP­FACE NOT enthuse­and­gramdly. tunenfexating his entire Output in such [F0RM.]92

(VIZUENT) (the ARTMEANTOTOL, / / \ ' LIFE­Stence)

82

(e) ZOUNDS! — save for ConchStream SUbservation (and the Henry­MILLER and MALRAUX ALSOBSER­VATS) what DECENCE of CONCREATIVRITEX is [beingf®93 done?

RELing­The Cappercepi his Generalisings.

83

oo 4^ THE SYNTACTIC REVOLUTION (INDU ITS "VERBOLUTES'O

# THE SYNTACREVOLT WAS(IST) GERTRUDE STEIN. MISS STEIN WAZ ITS IN­

P o at REA TIATTLE, WIZ ITS METARRAYHOR.' HER PLASSYNTHISM GLUEDS ALLYF­PER­

F p r e ta m i d SONEV, — PSYKALIMNOTIONS IN FaCT THEAFFACTIV EXAMINED lUPTO ONTOs^

K SNIF c N .... s

FNOTES GERTRUDE STEIN

ing 1 c ' Vortisectionim will discov her •'whield " verballateauring Historio­p n A Id lO RhmDANCE. e

t —one 2 ni o "GENDRICRICIQ" (THE EXAGMEN­ALPOSMEANGS WORDIMJ, DEFNACTIC Ar­GRAHMIN

t "werbild"

EXPLERIENCE —THIS GOOT^SEQVBNS (I) SCIENTIFIC GERMAN(2) BUCKMINSTER !! ! VERPICSTIC

FULLER'S ARCHITECONIC WRIGHT (3) JOEL FRANE'S EXAGMIDEO­"STUDIES," POS­GN

steineon L first CREATEXAMP THENATURDEO\ THIS WORK TOK 5rt/Z)­MA^­PLAITA­GRHMI­

i i I S . . . . T O A

2 ciu In a sense fxirihis begum the syn/ac­reverbolution. Her interpreVIDance

u n a e mand 1 s thelems­posso obehavynvesgi neoponolinaxclerence.

u t r

(..) "Being onbecombeing."

o o ! ! ! ! ! ! ! ! ! ! n ! ! ! ! ! ! ! ! ! ! ! ! !

ENZ CABLR PHILOLOGISTS {PRER THOSE ACUEST NEONTOSSASPECTION THANYRPRE­P E

synth (s) neontaspection.

SON CABLING SCRIBE.) o s A e

H z A tf MISS STEIN'S WIZFLUENZ WYMPOSTLYYS THE RIPPRUSTL­SKAOKUP CREACCONCH TTO

neolager A ns K "norlm"

WORPOSBS. THISERu HAS DIAFFECD ITS DUE­FUE­THOUSANDS­US, ALL, NEARLY. D u d R c

aur V I S U E a BUTTAUDINDIRECTONLY (THIS. FOR PUBLISHPRINT, WE NOW ENDEV "LOCO­ DISMISS."^

.... I!! (i.e. DOWN THE "W A Saud," UP THE "VISsue.")

111

( . . . ) v ­ J o y c c , l a t e r .

^George AntheU Paraquoted.

( • • ) p r g . John Rose Gildea's\ Addequogstein.

mp "Romanclastics"

j o 1 e s li m # WE LOGinnev­FrUSTiNNORe WERE VASMOTOR ATOMUSc STY MID (­THE­STEINOXJ­PKEn­

a tl t a 1 m 0 i c t ELUDANSWORDS­FURCHOPCHUPHING­SylFS), TIL "ADVENICRAESPURi" ­JAMES­JOYCE.

N c U s (ASSUMB THE COmpTRIMBUE INfLens­"LEWIS CARROLL"­GERARDMANLYHOPKINS HEREC­

S s n H V ing SLIGHT.) //chlw g . THE CREVERBOLUTION,^ WAIRN THE HITHOOT­RS PECCA­eam''

0 r s SENGLARTHITH BALOOMBUSTS TO compownent synthxbe 1 '' o

A centrifugn c EL'" ing WORMORN THEEGEARBUERSTS CELTWINKONGTHESEWAREISE­NOW®

4231 XG • . . . . ' ' ' L '

P c s *ALASTOUTh,PLUS RADIOL POSympHACTICS.

B nt

nto s ®Some Philogs May SlfT to "nowmnemo" (Vide Criticism­//e«r>' Miller,•AIgy)[.']2

#OR: AN'AGVRGING C£OT/?/FLt/G^£'CELTWINKONG DUALISM'S SAMnDIFQS (THIS—THAT,

BOTUOSE,}lATE­LO\E,eXc.),VORTEXlCATim FIRST'PARAGREATION ­ A S S O N E: e

"i y" " V O R C I D E O S " ­ S U J A T E R I A M . { J O Y C E , NOWTSTANG. WYNDHAM­LEWIS, STYL­

t

R . . . . mains NARAPLOVORTCISLING

a e a i ®FORELTIMs WE DARESSAY HENRY MILLER Premier RVORTICESTI

u

'Paraquote OSTEIN'S t e iUkengdepic) "A FEW PERSONS 'BEING BEING'."

(Thanx, ONE Journalisll)

Q , , , , , , , , , , , , , , , , , , , , , ,

# THE /(9yC£OA^*'SCENTRIGUGN," IT IS TO NOTE, Wis CENTRIFFUEL. CENTRI­K

p'""" A

PETAL OREMOND REYMAINS TO BE XX YND — MIDDURING THE PAST TWENTHIRTYEARS

n pt n

THIS WESTEND'D CHEFLY (SAY) B Y A WERFEL AND GILLESPIE. OF FRANZ W. US " " " Y

WEHARDENTLY DAREOSPEAK. IN HIS WORK, PROBA FIRSTY[M]4 COA^TfAT/C­FEELDING­

[(3)]5 (Beging) "THE TSTT® IN F R A V E R B O L U T1 O N iyao

c ncc

tupp ®We *Sist these ile dinfls STEINEONF.

talz

9 ' Sureny Title [EECHAINJJg­Become poge­page­pago.

MYSKEIND wm z RACERUSH PRONOun­NDICAts SCENTROPREALITY (THIS WERFEL ACOMPS

[C]7

INNORMEERAL WORDS!)—­THAT "METAPHRAYKeNORIP" WHICH JOYCE HIMSELF i

(PARIS) IMPLIED HIS INTREST WERFEL^­GILLESPfE­STYLB^Dl.

# S AI D Intreshown LABFLAVORND ('41­on) to a now GALLETPIC WHDIMPATIENTAT e as

ALL SYLBETTRING NO — LOOCK — DNEXTRASSOUND. 1 ( S C E N T R I P A L E A S T ) !

ANSWER TO THIS NEED­RIGAPECTUR IS FOUND SWICTING STEIN JOYCE. G. S.

SSYNTAX J.J.'S TO NACROMP MUSAYC(MARVCOMPQ FORN MORM­WORD­SONE).

u A N A G R A s yy'5TWINC0SMUSEC SHATS ATHE(—NOHATE —lFHEAT)£>A/r;?^^£;^/'^Ar5TUNE0C//K L a a A s c hIMZEc VERPOSSLS, i.e., HIS NODAWNOW NEEDS GETCH IMEARLY CENARTICS­REP­

O ® (pastedance) HWiLEXPLOERINCE. THIS Mi^K/Cr/OA^OVERTS SONLY THE IVERT; THEoSEEARIN

a Ev E Y V E R IS CuLAQKENG.

[u] z FTL VER ACAS cC

#Y NO AEYRNTRO Suut MOD LUP MOIRMJ­PTHRA bm, Y NO CARRY­RV ? L.

10 J HMILLER HEREC OMSc THRU (v­ CONTX­HM: "THE JOBSCENE")

exam e (Readr­H "NOWM PURGANTINIETSCH'

s M j d i V e 1 p u r s t

GREETRAHARS)

t b" VERLAb TA IMPARX "POIGnTURIAR W O U N D R A ST AI G H[?]V^ h ou e n

tt H tf n ft n

9 tt t

"THEAOVEOR")con. c

^^INVLUSONES—GERARDMANLEYHOPKINS'^O'X'EQ GILLESPIE.

"AcQuote ALFRED RUSSELS "BRINKLING," (Iconograph #2. N.Y.C.)

0 o X O N C M A F U R #CHANJQ/ NHREX PRSNeW. THE—SORTIME—XXE—LIVIN IS ANABEIN—ONCUMBEING—

1 f n Y EChOO p ITS­AOWNy—LlsCERnX, FOLCONDITION edMANDATING PThNzG­POTEIN. ANTHROPOEIN

U c ) ILTC (132 i ( A H L E R G I A c ) r d 4 5 )

FREDERIC H. DOUGLAS EVINCETRESD. O U R W rk, THOUGHT IT SHOWPD

"OCCIPPROA­COMPICTIDEA­ CHINESE­SINOMANTq. t " AVE SUCH

#BLENd, SAY.WITHn(2)^:^//•/^(3)STENOMANX.ICAL/l/^^^Q, MALLONG LINEAS T e E

ONELOOCKENSTHESCIARTS­LINGUISTI G ON FO RMURJ C i

''SynthQuote: Dr. Douglas.io

PORTRAICTS SKULPURSUNE^

(SHORBTS, VERBLOOCKX,^ SHEARINGS, RADXMELDI­SPEARS. METAFRAXP, FSUTRUNES, WORDEA­RE­MAINS —)

[A]i MAURICE EVANS

ELIX RA CONCORS VTAEL, SHAPEREAFFONCIPTS CIGRAEDAUNZ SHTURK

MEDTAOYVL FORZE PLANODE HTHRIENG, ARCIEL TROILUK, ASCEKIMJOY

'CHORPOURCIA DRAOMISSOL MOZARLING, HOPIES BOBN­CHUCLA­PWHIC

WOTHO SPIMERRS: "TIS­OHLY­A­DREIM.­MEVANWY."

KREYMBORG2 PLYRCH­THEAVOR SLEYRTONEMAN

NOBLEO TEARS, TEMPCHYRIAN KSONG, STYSPAL­TEOL MIME

WORCDSOMNG

GHPSYTUD ORJOY SEENG, HOEROCO DELCUERO

CATULLOWN CHASEEC WESLEYCSTAIRZ

^VOWLZ INFRACHAINJ.

^SYLBFS LOOC­A­ROUNE.

94

FIR­STRAVTORS­NEELEGE BUTT FLECIL VOCRE­SCENDS

CLARVILLUX PURCELPTION, PRAETURNEOWAETHOS

MARQUAVIONS ANOINSTEIN

. . . . A N D M Y S C R A V I S O U N R E A S T R L M A R T H A G R A ­HAM.

95

[B]3 MARLENE DIETRICH

MORMUR DALIL

CRCNCL PARFUMN, ALFRESCOTY WUONDRUSKH

SATURNEIN TAJEXTRACY, INFREUCOMDIA ENTRAN­CITY

UNSTAGLO STETSQUISZ, QUIETEARNTH SILANCE

MIRRUHRSAY SMILESHAD SOOFSTOYMAN, ARZ­HEARKO

LAND­O­WUS CUPSE NIEVNOVAWISE

LURMOTAHL VASPRACHA GLOENDE

LAYLEIGS MODIANSLING METROMA, CNTCH PTLF­MEAL BOYERGAMBIEN

FORREV MEMSTAYN GIRL­FIRJUST­KIZD

MEIDEA TO > SOFDEN­FRANTS SINFLUENZ PEPL

VENUX DNIEDDA CUISSOIGNE

(WITH MARTHA GRAHAM): GREA[IjnCOSMUS MANl­FLECH

GALLICHENCI FEMENTHAL SEXTENTION

(AINCAPADIRECTONE USA MABLODE SHESUCH WONCE­TOTEN­MILLYONS)

ZHEJBLIEGE PONS, FRANCHERT NONOIS, MANAUR­VIA GARDENT

FIERSTWILE CULDUR PAXNOUS THEAT WTHINDU CHAOALIN WISQUIETUDE.

96

97

Aiti= eHOGRBSSIVES

WifHOWf A g A S E ? W O /

•4-8 f H E 5 H

I TB? SSV­e' iruouc:;BRAr:^

* WORKER^ FORMS SHAPES­ .f SHAPES ^tffOR

4 F i s r n m e ^ POLECOSOCIUNiNG iWo

^ I t % ^ ^ ^

E S P l B C m . )

f A S

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LETTERS

[1929] 1, Place Nicholas, Cagnes s/mer A.M.

dear BROWN, glad th'Enjoy's mutual, Anne^ & I got a steadstream of WarmChuck from "14­19­50"^ — if interested in Criticism Jolas or Crosby might outline my plan for a CritiGroupBe, strikes me hightime Opinion undergo 2 radexcapades:

A) anony­(at least the particular­, hither to merely talkablout­ed) Aesthimulus as Begin the WordReact­in­/wa^esoles, insured by

B) Removal­of­erstwhile­Groupressure­on­each to induce immedicompl[ete] OpineGeneralises, i.e., no one hassto offer (yet may) ImageReact but none to dare generalistate a complete Viewpoint till all present, by their particl[a]ntribs, have integrised its BEcome

"14­1950" reint[f]ests me in possirythmic relations of TextForm[.] ((I mean F®­or­F & F­or­T)) — it is certainly You, & I alius injoy an[u]dde "Krezzy" (my ComSeld) May hit Paris this Xmas — if not, when do you visit southward? Crosby owes me a Lookin ([d]em his eyes) — how'bout a Mardi Gras — well, of that anon. More immediately, should you hear of a free bed around the 24th December, we'd be perfectly willing to warm (I assume Santa Hause will equiv [m]e carfare) Many, many thanx, the Intent behind your Gift is warmly appreciated

A. Linkers Gillespie Jr (Linkers)

[k bas all fearborn Pretense to Immijudiciality]^

113

Tracy,® Antheil, Hiler,® here —

[1930] CAGNES

dear Brown, I feel guilty — we've been having somany parties, past months, tho — I didn't want twriteU till I'd absorbed READIES^ —just finished today ([& thanx] for GlobeGliding®) I consider Readies the most important Brochure currently issued Y­NOT­ROVi®­DOWN­HERE??

Linkers Gillespie

which of us wuz the drunker, chez JOLAS last year — you were pointed out to me — three hours after I'd left!!

((WEZ)) [1930]

dear Bob [Brown], enclosed, 2 pomes,^° readextlyressed, also Explanapage — tickled to pieces t'hear oBirthoMachine!!^^ — j'd belter take up MetalSculp[,] 'cos I'll be expecting you to sign my Spesseman oMachine (be sure & lemme know, in advance, the Where When Howmuch) — *'enjoy i7"?? — My Eyesight's made for /?!!! Weather here good — we expect 1­2 more­rain­speils (fewdays, each), a few Castovers, the rest FINE\ Our Southrun Mistral recently paid its yearly usu­visit of one day. Apropos Warmth, most places here are beatable — personally, I alsavail myself of my nude­sunbath­t[err]asse, whenever it's out — are you sending aughto "MORADA's" MunichOpening? (forgot to get address from Antheil yesterday [(Thurz)], he's off to Prague (Capriccio being played) — back at end oMonth.[)] — promises to be congenially intellipleasant, here, this season. I can offer you a room (Tracy, wife & 2 kids alongside — 1 am cryinvulnerable)

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howev', there are always rooms outside get­attable, soon as You'll wish — we eat home, saves considerably on poorly­pensioned­purses (no, no 4th, Antheil says "pppp" impossible) you can join, pro­ra[ta,] so wishing — there are even tolerable hotels here!! You can count on me for Readirighting, nowon!! — gives a longneedea?d Dynurge to one's Work (you can surmise my glee, seeing them Supe^wrWords getting­the­Hacklout!!) Do come, I'd be delighted to have Someone around alertinifying enuf to leave me free to talk (Orch. Strains, "Mon Homme") Till[e]n, here, Tennis, February.

All the Best, Linkers

[1930?] 1, Place Nicholas

cher>Bob [Brown] glad>you>liked>my>readies found>them>rayther >optickle>mys e 1 1 ff! wal[>]i>guess>we'd>bet ter>send>yousall (3 in I)>to>Hotel SAVOURNIN writefor>Accomodates Terms >35 >to 50>Francs>per>diem methinks>y'might> get>2>adjoining­to­Bath>Rooms>for 120 (at most)>daily[>] approx if> Savournin>filled>try>Hides­COLONIES^^ [always­shoor­space­there­in­w/«?er (35­40 daily)

notsocheery>as>t'other]^® Antheil now­Wien­Prague­ing mentioned>Mackenzie>et>Morada(d)

suggested>my>sending>also Munich >took>one>oC>mine will>try>to>reach>him wife .... tonight! Saz­poker tonight (even>if>limitgame) try Savournin first (Hotel Savournin, Cagnes s/mer, A.M. France address) — Hiler read us his readie, just 'fore mailing —

115

found it lively & GramSnappy, — fraid the"OakPark'­Gillespies are Caths, we're Prots — will leave it to you to tackle Tracy when you arrive — the rest of us are poor critical opponents for him; his Writing & Info is straidangerussetly important (he might be Roveadied­around)

Links

P.S. y'might tell Mack, that Antheil­Gillespie­Tracy contribs. will reach him, shortly.

Friday 17th [October 1930]

dear Sam [Putnam]," only news I get from you is thru the papers, par example thru BaldV® mention­your­impendaper — if you are still interested in my work, and will let me know wot sorta stuff you'd like, I'll tryblige — should you wish some Riviera Ruminations — ? Tom Tracy (living here with, now) marvellous critic, might be reached — he has read all the Proust, Stein & Joyce we should have read — this, cupwith enthusi\/ow^­Descripreaxing, makes him one of the HYoungering Vanguards. He's done 3 athleTerse shortstories on MidWeStEX, quite good.

Yrs, for Bigger & Better? Linkers Gillespie 1, Place Nicholas Cagnes s/mer, A.M. France.

116

[12 November 1930]

42 bis rue de Plessis Fontenay­aux­Roses (S[eine].)

dear Sam [Putnam], working on "Clarity in Lit,"^® will send along shortly —

Linker Gillespie A.L. Gillespie jr. 1, Place Nicholas Cagnes s/mer A.M.

Cagnes 11/30 [1930]

dear Sam [Putnam], enclosed Tracy's version — it is actually a product of our conjointing mentaliteases, so I haven't really "let­you­down" — "WE" are dvowely available indefinitely, at least till April, here.

much success! Linkers Gillespie

should you wish to sign both our names, ga m'est 6gal — Tracy suggested so —

117

Tracy's work merits his sig. sans mine dont­u­2­think?

Cagnes 12/14 [1930]

dear Sam [Putnam], very happy you liked Tracy's write­up — y'may be interested to know he's delv­studying words for mood­evoke in both shortstory & critique (can be reckon'd around­with Hemingway, i fancy) — the first (alas! our lateness) issue" sounds great!! — so much so, you'll find enclosed etc^® — Hiler out, painting furiously to finish biggest Canvas for Independents (Jan. 7th), great stuff, pure Beauty­Thinking, I call it[.]^® Antheil, Weinberger here (latter Czech Composer, Rage now in Germany — might write a short article on music Tends, you can translate German, nicht?p.] I've already 4 invites for Xmas Dinner. By th'By, RITES (Sybarite[s] Painter, Philosopher & probably the best­instructed talker I've met) dishes out ('sides magnificent food) a synthrange Sworld of Concatenideas — should I suggest his writing up for you his tentativ Preface to "Sybaris" (somesuch)? ^ regards to Bald, Widney,^° Muzzy & Bodenheim^^ ((ask Max if he remembers our faymush talk (drunk, Poets' Gather, W. 4th, NYC) wherein he tolld the "Death of the Sillygism")) — ME ­ "Say, Mr. B, have you any news of 'Irwin'?"^ M.B. ­ "Irwin? IRWIN? oh — oh, yess!! — first she was your wife, then — she was my wife, now — she is in Chicago!!"

All­the­best Line. 'gards, Mrs. Putnam

[I've a truckly article on "the lowdown behind Prohibition," if interested, let me know (snotoobad!)]^®

118

NOVELTY BAR Cagnes 12/21 [1930]

Sam [Putnam]: Jaromir Weinberger, Czech Composer & first European to compose Music­for­Radio, is enthusely writing an article on "RadioMusic," he's written his Publisher for 5core­Facts, and will treat the Subject from every dynamic viewpoint — I told him 400 words — right? Wot more from Tracy? Poems? Short Stories? or only Articles? Y not drop down here a while, I'm not writing much, but still can TALK, guddemmit!! (can sleepya, at least) Hiler, bailed out & quiet, painting. Receipt to subscripsh, reed., ok. Antheil, here, reachable (Mas Mirasol — said he would consider writing something, (busy composing) recently got some new German books — second thought, my Prohibition Article'd^'^ hardly intoiskya — sound titles to me, occasionally. one hears you are printing Repro's of Ivan LeCuc[q]'s work?

Shortly, Linkers 1, Place Nicholas

[How soon? Jan. 15th?]^®

119

[Pension Freddy Villefranche]

12/28 [1930?]

Bob [Brown] sorry, too — had you asked my whereabouts — nice party — you 11 get this probly Mon. Nite — tried phoning, all operators said no phone — alors, Til look in. Novelty Bar (get off at "Place," walk one square forward, you'll see, left, just 'fore corner) at 9 P.M. Monday — else, Tuesday 4 P.M. (or Tuz. Noon, chez moi)

payshuncely. Linkers [Place Nicholas Cagnes s/mer]

Novelty Bar 12/30 [1930?]

Bob [Brown]: Y dont Kay^® & any of the Villefranchised come along Saturday — whoopee — all Cagnes — Iock­the­D[r]oors

Linkers

come any time 1, Place Nicholas

120

[1931?] Sam [Putnam]: yrs. reed. — Mich^^ & I living geth — one observes — remains proud to be alongside — I'll send you an article on English'd Opera, soon —

Luv Linkers

Neagoe,^® 10, rue Do[u]nse[ ] (XIV) send

Dome Tuz [1931]

che[r] Bob [Brown], Peter Neagoe wants something of you & me for "Americans Abroad" (edited by him & Sam Putnam) if interested, plizz send of yours & my "Talkife,"®'' th'only Prose thing IVe got — visiting Cha[n] & Titus^^ tomorrer — been reading Book­legging, as a pre­sales talkup.

Love to Cora & Rose,^ amities k Robert etc. Link more anon

35, rue Rousselet, (VII) ch[e]z Michonze.

121

Tuesday Night [1931]

cher Bob [Brown], enclosed Tschann's card, book­shop near Dome, suggests price @ 25 F. (33 V3% for him) will probably take a 10­20 (& has the idea of putting pages on his window's show­pane gummed up, good!!, the chiaroscuro will attract the necessary attensh) wants you to write him, making a proposition, he has a good shop­location, Titus cannot be neared by me (since [im] affiliated with Putnam) will try tomorrow, tho — also Sylvia, shortly — etc. — gosh, it's only a Miracle how one's funds here redwindle to 3 francs in no time — I've now got to stick it out here till the 24th (arrival of a Swiss friend, who'll possibly provide me carfare back) — however I've a nice free room till the first, & lots of passing acquaintance (most of which I can't yet ask for a loan, especially since I cannot offer to pay back before July 15th, next month being that guddem time to pay 3 mos. rent d'avance) — I reviewed Brown's GEMS for next "New Review" — Sam may locate my copy from his pocket, leaving for America (5 wks) within 10 days — will return around June 1st — Wambly Bald, Chicago Tribune Colyumist, presumaybly is vacation­sleeping (5) Place Nicholas, haven't heard, — most everybody seems here, at least lookinning

Luv, Linkers

if you can send me 100 F., it's retainable July 15th — I intent squaring you & my one­now Cagnes debt then — y'see, there are so few here that I know intimately whoVe an extra sou — Neagoe mentioned receiving y­our work, am conferring with, shortly — thanx! write TSCHANN your proposition 8.35 F. will suit him as his share.

Anon L.

122

Tuesday [1932] dear Bob [Brown]: both yrs. rec'd, busy on signing up for "Let­there­B­BEER!" — better!! how 'bout you addressing our new Bichelor Club, opening next Saturday Nite on a scratchy Bier­Th6se. such as "Educating the Bung^to the Yung" — do try to make it, answer rite away, we'll have quite the crowd (1204 Walnut St., 3rd floor, Ivan Black®® & Glerbz, Gl^r]ants) we are calling same the "Monastery" so the deer­gals will get the Break of knowing that our hintentions are undoubtedly sexual, a puriently social affair — you, by the way, have quite a contingent of admirers in our club (we are 15­20 to­date, thereII be some 150­200 pippl pre­sent) — so why don't you (& Rose?) drop over & speechify some READIES®'* & BEER sale[s] — 111 follow up — lemme know immediately write c/o Bond

1204 Walnut St. Philada.

we might even find you a panse, ol' thing.

Love also to Cora, where Robert??

Tell George to come too 2[3] Barrow St.

123

J U N E F I F T E E N T H [ 1 9 3 3 ]

Mr. Bob Brown 170 Ocean Boulevard, Atlantic Heights, N.J.

Dear Bob: Will be in New York over the week­end, c/o George Asness, Apt. 1, 517 E. llth St., New York. Call me, Grammercy 58, 911, Saturday evening about 7:00, P.M., and reserve evening.

Sincerely, LINK GILLESPIE

4/7/39 125 W. School Lane Germantown, Philada, Pa.

dear Bob [Brown]; I've accrued a spermanent keen Desire to go on the Air — with NBC in Mind as a likely, I'm asking a small number of my definitively Prominent Friends to write them a Boost­Letter of me, urging their taking me on as "Aesthetic Commentator" (or some such) address'.

NBC ­ Studios Radio City, New York City Attentions: L.H. TITTERTON

Do fine time, vieille noix, to give me quite the Glowing Prod! Y'see these recent years in Phila. here I've been read­write­talking so voluminously that literally I crool with Reams of Material burstingling for Public Utterance!! — I've written 4 Articles^^ in two years (all useful in parts for RADIO­WORK), literally

124

hundreds of shorts^® (these come up daily.) — its really all quite lively copy, some sparkling, some witty, some even Astounding; and all quite entertaining! Surely it's hightime that the (American) ARTS & ARTISTS

intimately­,^^^^^^ ^J^^presentationised over Radio —

­insidely­—^ IVe a Chap in Mind, connected now with NBC, with whom I'd dialog perfectly he knows all of our Writing (twould be delightful?, Bob­by, for me to jeer "youse" one day, interview you the next!) (I'm acutely adroit at writing Dialogue) The following Salients you might signalise: (A) GENERAL­CRITIC­of­ALL­TIMESPACE­ART(s)

(some Expression, atimes, on the PLASTIC A's.) (B) CRITIC­of­IDEAS~as­relating~to­the ARTS

(in this BorderRealm of AESTHETICS, I'm not bad) (C) MUSICAL­HERITAGE­&­BACKGROUND —

(via Uncles Theodore & Max BENDIX, the family goes back to MENDELSSOHN­BARTHOLDY — the age of nine I knew Classic Music "bassackwards" — and — am cognizant (even unusually!) of Modern M. [am I still the only one to have had a Go at differentiating Stravinsky & Antheil?)®'' — at that, I've influenced as many Musicians (Composers, Players, & Conductors) as Writers.

(D) LITERARY­CRITICISM — !!!!

I believe I am talk intactly here allnywhere — (y'might add something anent, plizz)

(E) Memoirs­of­EXPATRIA — (1) Affectionate JIBES (Portraicts)®® (2) " TRIBUTES ( " ) (3) INTERVIEWS (hundreds available in NYC alone)

(F) aught­ehe­you'd­like­to­and — I feel, bob, that on the AIR III achieve some Mental SPACES nextly at least Quickenning — and I feel­know enuf about manipulating my Voice to hold ListenersW

125

so, brother BATZI of Yesteryear, plizz put together some sort of RAYRAYDIANT Testimony (your word will go far toward clinching things) — see if the above Hints, plus your any Memories, will evoke something — knock­NBC's­Hat­Lakeward­&­Likeward, willst? An AIRADIO­Podium wd. gie me LIFE­BLOOD Feeling again!! love to youse & Rose, & yr. Mother —

Link A. Lincoln Gillespie jr.

1, Charles St. at Greenwich Ave. is amusing Fridays­Saturdays Nights

Hellove, Linky (Bill S.

John Rose Gildea)

2/15 [194?] 100 Columbia Heights Brooklyn, N.Y.

Dear Bob­Rose [Brown], yr. card would arrive precisely at the time when I am was insolvent for two pay­days — so here we rush a buck (now that Bill Simont shops for us, food's much cheaper — First Ave.) — sure, send us a copy when & if you get around into it, not much money in the Village, haven't seen Bodenheim for months — drop us a card for a visit, our (Scotch) Landlady is rath austere.

126

TRiangle­5­3158

our View of River & NYC will cause youse to sit a week­month!!! (come give me a Memory — I'm also doing an Article for Esquire) Cora?­Sympathy?

127

JUVENILIA

EDITORIAL

Is it possible that we are at last Seniors? Fellow Classmates, do you remember with what awe we looked upon the upper classmen only a few years ago, and how we planned and schemed to inspire the same feeling when we should eventually reach the coveted position? Now we can look down upon the lower classes as on our vassals, knowing that we are their superiors in age and in knowledge. Like the spider trying to weave his web, we have endeavored to reach the coveted and lofty citadel. But Classmates, although football, basketball and the dance are at present foremost in our minds, we must not forget that there are examinations to pass and good grades to be made, that will make our parents feel proud and happy. Surely the Class of 1912, one of the largest the school has ever had, can obtain excellent honors in both. Let us follow the old motto, "Work while you work and play while you play," and we can then be sure that the Class of 1912 will be able to say with reasonable pride, "We have done our part by the old school."

OUR DUTY

Let your recreations be manly not sinful. Labor to keep alive in your breast that little spark of celestial fire called "Conscience." Fun we must have. Diversion after hard study is needful. But, fellows, let us hold out for clean, wholesome enjoyment, and at no time be persuaded against our better judgment, to participate in anything that would offend our conscience or bring discredit.

131

upon our school. "It is better to have Wisdom than Gold; as Gold can only shine of itself but Wisdom makes its possessor to shine." So, fellows, get busy. At your books with a vim and let the Class of 1912 so shine that all may be dazzled with its brilliancy.

A PLEA FOR AID

Fellows, we wish to impress on your mind that the ACADEMY MONTHLY is not published for the First Form alone, but for the benefit of the whole school. We expect you to give it you[r] earnest support both in literary work and in subscribing to it. Without your hearty co­operation in both of these matters, absolute success is impossible. We want this paper to be better than it has ever been before, and to equal the publication of any other preparatory school. Therefore, fellow students, gather all of the school notes that you can and write your themes on original subjects so that they may be utilized'by the paper.

FOOTBALL

Football is now at its height. The fever has surged into so many of our minds that studies and other more important things are forced to drop into the background. Although in the past years our teams have been excellent, and ones of which we were at all times proud, very few have been able to reach the goal called

132

"Championship." Will this prove the case for the ensuing year? This question will have to be left unanswered till the end of the season. However, "Well begun is half done," and if all plunge into the gruelling work with body and soul, the outcome will not veer towards defeat.

PHILO

The Philomathean Society, one of the most beneficial organiza­tions of the school, should be one of very deep importance to us all. We all look forward to the time when we will, perhaps, be influential and renowned citizens. Then it is that oratory will do a great deal for us. Perhaps some will ridicule this idea. But "Man is the whole Encyclopaedia of Facts," and the man who speaks convincingly before an assembly will surely be more influential among his fellow citizens than the poor speaker or the backward individual who has no confidence in himself. Therefore, class­mates, let us take this branch of our routine very seriously, stand by our officers and assist them in every possible way.

SCHOOL SPIRIT

That a mighty asset is School Spirit! O, that all the boys of G­ A. were bursting with its fervour. School mates, there are a great many skeptics scattered through­

133

out the various classes. Here is a sample of their pessimism. "No matter what you say, I firmly believe that no team can win by school spirit. Strength is the main factor." There are not many football enthusiasts who take into considera­tion the respective weights of the opposing teams. Very few realized this difference in the recent game between Chestnut Hill and G. A. We, the lighter team, won this victory by zeal and determination, backed by School Spirit! Let us inspire an overwhelming flow of this enthusiasm, and we can be sure the rest of our opponents will go down in ignominious defeat. It is in general more profitable to reckon up our defects than to boast of our attainments. The world today is full of men, each one of whom is wonderful in his own estimation. Naturally he is not content to hide his light under a bushel, he must boast of his exploits to his fellow­men, whether it be in a large assembly or in a confidential talk. Now it is a question whether he is as great in the eyes of his companions as he appears to himself. Shallow brooks are noisy, and there is no more depth to his superficial boasting than there is in the babbling waters of the little brook. Classmates, how many of us belong to this braggart band? Do we appear thus not only to the eyes of the class of 1912, but also to all who hold acquaintance with us? Let us reckon up our defects. They are many[,]^ carelessness, foolish actions, quarreling, neglect of studies, rudeness, and untactful remarks, are but a prologue to the long list of our failings. "A man's good breeding is the best security against another's bad manners." If we conduct ourselves in a gentlemanly manner on all occasions, having always in mind the good old school we represent, we shall merit and secure the esteem of all well­bred persons.

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OUR REPORTS

Classmates, how many of us showed expressions of pleasure and gratification when we received our reports? How many faces expressed gloom and mortification? We fear that the latter led by a great majority. Boys, a great many times we have heard that when we are punished our parents suffer more than we do. Imagine then how grieved they were when they viewed the 60's and 70's of our various studies. Class of 1912, do you realize that you are seniors now, and will graduate next June? When our English Teacher, Mr. MacKenzie informed us that the themes last month were the best set he had ever received, our hearts swelled with just pride. We all want our class to excel in athletics and Studies. Our reports, in order to be nourished into the pink of condition, must be guided by well stocked minds, the best managers obtainable. These helmsmen are readily secured with the aid of zeal and health, the prime factors in the organization of good reports. Let us accept these guiding lights whose services are offered volun­tarily, and there will be no more gloomy faces, no more heavy­hearted parents and teachers.

CHRISTMAS

There are but two obstinate weeks that hold in check this joyous occasion when every soul is filled with mirth and gladness. It is love, after all, that makes the world go round, and Christmasjs the melting point where hard feelings and sorrow are thawed into

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the warmer state of love and delight. The Christmas Spirit should be universal. What better way is there to promote this than by assisting others in every possible manner? Our Saviour once said, "The poor always ye have with you." This is plainly proved when we look about us and see the many families who, without succor, are bound to be unhappy at their exceedingly meager Christmas, knowing their little ones will be disappointed when the hoped­for Santa Claus fails to appear. It is the duty of everyone to spread joy and peace on this happiest occasion. And not to him that is already blessed should we show our favor, but to the poor and needy, who otherwise must spend a cheerless Christmas, let us send our aid. After all, Christmas, in its fullest sense, is best appreciated by the little ones and those in poverty. "The greatest grace of a gift, perhaps, is that it anticipates and admits of no return." Then let us join the ranks of those who by giving shall be doubly repaid, and insure to ourselves a truly joyous Christmas.

AN IMPROVEMENT IN LESSONS

Now that the exciting season of football has dwindled away to the etherial regions, closer application must be devoted to lessons. Our teachers all realize that football interferes greatly with concentrated study, and for this reason grades have not been severe. But a decided improvement in next month's averages is looked for! It rests with us. When opportunity is given to establish this improvement, it should not be neglected! Banish half­hearted interest and discontent from our minds! Better grades and a sense of pleasure in duty well done will repay us, and with clear consciences we can enjoy our holidays.

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THE QUARTET

The School quartet made a good showing when one considers the fact that the selections rendered before the school represented their first attempt at public singing. Do not be downcast if you did not like the sound of your voices. Inscribe this short saying in your minds: ROME WAS NOT BUILT IN A DAY. Neither was a good quartet.

REVENGE

There are, without doubt, a great many people who laud and admire the man who invented the saying, "Revenge is sweet." Without due consideration, the world in general would agree with this maxim. But when one considers the pangs of remorse and the unhappiness which follow the wreaking of vengeance upon a supposed enemy, how many will actually have tasted of the so­called "Sweet?" Gratification is seldom derived from so malevolent an action, but Repentance followed by Gloom quickly reach the goal before the "Sweets" can consider whether they will be able to pay a profitable visit to the mind. Many lives have been spoiled by seeking the delusive sweets of revenge. Everyone has been advised to "count ten" before completing an action. Father Time would willingly allow a few of his precious seconds to slip by unnoticed, provided a few hours, or even minutes, were devoted to the task of releasing the soul from the thoughts of petty revenge. This task would not be difficult were the hammer of Righteousness hung directly above

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the cowering head of the Monster, Revenge. No gravity would be required to cause the mighty sledge to descend and crush the demon absolutely. No — Revenge is not sweet. It is the "only debt which it is wrong to pay."

THE MUSICAL CLUBS CONCERT

We are all anxiously awaiting the arrival of January 19th when the Annual Concert of the Mandolin and Banjo, and Glee Clubs will be held at Manheim. That an excellent program followed by a delightful dance will be given, is an unquestionable fact. It is evident that the arranging of dance cards has been the easiest part of all preparations. But the other part must not be neglected nor must we take it for granted that it will be a huge success. The audience will be critical and quick to discern the slightest error. Members of the Music Clubs, don't give your audience the slightest opportunity to pick flaws! Then last year's success, the first concert given by the Combined Clubs, will be easily surpassed by that of 1912.

CLASS DANCE

One of the most interesting events in the Senior year of the Class of 1912 is the Class Dance. The date set for this future enjoyment

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is February 2nd and every head is buzzing with the difficult arranging of programs. President Balfour has selected excellent committees and the class places entire confidence in their work towards perfecting it and enrolling it in the memories of all as one of the finest Senior Dances that G. A. graduating classes have ever produced.

NEW YEAR'S RESOLUTIONS

No doubt you have all formed plenty of New Year's Resolutions to your profit and the building of your character. But here in a nutshell is one which completely covers the ground: "Resolve to perform what you ought; perform without fail what you resolve.["]^

THE DOG DECIDES

When I awoke Tuesday Morning I felt a strange forboding of an unpleasant day. Not the weather. No, that was ideal. Sky of azure hue, and the warm sunshine to counter­balance the chill of a day in late September, made conditions such as would put any young fellow in the best of spirits — if he were not madly in love. The "if had hold of me. She was ravishingly beautiful, in fact in my eyes she was indescribable, even when the choicest of English adjectives were brought into play.

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My greatest drawback in winning her affections lay in the fact that I was slightly built, with rather effeminate features, and no great show of strength. My senior year in college found me well up in studies, and in good social standing, but in athletics I was not heard of, having made no team whatsoever. Perhaps, I thought, I could not protect her from the overwhelming seige of worldly woes. But I determined to see her that very day and, if possible, learn my fate. Anything rather than this torture of suspense! Naturally, she had many suitors, but my chief rival was Walter Brigham, captain and half­back of the.college team, and the most popular fellow in our set. How often had he aggravated me with such greetings as, "Hello little fellow," and "Run away, Bobby, don't disturb us tonight." Hang it, why shouldn't I see her this minute? Seizing my hat, I presented myself at her door, and directly my adored one stood before me. "Good morning[,]® Bobby," she said, her face radiant with a glorious smile, and her lustrous eyes dancing with mirth. Every molecular particle of me clung to those eyes! "It's a delightful surprise to see you here so early in the morning. And isn't it a perfect day for the game?" "The game?" ["]^0h yes, Football and the first game of the season too," I replied. "And Walter Brigham is to play," she added, "isn't that glorious?" "It certainly is," was my response. I was looking at her sweet face and in a moment overcome by temptation, I had snatched a kiss from her rosy cheek! It was a bold stroke, but inwardly I was quaking. "Bobby White," she cried indignantly, "that's the most —" "The most sensible thing you ever saw me do," I interrupted. "It was the tribute from a heart filled to overflowing with love. Can't you see that I adore you, that I worship you, that my whole being throbs with the hope that I may win you? Will you give me the answer that will carry me blissfully to the Elysian PlainsT* "Bobby," came her reply, "1 like you so much, and hold you as

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one of my dearest friends, but the man I marry must be strong and courageous, like — " "Walter Brigham," [I interposed]® curtly, almost brutally. "Good­day." After this unfortunate tete­a­tete, I felt strongly inclined to throw myself into the river, but to indulge in this weakness would but make Brigham's course so much smoother. Besides, I was to take Elise to the game today! Oh Stygian thought! 1 could fancy myself trying to be amiable and she, a second Diana, receiving my attentions with frigid composure. These distracting thoughts were dispelled by a clamorous ringing at the telephone. A familiar and silvery voice floated to my ear as I lifted the receiver. "Bobby," it said, "Let's forgive and forget. You promised to take me to the game you know. I shall expect you at 2.30. Goodbye." Some people are born for luck, but this was the first time that Dame Fortune had condescended to knock at my door. 'Twould be foolish not to heed her call and promptly at the appointed hour I was ringing at the door of my Diana's palace. I was astounded at her cordial friendliness. Surely such a sign of forgiveness was worthy of the chivalrous and heroic deeds one reads of in the novels of today. But I must bide my time and wait patiently for Dame Fortune's second call. A pleasant afternoon must suffice. The Game had progressed rapidly but so far neither side had scored. Occasional good plays kept up the enthusiasm, and in everyone's opinion Brigham was starring for his team. Suddenly the foundations of the grand stand shook under the roaring of the spectators, when a tall figure emerged from the mass of players and sped for the opposing goal. Needless to say it was Walter Brigham. Eleven men were warded off, but there was one warrior left to meet the foe. It was my fair companions' dachshund! Not content with following us to the game, he had slid unnoticed through the gate and was now waddling directly in front of the mad horde. Running at full speed with the goal only a few yards away, Brigham was enraged when [he]® encountered the animal directly

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in his path, and with a savage kick he swept him aside and strode on to victory. "Oh how could he! How could he!" Gasped Elise amidst her sobs, and turned to me for comfort. "Do get the little fellow and see if he is much hurt." In a few minutes I laid the panting creature in her arms, and her look of gratitude was meat and drink to me. It told me that I might hope, for with Brigham out of the running, my chances were not so slim after all. His victory was dearly bought, for Elise passed him with an icy stare as we left the field for her home. Why wait? Bidding her good­bye at the door, I took courage and said, "Elise dearest may I see you tomorrow and pursue to the finish the subject nearest my heart, which I broached to you this morning?" An enchanting smile, a warm shake of the hand, and a kiss wafted from rosy finger tips as she fled indoors was my answer. I had won her in a fair fight and no favor, and if I seemed to tread on air as I bent my steps homeward, who can blame me?

PRIDE

It is absolutely necessary to the perfection of our character that we be imbued with a certain amount of pride. But do we understand the term correctly? There is a pride which is born of a wealthy social standing, which keeps us from mingling with our fellowmen unless they happen to be in the same class with us, which fails to recognize, no matter how worthy, any merit, lest it be found among this certain clique, which narrows our lives into mere snobbishness. Is this worthy pride? There is another pride, that of ancestry and so­called blue blood. It is well to be well­born, but unless we live up to a noble name,

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and by our conduct and achievements add lustre to its already bright escutcheon, have we the right to be proud of bearing it? Surely, "It is better to be nobly remembered than to be nobly born." But to be too proud to lend ourselves to any mean action, to slight our duties, to fail in respect to our parents and teachers, that sort of pride is commendable. To take a just pride in lessons well prepared, in the neatness of our personal appearance[,]^ in maintaining the high standard and good reputation of our Alma Mater is justifiable; and the pride born of these sources will surely add to our usefulness as factors in the world's work, and perhaps influence others toward higher ideals of what constitutes real manliness.

VALENTINE'S DAY

It is a pretty custom, though not so much in vogue as in former years to send on this day some sweet message of love or greeting to those dear to us. How eagerly we watch for the mail and with what trepidation do we open the sealed missives, for fear that the particular she might have forgotten us. And how we compare notes when we meet the fellows, and point with pride to the number Mr. Postman has delivered to us, and pity our less fortunate companions. Childish folly, do you say? Perhaps. But none of us are ever the worse for the heart­warming which comes through this source, and kindly sentiment thus expressed will cheer and lighten many hearts on this day. So long life to Valentine's Day, say we, and may the little messages of cheer find their way into many dark corners, and brighten the day for the lonely shut­ins.

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TH^ DANCE

Although the greatest social event of our Senior year, the Class Dance, has now dwelt with the past two full weeks the delightful experience is always present and foremost in our thoughts. It is a universal opinion that this year's dance has excelled any of its predecessors. And truly, for did not an artistically decorated hall, entrancing music, and a congenial gathering of choice spirits unite to make the occasion a great success? The confetti added hugely to the merriment but proved a questionably pleasant addition to the refreshments. A great deal of it made its way into our hair and proved an unwelcome guest. We hope it speedily took its departure. However we do not think these "quips" and cranks will prove disastrous or tend to change the sentiment that the G. A. Senior Dance contributed more than its share toward this year's fun.

SPRING

"What delights us in the Spring is more a sensation than an appearance, more a hope than any visible reality. There is something in the softness of the air, in the len^hening of the days, in the very sounds and odors of the sweet time, that caresses us and consoles us after the rigorous weeks of winter." And now our grumblings cease. Under the influence of these harbingers of spring we admit that the winter was not so dreadful after all, and we look to Mother Nature for clemency for all our revilings against her. With the coming of this, her choicest season, we find the earth garbed in sweet freshness, restful green at every turn, (consider

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how weary we should become were we to find red, for instance, where now our eyes feast upon the soothing color Nature has so bountifully provided), the woodland songsters warbling their joyful paean; then why not lend ourselves to these sweet influences, and rejoice also? If our hearts have grown callous, our sympathies deadened, our minds stagnant, our impulses toward good deeds checked by Winter's icy and morose influence, let Spring with its softening touch loose all the fetters that bound us, and let our better natures prevail, that we may accomplish the purpose for which our Maker placed us here. For we were not meant to be mere puppets but each of us has our place to fill in the world, and we are important in some respect, whether we choose to be so, or not. And if we fulfill our destiny, with clear consciences we can joyfully echo the poet's song:

"The year's at the spring, The day's at the morn; Morning's at seven; The hillside's dew­pearled; The lark's on the wing; The snail's on the thorn; God's in his heaven: All's right with the world."

The Annual Prize Debate is scheduled for March 29, and the participants are anxiously awaiting this opportunity to display their youthful "spouting." A prize of $25.00 is added to first place making that honor more coveted and alluring than it might otherwise be. The topic decided upon is: "Resolved — That the Panama Canal should be fortified." This subject although it favors the affirmative, is suitable to all concerned, and will give to each speaker a splendid chance.to pour forth his lofty eloquence upon the attentive ears of an intelligent audience.

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There is now presented to us a glorious opportunity to display our real school spirit. Glorious opportunities is more to the point, for what better ones can offer than the baseball, track, tennis and cricket teams? There is no student in G. A. who is incapable of trying, at least for one of these teams. The fellows who have not made the teams hitherto do not realize how much they have strengthened their more fortunate rivals. The more opposition, the more zeal! Therefore schoolmates, put aside all doubtful queries about your chances, and swarm the opening practice with a horde that will stagger, although delight, the coaches of our various teams.

EASTER

With what joy and happiness do we hail the advent of another Easter! Easter, when Nature presents to Earth its loveliest garments; when sluggish winter has departed to give place to a season of cheerful activity in every soul; when the Christian World unites to praise and glorify Him who was resurrected this day. In the time of our Lord Easter brought "good tidings and great joy," which have been diffused through all the ages to our own times. Let us hope that every nook and corner of this old Earth will receive its share. It lies within our power to scatter the seeds of joy. Though we may be exempt from care, others perhaps are bowed down with grief and sorrow caused by the death of a dear one. Yet even as our Lord was resurrected, so may we hope that these loved ones gone before shall reach a happier domain, and thus give to the afflicted and bereaved a happier Easter in the thought that they are "not dead, but sleeping."

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Blessed Eastertide! Hard indeed must be the heart that will not melt to its tender and benign influence! "Never be discouraged by trifles. If a spider breaks his thread twenty times he will mend it as often. Perseverance and patience will accomplish wonders."

The Editor takes this opportunity to present a bit of sage advice to those who hope to secure creditable grades in the June examinations. One should not become discouraged because of previous un­satisfactory reports. The good that comes of making a mistake lies in the fact that we DONT MAKE THE SAME ONE AGAIN! Mistakes, though, can be avoided when perseverance and patience are employed to steady our minds and guide our thoughts. Do not hold the exams in the light of a malevolent crisis. Rather look forward to them in pleasant anticipation as a means to an end whereby you may obtain an excellent start as a freshman in the college of your choice.

A few days ago we were informed that this paper was run for the first form only, and that the other forms were not given a fair chance to publicly display their literary efforts. No doubt this grieved individual founded his assertion on facts, for lately the Seniors' contributions have been predominant. But let us face a few other facts. You will all agree that the ACADEMY MONTHLY is run in the best interests of the school. Then does it not follow that the school should be represented in its columns by the BEST LITERARY WORK available? Therefore, Schoolmates, if you wish to see yourselves in print, look to it that your work excels that of the heretofore "lucky first­former. "

It is gratifying to see the Musical Clubs rounding out another year of successful work. The concerts rendered up to date have been received with sincere approbation by large and critical audiences.

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and the fullest confidence in their own ability will secure for our school musicians an eminently satisfactory position in the historic annals of the Class of 1912. Here's to the Combined Musical Clubs of Germantown Academy: May their shadows never grow less!

CLASS DAY HONORS

Everyone prefers the bitter before the sweet, and in like manner must the unpalatable Exams be consumed before the delectable pleasures of our Class Day may be enjoyed. The selection of the Class Day "Cast" has been difficult. Careful thought and consideration on the part of the Committees have provided a competent group of Orators, and an able and efficient Staff for the Primer. We hope to make this Class Day a memorable occasion, when pride in our achievements shall honestly fill every heart, from Dr. Kershaw down the long line of Faculty, Students, Fond Parents and Admiring Friends. Not a Senior should be idle with such important work but a few weeks ahead of us. The Class of 1912 can and must equal the lofty standards established in former years.

The Editor notes with pleasure the advent of two original poems from members of the Fourth Form. We wish that more of this sort of thing would find its way into the columns of the MONTHLY. Originality is what we are striving for, and all literary efforts whether of prose or poetry will be given careful considera­tion, and if worthy, ample space in our School paper. Who knows but that the Embryo Class Poet, or Prophet, or Valedictorian

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shall be found in the authors of these effusions? So, fellows, bend your energies in this direction.

A RETROSPECT

"Oh, the wasted hours of life that have floated by;

Oh the good we might have done that's lost without a sigh!"

We have been journeying for a number of years and are now within sight of the goal which marks the end of our school­days. When we look back upon the time spent within the walls of old G. A. shall we be able to feel that we have reflected credit upon its honored name, or must we hang our heads in shame that we have done that which we should not do, or omitted to perform those duties which honor required of us? We are all too prone to believe that school­days were instituted in order that youthful pranks might have full sway, and that nothing in the shape of serious thought or reflection should be allowed to mar their perfect enjoyment. But, when we consider that our beloved Principal and teachers are giving of themselves daily and hourly, straining nerves, bodily strength and patience, that we may be fitted for coming manhood, does it not mortify us, now that we are ready for sober reflection, to think that we may have failed to avail ourselves of all these splendid opportunities, or that we have held them lightly, when they should have been of the utmost importance to us? Still, it is not yet too late. In the weeks remaining prior­ to graduation, much may be accomplished if we will only buckle

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down to thoroughly earnest application; and it is possible for the Class of 1912 to go down in School History as the Banner Class for successful examinations. Go TO IT, FELLOWS! Show them all of what stuff our Class is made, and let us leave old G. A. with our heads held high, and our hearts beating exultantly in the thought of duty well performed, and "Something accomplished, something done."

AT PARTING

With this issue we sever our connection with the ACADE!viY MONTHLY and with the old School. The past year has proved a strenuous one, full of many arduous duties, and the time devoted to editorial work was all too short. We have done what we could and hope that some good may result from our feeble efforts. As we contemplate the parting of the ways, the breaking of the ties which must come, a feeling of sadness floods our hearts, and we wish that we might be permitted to live these happy school­days over again. We are boys for only a short time. Manhood lies before us and with it we must put on what stands for Manhood: Dignity, Stability, Industry, Thrift, hearts brave and true, that will stand for the right and brook no evil. Our preceptor, Dr. Kershaw, and our esteemed teachers have smoothed the way for us, and by their daily example and teachings have impressed these most vital points on our minds. Perhaps, at times, they appeared to have fallen on stony ground, but the careless, carefree habits of boyhood must be taken into consideration. Nothing that we learn in our youth is really lost, rather the most lasting impressions are made at this time.

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These are bound to crop out later in life, and we trust that in the years to come our faithful Mentors will see the fruits of their labor. And so we say Farewell to the Old School. No matter how full our future may be, we shall always find time to look back upon the glorious days we spent within its walls, and deep in our hearts there will be a corner dedicated to its memory and all associated with it.

athletics

Our season of out­door sports this year has been crowned with a goodly portion of success. The Baseball nine has divided first place in the Inter­Academic League with Friends' Central, each team winning 4 games and losing 2. In tennis the victories, although not so numerous as we might wish, were won by G. A.'s pluck and undying school spirit. The efforts in cricket were put forth by a mostly inexperienced team and the outcome was — victories and — defeats. But not forgetting the relay and track teams, a few words about their excellent season could not be amiss. The former Mercurian Athletes did nobly in their ordeal at Franklin Field and secured second place, not a despised position. The track team also worked hard behind the school, and their strenuous practice was amply repaid by the plaudits of the fair rooters at the "Color­Day" event. This sums up the athletic season of our last few months at G. A., and even though we did not finish at the top, we did our best, which is always acceptable to the critics, and a satisfaction to those striving for honors.

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VACATION

What a relief this word brings to our minds! To "rough it" in camp, to spend the summer at the seashore or mountains, or even to "loaf," all these inducements appeal to our sense of life's happenings in a more gratifying state. Who can resist the thought of swimming and bathing — a positive immunity from Mother Earth — and the numerous attractions, some human, which the summer resorts afford? Summer, here, there, and everywhere! Summer with its sunburn and mosquitoes! Who can resist them?

PROPHECY

I had just finished my annual reading of Dicken's immortal Christmas Carol, and with a prodigious yawn, reluctantly laid aside my book. Scrooge, Marley, Bob Cratchit, Tiny Tim, and the Ghost of Christmas past all seemed very real to me. But stay! What was that tall gray figure, with stern mien and forbidding aspect, looming up from the fire place? Thus it addressed me: "I am the ghost of the Future. Follow me, and I will reveal to you the doings of men ten years hence." The room then grew misty, and I felt myself floating into space, guided by my ghostly companion. My senses were rudely awakened by a stentorian voice which pro­ceeded from one of Market Street's choicest "Bijou Dreams." It announced that the "All Star Quartet" was to make its first Philadelphia appearance here. My gruesome friend and I found seats near the front. The Quartet was making a terrific racket. The principal cause of disturbance was the first tenor, in whom I recognized, despite his horrible facial contortions, my old

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classmate, Arthur Noland Harrigan. But the second tenor, with rampant voice, and the originator of the low growl, which passed for second bass, who were they? By all the gods, Mart Buehler and lamb­faced George Hastings, without whose able support the Glee Club of G. A. could not have survived! Do I hear applause? Finally my gaze rested upon the fourth offender. A lofty figure, who drew gasps of admiration from the ladies in the audience. And justly, for who could resist a voice so mellow and sweet, even if it never did hit the right key? Phil Harrigan was repeating his successes of former days. But tumult raged about this motley group of songsters. A lanky policeman forced his way through the crowd, and in short order had collared the four and sent them hustling from the stage. The manager remonstrating, a thin piping voice was heard to say, "Can't help it. Price gave the order to boost them out." The mention of this august name quelled the disturbance. Was it possible that the dignified Bishop, the pompous Dean, the eloquent orator, our honored Price, had become a mere "Gas Bag," the Boss of a gang of unprincipled politicians? Oh, what a fall was here, my countrymen! Just then the gaunt, but heroic policeman walked up the aisle. It was the meek and lowly Stokes! Now a powerful arm of the law, he no doubt enjoyed retaliating upon the Harrigans, his erstwhile tormentors. This commotion broke up the performance, and we speedily made our exit. Reaching the street, I noticed a large, florid, grinning individual, seated in an auto, in the midst of three pretty girls. I was almost overpowered when I recognized Perry, the "woman hater" of old. Ed. had evidently become a thorough convert, and seemed fully aware of the fact that "Women were made to give our eyes delight." Recovering from this shock, we walked to Chestnut Street and joined a large crowd just about to enter Keith's Theatre. The curtain rose upon the uproar of a Troupe of Minstrels. In the end men and middleman I recognized old friends. Goaty Wight, first in all school rough house, and boisterous as ever; Wilkinson, still true to his reputation for endless talking, pouring forth a rapid fire of antiquated jokes, (Bob should have devoted his time to

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running, and not let so much wind go to waste) and Wegefarth, who had already selected the prettiest bunch of girls in the boxes, toward whom he would later direct his solo, a ravishing love ditty. Weggy was unchanged, and was still of the firm belief that he could capture the hearts of all fair damsels by a mere glance from his soulful eyes. The next act was surely a "Hair Raiser." A well fed, corpulent individual, billed as the "Greatest Wonder of the Age," carrying a small mandolin under one arm, and a huge lunch basket under the other, addressed the audience thuswise: — "Ladies and gentlemen: simultaneously while playing this little instrument I shall devour fifty ham sandwiches." Wonderful Ed. Goshorn, for a fact; but we little thought in our palmy school days, that his favorite stunt would net him a competency sufficient to provide for his old age. My companion next conducted me to the Franklin National Bank, where I met three prominent officials. The tallest member of the group was unmistakably Butterworth, our Valedictorian, who had reached the height and dignity of a Bank President; but who at the present moment resembled nothing so much as a nurse. For he was in the act of administering a dose of Mrs. Winslow's Soothing Syrup to an exceedingly nervous little man, whose condition required this treatment every three hours. The patient, we were informed, was Calvin Smyth, the cashier. The long strain upon his nerves, due to handling and making so much money, had told at last, and Smittie was in a fair way of becoming a member of the "Rockefeller Diet Club." But the Vice­President, lounging at ease in the most comfortable chair, oblivious of his surroundings, and utterly unconcerned with anything that savoured of business, who was he? Paul Tissot, always the smoothest and most easy­going member of our class. Judging from the charms he presented when Knights were bold, he should have turned female impersonator, a second Julian Eltinge, as it were, and become a feted matinee idol. But life is full of such disappointments. We next halted at an auction sale, and joined the usual curious and impecunious crowd which one always finds there. The

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Auctioneer, purple of face, and arms beating the air, as he delivered his bombastic harangue was trying to dispose of a heap of worthless junk, which no one could be induced to buy. This veritable Demosthenes was none other than the school's greatest orator, Marcellus McDowell. "His speech was a fine sample on the whole, of rhetoric, which the learned call Rigmarole." And now my guide directed my steps to the Bulletin Building, the home of a most popular newspaper. Small wonder, for Paul Roberts was its business manager. I remember how difficult it was to secure subscriptions for the Academy Monthly when he acted in this capacity for our valuable and entertaining magazine. And as for advertisers, they were an unknown quantity! As we entered the office, we observed a tall melancholy creature with a jumble of drawings under his arm, sneak out of the door as though afraid of some great personal violence. Cornell's wonderful cartoons had been so realistic that he rarely ventured forth without a bodyguard. Allen could draw anything under the sun, and was particularly skilful in drawing his salary. A[tf Broad Street Station we found the Drug Store still in existence, although the operators of the fountain presented new faces. But there was something familiar about that jolly red faced fellow, who was concocting wonderful Sundaes and dispensing them with lightning rapidity to the lines of waiting damsels. Surely it is Charles Betts, who always was sweet for the girls, and who had not lost his cunning ways in the passing of the years. A dapper little man, resplendent in brass buttons, epaulets, and gilt tassels was lounging against the counter, waiting for an opportunity to address the Wizard of the Fountain. "Bettsy, old man, can't you stand treat for an old classmate?" It was such a joy to greet Captain Hough, home on furlough, after a tour of the world, that I became reckless, and ordered Sundaes galore, ignoring pocketbook and digestion alike. Bill was fairly bursting with anecdotes and adventures, the telling of which I persuaded him to defer until the next class reunion, when I left him hurriedly to catch the train for Chestnut Hill. In the course of the journey, I overheard a blonde haired individual relating an exciting episode. The story ran like this: "I

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was helping the Suffragettes out yesterday, and maybe 1 didn't get in wrong. Marching side by side in the parade with the peachiest one of the bunch, I felt the magic influence of her enthusiasm surging within me; when suddenly my companion hurled a stone through one of the plate glass windows of City Hall. Like an infatuated fool, I followed suit, and it cost me a year's income to crawl out of this scrape. When next I meet a Suffragette it s the other side of the street for mine." The hero of this remarkable tale was Stan Ketcham, who was always getting into hot water at school. Now the train halted, and we shortly entered a handsome residence, where a house warming was in progress. This, the home of Dr. Addis, was fitted up with every possible labor saving device. Len was as lazy as ever, and having a deal to do, and a rest to take, was as usual, taking the rest first. Professor Barnett, a noted guest, was explaining the uses of these modern inventions, and all the women were taken by storm, marvelling at his ready command of language; but one sage gentleman remarked to his neighbor, that "getting things down pat" had always been Barnett's specialty. In this quiet gentleman I recognized my old mate in the Banjo Club, Harwood Closson, who was to contribute to the further enjoyment of the company, by rendering the "Magnolia Sere­nade" on his guitar. Ye Gods and Little Fishes! After all these long years must we listen to that again? Harwood had bent all his energies to learn this one selection, and even though it had long outlived its popularity, he offered it on every occasion. His companion was Richard Clapham, seeming ill at ease amidst this gathering of celebrities, and evidently wishing himself safe in his five horse power limousine, racing back to town at the rate of three miles an hour. The explanation of the various wonderful contrivances com­pleted, a great hand clapping ensued, which Hen acknowledged with much bowing and scraping; but he need not have plumed himself on his marvelous success, for in reality the applause only

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came because refreshments were next in order, and verily, the "Eats" were as popular as ever. The inner man satisfied, I retired to the smoking room, where I listened to an interesting bit of gossip. It appeared that Ned Bell, whom you all know to be the most absent­minded fellow in school, during one of these lapses of memory, actually proposed to two girls. Had married one, and, as we read in fairy tales, expected to live happily ever afterwards; and was now being sued for breach of promise by the other! Poor Ned, he was in dire straits, and his little wife in the depths of despair. But Phil Barba, the faithful ally of the class, to whom one always looked for aid in any predicament, came to the front as usual, and relieved the situation by marrying the fair plaintiff himself. Do you wonder that she succumbed to Phil's many charms? Another prominent guest was a famous ball player, just returned from the Chicago White Sox to the Texas Bush League. We marvelled that the management could part with so valuable a man, for he was credited with a fabulous number of "hits." But since these were not made inside the diamond, but only with the fair fans who thronged the grand stand to catch a glimpse of that shapely form, Balfour's release was not so hard to understand. Allie was always more successful in captivating the ladies, than in hitting the pill, or stealing bases. Great was my astonishment when I next found myself within the sacred precincts of a Girls' School. Professor Bowden was hard at work, expounding tough theorems to his class in geometry, but seemed to enjoy the situation, and Doctor McHenry, the principal, was proudly exhibiting the galaxy of bright and beautiful pupils to an army of envious visitors — needless to say of the male species. At the ringing of the period bell, the majority of the students tripped down stairs and sped for the gymnasium, where they surrounded two tall, fine looking men, evidently the instructors of the various games and sports and consequently most popular. And wonder of wonders! I beheld in these trainers, DaveTibbott and Leif Norbon. Following their favorite occupation, and none

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the worse for it, judging by their beatific countenances as these fair amazons clustered about them.

* While we stood gazing at them, the distance between us grew greater and greater. Suddenly a huge cloud enveloped me, and I felt my senses dwindling into utter oblivion.

I recovered myself with a start. These queer experiences would have seemed realistic, had I not been reassured by the same old fireplace and the discarded "Christmas Carol." It is my earnest hope that I may be pardoned for predicting such a future for my classmates, even though dreams held full sway o'er the mind, for

"Tis such things dreams are made of"

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TEXTUAL NOTES

WORKS

Music Starts A Geometry was originally published in transition, No. 8 (November 1927), 166­69. 1. OP (original publication) repeats text for first footnote after superscript in body of text. 2. Corrects open sentence.

Textighter Eye­Ploy or Hothouse Bromidick was originally published in transition, No. 12 (March 1928), 171­75. 1. Joyce's recent work, (transition): Finnegans Wake. 2. Parenthesis for numeral 9. 3. [Maxwell] Bodenheim: see /2/;^[1930], TN. 21, pp. 175­76. 4. OP omits quotation mark. 5. Corrects open sentence.

Antheil & Stravinsky was originally published in transition. No. !3 (Summer 1928), 142­44. 1. OP repeats element guzzling. 2. Quotation mark for apostrophe after semicolon.

[Notes']. Transcription of Gillespie's previously unpublished notes, unsigned and undated, found among George Antheil's papers. Probable date, 1928, establish­ed according to publication date of related text, "Expatracination," Fall 1928. See PLATES 23­24 for facsimile. L Corrects open parenthesis.

Expatracination was originally published in transition. No. 14 (Fall 1928), 103­105. I. This text was the author's response to a survey entitled Why Do Americans Live in Europe? conducted by transition. Fall 1928. Among those asked to write "brief stories of themselves — autobiographies of their mind, self­examinations, confessions, conceived from the standpoint of deracination," were George Antheil, Kay Boyle, Harry Crosby, Walter Lowenfels, Robert McAlmon, and Gertrude Stein.

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The following questions were asked: I. Why do you prefer to live outside America? II. How do you envisage the spiritual future of America in the face of a

dying Europe and in the face of a Russia that is adopting the American economic vision?

III. What is your feeling about the revolutionary spirit of your age. as expressed, for instance, in such movements as communism, surrealism, anarchism?

IV. What particular vision do you have of yourself in relation to twentieth century reality? 2. Corrects open sentence. 3. Corrects open parenthesis. 4. [Gregory] Michonze: Russian surrealist painter; see Undated[\9'i\T\y TN. 27, pp. 176­77. 5. My Article (transition I2)\ "Textighter Eye­Ploy or Hothouse Bromidick," WORKS, pp. 7­10.

A PastDoggerel Growth of the Literary Vehicle: Language's Relapproach Music and Plastic was originally published in transition. No. 14 (Fall 1928), 126­30. 1. my ThesisArticle in transition No. 12: "Textighter Eye­Ploy or Hothouse Bromidick," WORKS, pp. 7­10. 2. Opera In English: work lost.

Amerikaka, Ballet was originally published in transition. No. 16­17 (June 1929), 151­56. 1. Author's brackets. 2. OP: //. 3. The sense makes period dubious.

Clarity in Literature was written in collaboration with T.F. Tracy and originally published in The New Review: An International Notebook for the Arts Published from Paris, Vol. 1, No. 2 (May­June­July 1930), 98­100. Tracy was a critic, poet and short story writer. See Gillespie's LETTERS (pp. 116­19, 121) to Sam Putnam regarding the circumstances of the collaboration. 1. OP: gression. 2. Presumably Samuel Putnam's note, the editor of The New Review.

Monograph for Harold Weston's "Evo­Love Series" originally published in transition. No. 19­20 (June 1930), 201­202. 1. Corrects open parenthesis.

[Truth Circumstance] is an "excerpt" from what is now a lost work originally published in Wambly Bald, "Lincoln Gillespie, Jr.," The Paris Tribune, May 5, 1931, reprinted in The Left Bank Revisited: Selections from the Paris TYibune

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1917­1934, ed. Hugh Ford (University Park and London: Pennsylvania State University Press, 1972), pp. 85­86. The article also quotes from conversations (p. 86: " That woman is only a social rodent, a criniverous manapstasia. She used to rawk with sandatalama!' ") with Gillespie and includes an interview (pp. 86­87) with him: " '1 never give out interviews', said Link. A few minutes later he added: 'Montparnasse writers are too loose! Why don't they tighten up their prose? What do you know about Dutch architecture or the geometric application of Sanscrit? I like the melodic lines of Epstein's work. The trouble with English and American women is that they have a strawy odor, because they don't eat enough vegetables. Order another fine a l'eau\ "Again he fell asleep. I picked him off the floor and set him on a chair. "About 7 o'clock I saw Link asleep at the Select. I woke him up and said: 'Answer a few questions'. He said, 'Shall I be banal or would you like to hear a few Pizzikaks?' [see "Pizzikats," WORKS, pp. 53­57] I said, 'Mix them up'. He said, 'All right'. Then it was my turn. " 'What do you think of Beethoven?' 'Froghide croakboom legs for dinner'. 'How do you react to Ravel?' 'Diamond dice thrown high'. 'What is a Pizzivol?' 'Kissqueak fingplek daddleback'. 'Will you ansamander one more questackaquaff?' 'Poefix may ultraprovide anything!' 'Tellabel me this: Can you let me take 30 francs until tomorrow?' "Ambiblitheriticous " 'I haven't any money on me, but stick around and we'll borrow some together'."

A Poem from PuzUt consists of the "last lines" from what is now a lost work which were published in Wambly Bald, "Lincoln Gillespie, Jr.," The Paris' Tribune, May 5, 1931, reprinted in The Left Bank Revisited: Selections from the Paris Tribune 1917­1934, ed. Hugh Ford (University Park and London: Pennsylvania State University Press, 1972), p. 87.

Readie­Soundpiece was originally published in Readies for Bob Brown's Machine, ed. Robert Carlton Brown (Cagnes­sur­Mer: Roving Eye Press, 1931), pp. 83­90. Reprinted in Americans Abroad: An Anthology, ed. Peter Neagoe (The Hague [Holland]: Servire Press, 1932), pp. 168­74. Gillespie's LETTER (p. 121) to Bob Brown, dated Tuz [1931], requests that Brown forward his (Gillespie's "Talkie," presumably "Readie­Soundpiece," to Peter Neagfie for publication in Americans Abroad. Although it is possible to assume that Brown forwarded the manuscript for "Readie­Soundpiece," there is no indication that variants in R (reprint) constitute corrections upon OP

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(original publication). However, where several of the variants seem to yield themselves more readily to the sense, they are bracketed into the text, and in all such cases the relation between text of OP and R is registered in TN {Textual Notes). Those variants which do not yield themselves readily to the sense, excepting obvious typographer's errors, are listed in TN. All additional corrections are bracketed into text and their relation to OP/R, if any. is recorded in TN. As no manuscript survives, we cannot know that the criterion of sense for the best of two readings has yielded merely a choice between two typographer's errors, 1. Hilaire Hiler. "came to France ten years ago He was (judging from his paintings) very much amused by the great French scene. The little bistrots and their clients, the life in the French seaports, the funny little streets, the wine and wood merchants....

..L'Homme au Chat.. .is a good example of how skillfully he handles his pigments. Oporto, and Pris de la Frontiire Portugaise, are the fruits of a trip to the Iberian peninsula last summer. His 14 Juillei is as good a canvas of French life as we have seen in a long time. "Hiler is not a 'school' artist, which may explain his freedom from any accepted style. Following three years' attendance at the University of Pennsylvania, he entered the Philadelphia Academy but he left after three days. And he has been doing lithographs, paintings, gouaches and drawings ever since — after his own fashion. "During the past few years, Hiler has been amusing himself decorating some of the little night clubs about Paris. The novel interiors of the College Inn, the Jungle and the Jockey are his. And in his spare time, he is writing and illustrating a comprehensive history of costumes." (Louis Atlas, "Hilaire Hiler's Paintings," The Paris Tribune. December 8, 1927, reprinted in The Left Bank Revisited: Selections from the Paris Tribune I9I7­1934, ed. Hugh Ford [University Park and London: Pennsylvania State University Press, 1972], pp. 202­203.) Also, see reproduction of Hiler's painting "My Theory," transition. No. 14 (Fall 1928); and 12! 14 [1930], LETTERS, p. 118. 2. R. opens parenthesis. 3. OP: chacinio. R: crescinto. 4. R: backsTage. 5. OP and R leave parenthesis open. 6. R: impersonapjrichi^ 7. OP repeats — R does not — element descrip. Neither OP nor R opens

parenthesis. 8. OP opens parenthesis but does not close it; R neither opens nor closes it. 9. R: sodge. R: bassonotes. 10. OP leaves parenthesis open, R closes it. 11. R: airyaplane.

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12. OP: post. R: pots. 13. OP: deiverted. R: diverted. 14. R employs sign < > below cluster snapabruptakescharge. 15. OP reverses inverted commas, R obverts them. 16. OP appears to carry period, R carries it. 17. OP reverses inverted commas, R obverts them. 18. OP: saiisfahting. R: satisfakting. 19. R obverts inverted commas. 20. R shows inverted commas instead of double exclamation points. 21. R: Spirilecherality. 22. OP: Willa­ft Death. R: IVillafiDeath. 23. OP: oup. R: up. • 24. R obverts inverted commas. 25. R obverts inverted commas. 26. OP shows line­space succeeding line, R does not. 27. R shows four exclamation points, and phrase is preceded by symbol < > and lowered into half­line­space. 28. OP: hancluth. R: hanclutch. 29. R obverts inverted commas. 30. R shows single pair of inverted commas.

Readievices was originally published in Readies for Bob Brown's Machine, ed. Robert Carlton Brown (Cagnes­sur­Mer: Roving Eye Press, 1931), pp. 91­92. 1. John Rodker. his article, "The Word Structure of Work in Progress," appears in transition. No. 14 (Fall 1928), 229­232. He founds Ovid Press in 1919 and Casanova Editions. His Collected Poems are published by Hours Press, 1930.

Device­Contribs to fVRitext & WRiteFor'm. This autograph "note," previously unpublished and signed "A.L. Gillespie jr. / Cagnes s/mer / Feb. /9i2," was among the letters to Bob Brown in the Philip Kaplan Collection, Morris Library, Southern Illinois University at Carbondale. However, instead of a salutation or heading there is a title, underlined, centered, carrying a period, at the top of the page. Between the first and second paragraphs, and between the second and third, there are typographer's symbols for space ti. Given the analytical quality of the writing and that the content is specifically related to "Readie­Soundpiece," which appeared in Readies for Bob Brown's Machine, ed. Robert Carlton Brown (Cagnes­sur­Mer: Roving Eye Press, 1931), it seems appropriate to include the transcription in WORKS. 1. Bob Brown: founds Roving Eye Press in 1930 and invents reading machine. The press was exclusively devoted to the publication of his own works: The Readies (Bad­Ems, 1930), Demonics (Cagnes­sur­Mer, 1931), Gems: A Cen­sored Anthology (Cagnes­sur­Mer, 1931).

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2. I450­1950\ title of Bob Brown's book (Black Sun Press. 1929), which refers to Gutenberg in arguing against printed type and for the moving type of his reading machine. Also, see Bob Brown, "The Readies," transition. No. 19­20 (June 1930), 171. 3. Ronald Firbank (1886­1926): aesthete, author of Prancing Nigger {\92A) and The Flower Beneath the Foot. 4. Gillespie's note along left margin of the second and third paragraphs.

Memory was originally published in Americans Abroad: An Anthology, ed. Peter NeagSe (The Hague [Holland]: Servire Press, 1932). 167.

Voks was originally published in transition. No. 21 (March 1932), 321­22. I. OP repeats phrase EvStress, Wot­GO­DO­now Impatience.

Pizzikats (series 2). Text is based upon original typescript found in the Gotham Book Mart, New York. It is the first of four texts: the second is entitled "Proletarreaderia Muse­Notes (scries 2)": the third, "A Purplexicon of Dissynthegrations"; the fourth, "Dissynthegration." The four texts comprise nine consecutively numbered pages, with the first page signed by the author and carrying the address (also in the same hand) "Cagnes s/mer, A.M. (Maison Nicholas) France." The entry in Gillespie's autobiographical text "Memory" (WORKS, p. 50) reads: "'29­'32 Riviera (avec Paris Jumps)," the probable dale of the four typescripts. "Pizzikats (Series 2)" was originally published in Essaying Essays: Alternative Forms of Exposition, ed. Richard Kosteianetz (New York ­ Norristown ­ Milan: Out of London Press, 1975), pp. 370­72. Original publication is based upon a typescript by Hugh Fox which contains numerous errors. 1. Hilaire Hiler. American painter; see "Readie­Soundpiece," TN. 1, p. 166. 2. Jaromir Weinberger. "Czech Composer & first European to compose Music­for­Radio." Gillespie, 12/21 [1930], LETTERS, p. 119. Also, see 72//^ [1930], p. 118, and 417139, pp. 124­26. 3. [Sir Jacob?] Epstein (1880­1959): sculptor (author of Let There Be Sculpture. 4. Walter Lowenfels­. co­founds Carrefour Press; author of Elegy on Apollinaire (Hours Press, 1930), USA with Music (Carrefour Press, 1930), Elegy in the Manner of a Requiem in Memory of D.H. Lawrence (Carrefour Press, 1932).

Proletarreaderia Muse­Notes (series 2). Text is based upon previously un­published original typescript found in the Gotham Book Mart. It is the second of four texts. See general textual note for "Pizzikats (series 2)," above. Transcription provided for autograph text of the two diagrams. 1. J. P. McEvoy: playwright? author of Show Girl in Europe. 1. Corrects open sentence.

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A Purplexicon of Dissynthegrations. Text is based upon original typescript found in the Gotham Book Mart, New York. It is the third of four texts. See general textual note for "Pizzikats (series 2)," p. 168. "A Purplexicon of Dissynthegrations" was originally published in Essaying Essays: Alternative Forms of Exposition, ed. Richard Kostelanetz (New York ­Norristown ­ Milan: Out of London Press, 1975), pp. 295­96. Original publication is based upon a typescript by Hugh Fox which contains several errors. 1. Or

Dissynthegration. Text is based upon previously unpublished original typescript found in the Gotham Book Mart, New York. It is the fourth of four texts. See general textual note for "Pizzikats (series 2)," p. 168.

Reading Modern Poetry (Thru a Trace of its Basewias) was originally published in 1933: A Year Magazine. Phila., Section One (June­December 1933), 33­35. 1. Plizz capitalized; paragraph indentation before else removed; sentence closed. 2. Corrects open sentence. 3. Corrects missing parenthesis. 4. Corrects open sentence. 5. Corrects open parenthesis. 6. Corrects open sentence. 7. Omission of paragraph indentation before cluster TSQuantSwong in conjunction with omission of punctuation after element Une's suggests a genitive relation between element and cluster, the sentence ending with parenthesis.

wOWde to COWL­oe was originally published as a Gotham Book Mart flier, 1934. Reprinted in Journal of Modern Literature. Vol. 4, No. 4 (April 1975), 782. Although the flier itself was unavailable for publication, a smudged xerox copy was. Reference in title to Malcolm Cowley, author of Exile's Return (New York: W.W. Norton & Company, Inc., 1934). 1. Last two letters of title in copy are virtually illegible. Reprint reads oe. 2. Reprint reads heimwsh. whereas copy reads heimweh.

Semantics Beginna Canneng was originally published in Iconograph. New Orleans, No. 5 (March 1942), n.pp. Text was retyped by the magazine's editor Kenneth Lawrence Beaudoin. C (retyped copy) does not seem to involve manuscript but only the unevenly inked mimeograph pages of OP (original publication). When C affords a reading where there was none at all before, it is bracketed into the text and recorded in TN {Textual Notes). When C moves from recuperation into variation, the variants are divided into those which seem

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to Yield themselves inore readily to the sense, and those whieh do not. The latter,

excepting obvious typographer's errors, are listed in bracketed into the text, and in all such cases the relation C is reeistered in TN. All other corrections are likewise bracketed "'eir relation to OP/C, if any, is recorded in TN. As the manuscript is unavailable we Cannot know thai the criterion of sense for the best of two readings has yielded

merely a choice between two errors. 1. C: connomarries. 2. C closes sentence. ^ , tw 71 3. Text for author's footnote 35 is missmg. Sec below, TN. 71.

4 C; COMMAINCING. 5. C: EYPROFEELINGUS. 6. Or COONOTES. C; CONNOTES. 7. C: Evolva greiion. 8. Third place illegible. C: any. 9. Corrects missing comma. 10. Corrects open sentence. 11. C: HOUTTerance. 12. Corrects missing comma. . d. 13 Third through thirteenth letters are typed over the element PurPassonmg. yielding, in part, C's reading nowdonasseiBipedallengumomos. 14. OP; His ' Nexiqences. C: his' Nexiquences. 15. OP transposes parenthesis and period. , , r 16. OP shows period and letter g in illuminning hold same place. C reads

comma after letter. 17. C: Structure. 18. Neither OP nor C close parenthesis. 19. C: previalousty. 20. C; advanisheing. 21. Referent for (S) unestablished. 22. Corrects open sentence. 23. Fourth place illegible. 24. Referent for (n) unestablished. 25. OP appears to yield hyphen. 26. C; on. 27. Corrects open sentence. 28. C; Snujfex. 29. Corrects )b(. 30. Author's Articles­io­Martha­Graham: works lost. 31 Fifth to ninth places in mentoriginally are illegible; C omits mentoriginally to "BIGS!")­, period corrects open sentence.

32. Corrects open sentence. 33. See author's footnote 12.

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34. Closes unit. 35. 1927 in (the Expatriate's Magazine) "TRANSITION"': "Music Starts A Geometry," WORKS, pp. 3­6. 36. Refers to GrammaffixEmpseunateness. 37. C: Faeschesty. 38. OP: B. 39. OP: re­that. [re in author's italics.) 40. Signifies contracted possessive pronoun? 41. C reads comma. 42. C: oasional. 43. OP: (Syllad'be)ScyUa!) 44. Corrects open sentence. 45. Corrects open sentence. 46. OP transposes period and parenthesis. 47. OP reverses parenthesis. 48. OP: (beside the Associal "AlliedOtherness") contextly implied). 49. C: occurs. 50. V. my PROLEX Article, "INTELLECT (vs) AINTELLECT\ work lost 51. C: flaffin. 52. Or "MVSTORD." (V author's italics.) 53. C: SYALAS. 54. Sixth place illegible. 55. C: In vitEND. 56. C: Begindicaited. Sixth place illegible and second appears to be under­scored. 57. C: purSuez. 58. C: 'Needa­StOUGH'd. 59. Fourteenth, twenty­first, terminus places are illegible. C: Sensu­CHAR­MUNE­in­A. 60. Corrects open sentence. 61. Referent unestablished. 62. Consult author's footnotes 1 and 6. 63. Corrects open sentence. 64. C: Resorte. 65. Fourth, fifth, terminus places are illegible. 66. Third place illegible. C: Soocloakal Commaincing. 67. C: Reder. 68. C: solsounny. 69. Corrects open sentence. 70. Superfluous?

71. Dot serves as symbol for footnote. C omits dot and refers text to footnote numeral 35. Beaudoin writes in an editor's note at the conclusion of C: "At the time this manuscript was presented to Iconograph for publication by A. Lincoln

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Gillespie, footnotes 36­39 were missing. He said there had been actually 39 footnotes at one time, but one memorable weekend while he was living in the Pontalba buildings with John Rose Gildea, over which 172 half pints of bourbon had been consumed, these footnotes which were the last page of manuscript had been destroyed. He went on to say that the more he thought of it he felt they were unnecessary anyway, and made no attempt to re­construct them." A brief text for footnote 37­8 exists, although 38 is not referenced in body of text; missing, in fact, are texts for footnotes 35, 36. 39. 72. Corrects missing period. 73. Corrects open sentence. 74. Corrects open sentence. 75. Corrects missing comma. 76. C supplies inverted commas. 77. Corrects open sentence. 78. C: Scaniraiion. 79. C: SYUSE. 80. Eight place illegible. C: snijlikenm. 81. C: perpeio. 82. [7?. Ellsworih?] Larsson: associated with Samuel Pessin of Milwaukee and Prairie magazine; contributor to transition. No. 4 (July 1927) and No. 5 (August 1927). 83. Or term. 84. Eight place illegible. C: a­constarchicates. 85. Text for footnote 35 missing. See above. TN. 71. 86. OP transposes parenthesis and period. 87. C: syilassend'isag. 88. OP: JIMJAMBLING (S). C: JIMJAMBUNG(S). 89. Text for footnote 36 missing. See above, TN, 71. 91. Corrects open sentence. 92. Third, fourth, terminus places illegible. C: FORM. 93. End­line shows element be. C reads end­line as be­ and head as geing. Text for footnote 39 missing. See above. TN. 71.

The Syntactic Revolution (Indu its "verbolutes") was originally published in Iconograph, New York. No. 3 (Fall 1946), 15­18. Editorial interventions were limited by the interlinear form of the text. Footnotes, however, are rearranged into proper sequence. 1. John Rose Gildea: see "Semantics Beginna Canneng," TN. 71, pp. 171­72, and "The Shaper," WORKS, p. 101. 2. Corrects open sentence. 3. Corrects open unit. Whether parenthesis should be closed at this period or the preceding one could not be ascertained. 4. Or FIRSTYM.

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5. Refers to footnote 10 {numbered 3 on page 3 in original publication)? In which case, there are two references to same footnote in text. 6. Two letters typed over each other in sixth and seventh place; in sixth, one appears to be /, the other is illegible; in seventh, one is J. the other N. 7. Or e. 8. Question mark and slash hold same place. 9. Question mark and slash hold same place. 10. Frederic Douglas­, "a wealthy patron of the arts" in Denver, who married Freda Gillespie, one of Gillespie's three sisters.

Portraicts Skulpursune was originally published in Iconograph, New York, No. 4 (Winter 1946), 12­13. Transcription is based upon mimeographic autograph text of the original publication. 1. Author's brackets. 2. Alfred Kreymborg: founds the magazine Others (1915­1919) and co­founds Broom (I92I­1924); poet and playwright, his books include Blood of Things (New York, 1920) and Manikin and Minikin (Boston, 1928); his autobiography Troubadour appeared in 1925. 3. Author's brackets.

The Shaper was originally published by Archangel Press (New York, 1948) on seven 9" x 12" cards reproducing autograph text and issued in envelope. Footnotes 1­3 on p. 97 extend footnotes 1­3 on p. 109 . John Rose Gildea (p. 101): see "Semantics Beginna Canneng," TN, 71, pp. 171­72, and "The Syntactic Revolution," WORKS, p. 86. Paul J. O'Brien (p. 105): "close friend and confidant during the last decade of Gillespie's life, and was among the bohemians who attended his funeral. O'Brien came out of the old Sinn Fein movement in Boston during the early part of the century and used to sell The Call To Reason in Scollay Square. He knew many Fenians who were active in the Easter Rising and the 1922 insurrection, and he later became a Socialist, living first in Greenwich Village and then in downtown Philadelphia." Sol J. Leon, "Abraham Lincoln Gillespie: 1895­1950," p. 203. Also, see PLATE 31. Stanley Wemyss (p. 107): journalist, bibliophile, self­taught linguist, author of The General Guide to Americana, 2 Vols., priv. publ. (Philadelphia: Milton F. Wells and Wemyss, 1944, repr. 1950); and The Languages of the World: Ancient and Modern, priv. publ. (Philadelphia: Wemyss, 1949). Also, see William Targ, "Notes on Bibliokleptomania," Carrousel for Bibliophiles (New York: Philip C. Duschnes, 1947), p. 135.

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LETTERS

All the letters are previously unpublished, and all are autographs, with the exception of the letter to Bob Brown dated JUNEFIFTEENTH[\9Zy\, which Is typed. All the letters are signed. Undated or only partly dated letters are chronologically ordered according to internal evidence. Position of headings, indentations and signatures is regularized, whereas Gillespie's spellings, capitali­zation, and punctuation are retained. Length of dashes is regularized to one em and all underlinings (single, double, triple, etc.) — are set in italics. Interlinear and marginal material are printed as part of the letter or placed in brackets at the end of the letter. Superscripts refer the reader to TN. Brackets unaccompanied by superscripts generally indicate difficult readings. Empty brackets indicate indecipherable material. For Gillespie's autograph note, signed and dated February 1932. without a heading and entitled "Device­Contribs to WRitext and WRiteFor'm," and included among the Bob Brown letters in the Philip Kaplan Collection, see WORKS, p. 49. PLATES 25­26 reproduce a facsimile of Gillespie's Happy New Year Greetirxg card­construction to Bob Brown. Because of the graphological nature of Gillespie's letter to Caresse Crosby, a facsimile of it is provided in PLATE 30. Gillespie's letters (which include the note and the card­construction) to Bob Brown are in the Philip Kaplan Collection, Morris Library, Southern Illinois University at Carbondale.The letter to (Daresse Crosby is in the Caresse Crosby Collection, Morris Library, Southern Illinois University at Carbondale. The letters to Samuel Putnam are in Princeton University Library.

Undated [1929] Probable date of letter established according to publication date of Bob Brown's book 1450­1950 (Black Sun Press, 1929). 1. Anne Aikin: lives with Gillespie for four or five years in Paris, Cagnes­sur­Mer and Nice. See Leon, p. 191. 2. 14'I9­50\ allusion to title of Bob Brown's book, 1450­1950. which refers to Gutenberg in arguing against printed type and for the moving type of his reading machine. 3. F is circled, with arrow indicating that it should be read (inserted?) between hyphen and the word or. 4. Gillespie's note along left margin of (B).

Undated [1930] Probable date of letter established according to publication date of Bob Brown's books The Readies (Bad­Ems: Roving Eye Press, 1930) and Globe­Gliding (Diessen: Roving Eye Press, 1930). 5. [r.F.] Tracy: critic, poet and short story writer; writes "Clarity in Literature"

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(WORKS, pp. 31­33) in collaboration with Gillespie. See Gillespie's LETTERS (pp. 117­18) regarding the circumstances of the collaboration. 6. [Hilaire] Hiler: American painter; see "Readie­Soundpiece," TN, 1, p. 166. 7. READIES: Bob Brown, The Readies (Bad­Ems: Roving Eye Press, 1930). 8. GlobeGliding: Bob Brown, Globe­Gliding Roving Eye Press, 1930). 9. ROVi: Roving Eye Press, founded by Bob Brown.

((WEZ)) [1930] Probable date of letter established according to publication date of Bob Brown's The Readies (Bad­Ems: Roving Eye Press, 1930). 10. 2 pomes: works lost. 11. oBirlhoMachine: Brown's reading machine.

Undated [1930?] 12. Colonies'. Hotel des Colonies, Cagnes­sur­Mer, France. 13. Author's brackets.

Friday 17th [October 1930] Princeton University Library enters date October 1930. 14. Samuel Putnam: founds The New Review (1931­1932); translates Kiki's Memoirs (Les Souvenirs de Kiki de Montparnasse) for Black Manikin Press (1930); author of Paris Was Our Mistress (New York, 1947). 15. [Wambly] Bald: columnist ("La Vie de Bohfeme") for 77ie Paris Tribune (edition of The Chicago Tribune) from c.1929­1934. See Bibliography, p. 183.

Undated [12 November 1930] Postmarked, carte postale. 16. Clarity in Lit[erature]: co­authored with Tom Tracy. WORKS, pp. 31­33.

11/30 [1930] Letterhead reads: On Borad the / Cunard / R.M.S. "Berengaria."

12/14 [1930] 17. the first (alas! our lateness) issue: refers to Samuel Putnam's magazine. The New Review, and to the article, "Clarity in Literature" (WORKS, pp. 31­33), co­authored by Tom Tracy and Gillespie. 18. Enclosure probably was article by Gillespie, now lost. 19. Punctuation regularized only here, where the period corrects the open sentence, and at the end of the paragraph, where the parenthesis is closed and the period closes the sentence. 20. [Bill and Mary] Widney: their Montparnasse apartment was a regular gathering place for artists and intellectuals. 21. [MaxweW] Bodenheim (1892­1954): prominent in bohemian circles in Chicago (1913­1923) and New York. Marries Ruth Irwin Breslow, to whom

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Gillespie previously had been married (sec below, TN. 22). Bodenheim and his third wife are found murdered in their room on the lower East Side in 1954. (See Albert Parry. Garrets and Pretenders: A History of Bohemianism in America [New York: Covici­Friede, Inc., 1933].) Poetry: Introducing Irony (1922). Against This Age (1923), Bringing Jazz (1930); novels: Crazy Man (1924), Replenishing Jessica (1925), Naked on Roller Skates im\)\ memoirs: My Life and Loves in Greenwich Village (1954). 22. Ruth Irwin Breslow: Gillespie and Breslow marry in August 1923. By December 1925, she "sued him for divorce, charging desertion" (Leon, p. 190. 23. Gillespie's note along left margin of first two paragraphs. The article to which he refers is lost.

12121 [1930] 24. my Prohibition Articled: work lost. 25. Gillespie's note along left margin of first paragraph.

12/28 [1930?] Carte postale postmarked 12/29­30/38. However, there is no (other) evidence that Gillespie was in France in 1938. In fact, the letter dated 4/7/39 refers to "these recent years in Phila."

12130 [1930?] 26. Kay [Boyle]­, contributes readie. "Change of Life," to Brown's Readies for Bob Brown's Machine (Cagnes­sur­Mer: Roving Eye Press, 1931); co­authors, with Robert McAlmon, Being Geniuses Together 1920­I930 (Garden City, New York: Doubleday and Company, Inc., 1968).

Undated [19311] Princeton University Library enters date ca. 1931? This note is appended to an equally brief note from George Antheil to Samuel Putnam. The letterhead reads: Hotel des Colonies / Cagnes­sur­Mer (A.­M.). 27. Mich[onze]: the second page of the same letter is also addressed to Putnam and signed by Michonze. It reads: "There are a few drawings and a reproduction wich is called 'Un debout, un couch6'. If you have space in the next number put it in. I'm working hard and have painted a lot of new things. The best artist down here with a wonderful mind is Hiler. The rest is bull­noise." Gregory Micfionze, Russian surrealist painter, is among the artists discussed in Francis Dickie, "Modern Montparnasse: Workshop and Playground of the Artists — Tragic Genius and Comic Commonplace. Some of Its Most Famous Present Characters," The World Today, Vol. LVIII, No. 2 (July 1931), 105­114: "Several times I have visited his [Michonze's] long narrow studio in a tumble­down house, two centuries old, off the Rue de Rennes. His pictures grip you, they give you strange emotions. Though they violate all your tastes in art, they convey

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something bizarre, a nuance for which, search though you may, you cannot find words. Here are the figures of men and women of an unreal world. Men without heads. A whole canvas of faces only that depict all the most awful in human expression" (p. 107). See textual note for PLATE 27, p. 181. 28. English'd Opera: in "A PastDoggerel Growth of the Literary Vehicle" (WORKS, pp. 20­24) Gillespie refers to it as " '22 article, 'Opera in English'." Work lost.

Tuz [1931] Probable date of letter established according to publication date of Americans Abroad: An Anthology, ed. Peter Neagde (The Hague [Holland]: Servire Press, 1932), which reprinted Gillespie's "Readie­Soundpiece" (WORKS, pp. 39­48). Letterhead reads: Le D(3me / Caf6­Bar Am^ricain / 108, Boulevard du Montparnasse / Paris, le. 29. [Peter] Neagde: author of Storm (Obelisk Press. 1932) and (Obelisk Press. 1934). 30. Talkie: "Readie­Soundpiece." WORKS, pp. 39­48. 31. [Edward] Titus: opens At the Sign of the Black Manikin bookshop in Montparnasse; founds Black Manikin Press which publishes D.H. Lawrence's Lady Chatterley's Lover in 1929 (although the book does not carry the Black Manikin imprint), and Kiki's Memoirs, the English (Samuel Putnam's) translation of Les Souvenirs de Kiki de Montparnasse, in 1930; publishes and edits This Quarter from 1929­1932; husband of Helen Rubenstein. See "Edward Titus at the Sign of the Black Manikin," Published in Paris: American and British Writers. Printers, and Publishers in Paris. 1920­1939. ed. Hugh Ford (New York: Macmillan Publishing Co.. Inc.. 1975). In "Abraham Lincoln Gillespie: 1895­1950," Leon notes that "while Gillespie was in Paris a Japanese artist. Foujite, had made a bust of him, which Gillespie favored" (p. 200). Tsuguhara Foujita (or Fujita) wrote the introduction to Les Souvenirs de Kiki de Montparnasse, and Kiki's Memoirs includes a portrait of the painter by Foujita. "Dark glimpses of it.. .what is back of the Oriental mind contemplating Western life...are unveiled in his pictures of the proletarian streets and suburbs of the great city [Paris], in his curious attempts to penetrate Christian religious mysticism, above all in his painting of women. Only his animals and flower pieces, significantly enough, are free from this underlying note of concealed criticism." B.J. Kospoth. "The Problem of Fujita." The Paris Tribune. February 8. 1925, reprinted in The Left Bank Revisited: Selections from the Paris Tribune 1917­1934, ed. Hugh Ford (University Park and London: Pennsylvania State University Press, 1972). Sisley Huddleston, Back to Montparnasse: Glimpses of Broadway in Bohemia (Philadelphia and London: J.B. Lippincott Company, 1931) contains a sketch of Foujita by Kiki and a photograph of Kiki by Man Ray. Robert McAlmon and Kay Boyle, Being Geniuses Together 1920­1930 (Garden City, New York: Doubleday and

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Company, Inc., 1968) contains a photograph of Kiki as a model taken by herself at Villefranche. 32. Cora & Rose [Brown]', write, with Bob Brown, numerous cookbooks, such as American Cooks: Practical Recipes from 48 States (New York: W.W. Norton & Company, Inc., 1940). Rose Brown co­authors, with Bob Brown, Amazing Amazons (New York: Modern Age Books, 1942).

Tuesday Night [I931J Probable date of letter established according to publication date of Bob Brown's Gems: A Censored Anthology (Cagnes­sur­Mer: Roving Eye Press, 1931). Letterhead reads: Le Ddme / Caf6 Amdricain / 108, Boulevard du Montpar­nasse / Paris, le.

Tuesday [1932] Probable date of letter established according to publication date of Bob Brown's Let There Be Beer! (New York: H. Smith & R. Haas, 1932). Philip Kaplan Collection enters date 1932? 33. Ivan Black: contributes "The Bilgewonk" to transition. No. 22 (February 1933). 34. READIES: Bob Brown, Readies for Bob Brown's Machine (Cagnes­sur­Mer: Roving Eye Press, 1931).

J U N E F I F T E E N T H [1933] Probable date of letter established according to letterhead: 1932: A Year Magazine / 721 Spruce Street / Philadelphia, Pa., U.S.A. / J. Louis Stoll­J.B. Hoptner ­ Ada Tier. 1933 originally published "Reading Modern Poetry" (WORKS, pp. 69­72).

41711939 35. I've written 4 Articles: works lost. 36. shorts: presumably short stories, lost. 37. Bracket opens parenthesis. Also, see "Antheil & Stravinsky," WORKS pp 11­14. 38. Portraicts: "Portraicts Skulpursune." WORKS, pp. 94­96.

2115 [194?] Philip Kaplan Collection enters date 194?

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JUVENILIA

With the exception of the short story entitled "The Dog Decides" and the text entitled "Prophecy," which are signed by the author, all the juvenilia is unsigned and attributed to Gillespie. The juvenilia was written from October 1911 to June 1912 when Gillespie was Editor­in­Chief of Academy Monthly \vi his senior year at Germantown Academy, Phila., Pa. "Prophecy" was written for the Germantown Academy yearbook Ye Primer when Gillespie graduated class prophet.

Editorial, Our Duly, A Plea for Aid, Football, Philo, were originally published in Academy Monthly, Vol. XXVII, No. 1 (October 1911), 5­6.

School Spirit and Our Reports were originally published in Academy Monthly, Vol. XXVn, No. 2 (November 1911), 5­6. 1. Or colon.

Christmas. An Improvement in Lessons, The Quartet, were originally published in Academy Monthly, Vol. XXVII, No. 3 (December 1911), 5­6.

Revenge. The Musical Clubs Concert, Class Dance. New Year's Resolutions, and The Dog Decides, were originally published in Academy Monthly, Vol. XXVII, No. 4 (January 1912), 5­6, 8­10. 2. OP omits quotation mark. 3. OP omits comma. 4. OP omits quotation mark. 5. OP: Interposed. 6. OP: the.

Pride, Valentine's Day, The Dance, were originally published in Academy Monthly, Vol. XXVII, No. 5 (February 1912), 5­6. 7. OP omits comma.

Spring was originally published in Academy Monthly, Vol. XXVII, No. 6 (March 1912), 5­6.

Easter was originally published in Academy Monthly, Vol. XXVII, No. 7 (April 1912), 5­6.

Class Day Honors and A Retrospect were originally published in Academy Monthly. Vol. XXVII, No. 8 (May 1912), 5­6.

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At Parting, Athleiics. Vacation, were originally published in Academy Monthly Vol. XXVII. No. 9 (June 1912), 5­6.

Prophecy was originally published in Ye Primer. 1912, pp. 26­32. 8. Superfluous period after exclamation point removed. 9. OP: A.

PLATES

Frontispiece. Previously unpublished, c. 1930. Photograph by Marty Hyman.

1. Previously unpublished, probable date 1904.

2. Line, originally published in Ye Primer, Germantown Academy, Phila., 1912, | p. 55. ' '

3. Academy Monthly Staff, originally published in Ye Primer, p. 65. ^

4. Cover. Academy Monthly. Vol. XXVII, No. 5, Germantown Academy, ! Phila., February 1912. I

5­6. Musical Clubs, originally published in Ye Primer, p. 82.

7. Captains, originally published in Ye Primer, p. 86.

8. Cricket, originally published in Ye Primer, p. 111.

9. Tennis, originally published in Ye Primer, p. 107.

10. The Class, originally published in Ye Primer, p. 17.

f* 11. Originally published in La Vie, Penn State University, 1915, p. 278.

12. Originally published in U Vie. Pcnn State University. 1916, p. 330.

13. Originally published in La Vie, Penn State University, 1916, p. 484.

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BIBLIOGRAPHY

"A.L. Gillespie, Writer, Dies: Linguist Was Leader of Paris Colony." The Evening Bulletin. September 11, 1950.

Antheil, George. Bad Boy of Music. Garden City, New York: Doubleday, Doran & Company, Inc., 1945.

Bald, Wambly. "The New Review." The Paris Tribune. April 14, 1931. The Left Bank Revisited: Selections from the Paris Tribune 1917­1934. Edited by Hugh Ford. University Park and London: Pennsylvania State University Press, 1972.

"Lincoln Gillespie, Jr." The Paris Tribune. May 5, 1931. The Left Bank Revisited: Selections from the Paris Tribune 1917­1934. Edited by Hugh Ford. University Park and London: Pennsylvania State University Press, 1972.

"Wambly Bald Meets Henry Miller." The Paris Tribune. October 14, 1931. The Left Bank Revisited: Selections from the Paris Tribune 1917­1934. Edited by Hugh Ford. University Park and London: Pennsylvania State University Press, 1972.

"A Farewell to Montparnasse." The Paris Tribune, July 25, 1933. The Left Bank Revisited: Selections from the Paris Tribune 1917­1934. Edited by Hugh Ford. University Park and London: Pennsylvania State University Press, 1972.

. "The Sweet Madness of Montparnasse." The Paris Tribune, January 1971. The Left Bank Revisited: Selections from the Paris Tribune 1917­1934. Edited by Hugh Ford. University Park and London: Pennsylvania State University Press, 1972.

Brown, Robert Carlton. The Readies. Bad­Ems: Roving Eye Press, 1930.

Connolly, Cyril. The Rock Pool New York: Atheneum, I960'.

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Cowley, Malcolm. Exile's Return: A Literary Odyssey of the I920's. Rev. ed. New York: Viking Press, 1951.

Davies, Stan G6bler. James Joyce: A Portrait of the Artist. New York: Stein & Day, 1975.

Dello Joio, Norman. Epigraph. New York: Carl Fischer, Inc., 1953.

Dickie, Francis. "Modern Montparnasse: Workshop and Play­ground of the Artists — Tragic Genius and Comic Commonplace. Some of Its Most Famous Present Charac­ters." The World Today. Vol. LVIII, No. 2 (July 1931), 104­114.

Ford, Hugh. Published in Paris: American and British Writers. Printers, Publishers in Paris, 1920­1939. New York: Mac­millan Publishing Co., Inc., 1975.

Foujita, Tsuguhara. Bust of Gillespie. Paris? ca. 1927­1932. Work lost.

Fox, Hugh. "Who Was Abraham Lincoln Gillespie?" The New York Smith: Literary News, Summer 1974, 4.

Hastings, George Starr. "Class Poem." Ye Primer. Germantown Academy, Phila., 1912, 22­25.

Hoffman, Frederick. The Twenties. New York: Viking Press, 1955.

Huddleston, Sisley. Back to Montparnasse: Glimpses of Broad­way in Bohemia. Philadelphia and London: J.B. Lippincott Company, 1931.

"Laurence Vail and Kay Boyle Wed in Simple Ceremony." The Paris Tribune. April 3, 1932. The Left Bank Revisited: Selections from the Paris Tribune 1917­1934. Edited by Hugh Ford. University Park and London: Pennsylvania State University Press, 1972.

Leon, Sol J. "A Threnody for Abraham Lincoln Gillespie (1895­1950)." Text Sound­Texts. Edited by Richard Kostelanetz. New York: William Morrow and Company, Inc., 1980.

"Link Gillespie, Writer, Dies." Philadelphia Inquirer, September 11, 1950.

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McAlmon, Robert, and Kay Boyle. Being Geniuses Together 1920­1930. Rev. and with supplementary chapters by Kay Boyle. Garden City, New York: Doubleday and Company, Inc., 1968.

McMillan, Dougald. transition: The History of a Literary Era 1927­1938. New York: George Braziller, Inc., 1976.

Pound, Ezra. PoundjJoyce: The Letters of Ezra Pound to James Joyce, with Pound's Essay on Joyce. Edited with commentary by Forrest Read. 24 Russell Square, London: Faber and Faber, 1967.

Putnam, Samuel. Paris Was Our Mistress: Memories of a Lost and Found Generation. New York: Viking Press, 1947.

Wegefarth, Channing L. "Censor's Speech." Ye Primer. German­town Academy, Phila., 1912, 35­38.

Wickes, George. Americans in Paris. Garden City, New York: Doubleday and Company, Inc., 1969.

Zaniello, Thomas A. "The Thirteenth Disciple of James Joyce: Abraham Lincoln Gillespie." Journal of Modern Literature. Vol. 7, No. 1 (February 1979), 51­61.

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ABRAHAM LINCOLN GILLESPIE: 1895­1950

Ring the glad tidings of the mind! Sound the locsin of reason, the big bell of the mind! All the different shades of the brain will pass before you in a review of all the kinds of reason. Now! Everyone sing after me!

Velimir Khlebnikov, Zangezi

Ex! Exex! Exexex! COMMUNICATED. James Joyce. Finnegans Wake

"Tis­ohly­a­dreim, ­ Mevanwy" Kreymborg piyrch­theavor sleyrtoneman Nobleo tears, lempchyrian ksong, styspalieol mime Worcdsomng

A.L. Gillespie, Maurice Evans

Discoursing before the era of the talk show and tape recorder, Abraham Lincoln Gillespie's spontaneous conversation survives uncertainly in the memory of his contemporaries. But where apparently incessant verbal speculation was transformed into deliberative poetry, essays and prose, it lives as a stubborn rebuke to standard models of communication and ingenious craftsman­ship. Intermittent references to Gillespie in the current literature on the twenties show that he is still remembered, though superficially, as an Ur Bohemian with a strange linguistic method, whose talent was for living rather than art. George Antheil's chapter in Bad Boy Of Music^ is still the best portrait of Gillespie in print; but though it is sympathetic to him as a human being it avoids the

^George Antheil, Bad Boy of Music {G&tAtn City, New York: Doubleday, 1945), pp. 156­

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larger question of his merit as a writer. !n Being Geniuses Together^ the late Robert McAlmon encourages the myth that Gillespie was bizarre in appearance and makes a pedestrian effort to re­create his cogitative language. Of the three expatriate Americans, only Samuel Putnam, in Paris Was Our Mistress^

­moves beyond mythification. Nor has Gillespie been seriously remembered by either Gil Orlovitz or Cyril Connolly, two contemporary novelists: Orlovitz's fee Never F* contains a caricature of a bisexual expatriate, with little or no talent save for talk, cadging food and drink and smiting the bourgeois in the pocket­book, who has returned to the ancestral city; and Connolly, in his novel The Rock Pool,^ set in the French Riviera and published in the mid­thirties, writes journalistically accurate paragraphs describing Gillespie's tactics in coaxing meals from cafe proprietors. The following is a factual account of Gillespie's life, based on the recollections and reminiscences of his contemporaries, all of whom have either never read his scattered work or have forgotten it almost completely. Abraham Lincoln Gillespie, Jr. was born in South Philadelphia's Twenty­Sixth Ward on June 11, 1895 to Abrham Lincoln Gillespie, Sr. and Lillie Bendix. His father was a plumbing contractor whose business was located at 622 South Broad Street. The South Philadelphia of the early 1900's was stilt a habitat for older Anglo­Saxon families, but Eastern European and Italian immigrants were settling there in increasing numbers. By 1905 the Gillespies, responding to the growth of the immigrant population and an urge for upward mobility, moved to the more exclusive

^Kay Boyle and Robert McAlmon. flefng Geniuses Together. 1920­1930. Rev. and with supplementary chapters by Kay Boyle (Garden City, New York: Doubleday, 1968). p. 310.

^Samuel Putnam, Paris Was Our Mistress: Memoirs Of A Lost and Found Generation (New York; Viking, 1947), p. 224.

*Gil Orlovitz, Ice Never F (London; Gaidar and Boyar$, 1970). pp. 182­93.

®Cyril Connolly, The Rock Poo/(New York: Aiheneum. 1968), pp. 76­77.

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residential Germantown section and settled in a large three­story stone house at 332 Manheim Street. The house was built around 1860 and still stands, with a brown porch and large yard, in a neighborhood that is now largely black with a mixture of younger whites, some of them students. Lincoln, as he was customarily known, was one of five children. There was a brother, John; two older sisters, Freda and Kathryn; and a younger sister, Isabel. The Gillespies are remembered as a rather conventional Quaker family, not rich but fairly pros­perous; among their neighbors on Manheim Street were the Powells, a wealthy shipbuilding family, and William Fulton Kurtz, a president of the First Pennsylvania Bank. With the single exception of Freda, the Gillespies were never sympathetic with Lincoln's unconventional life style or his writing ambitions. Although he resembled his father, temperamentally Lincoln seemed closest to Freda, who later married Frederic Douglas, a wealthy patron of the arts, and moved to Denver. The friction between Lincoln and his family, and, in particular, between him and his brother, John, seems to have lasted throughout his life; at the funeral Gillespie's center city friends stood apart from members of the family. There was nothing outwardly in Gillespie's student years that pointed toward the events that were to follow. He is remembered as an honor student at Germantown Academy, a private school located in a fairly exclusive section of the city. Early school pictures show a young suburban American, rather slender, one of many who were being groomed for a professional career, a comfortable life and a substantial contribution to the alumni fund. He entered Germantown Academy in 1904 and graduated in the Class of 1912. He was Class Prophet, Editor­in­Chief of the Academy Monthly, a prize essayist and debator, and a member of the tennis team. Active in the Mandolin Club as a guitarist and with the Glee Club and School Quartet, these interests were to continue throughout his life. From 1912 to spring of 1915, Gillespie attended Pennsylvania State University, in the first two years as an electrochemical engineering student, switching to Liberal Arts in his third. In

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August 1915 he transferred from the State University and enrolled as a member of the Sophomore Class in the Faculty of Arts and Sciences, University of Pennsylvania. He was admitted into the College Courses For Teachers subdivision, and was dismissed from the University by the Executive Committee in June 1916. No reason was given for this action, but his college advisor was an Assistant Professor of Greek and Gillespie was excessively absent from his class. He enrolled at nearby Haver­ford College in September 1917, where, within a General Science course, he continued to concentrate in English literature and began to take courses in French and Spanish "for a business career or for literary work." In February 1918 he returned to the University of Pennsylvania and finally graduated with the Class of June 1918 with a B.S. in College Courses For Teachers. The five years that followed his graduation were to see him attempt, unsuccessfully, to conform both as a breadwinner and a married man. Dismissing acadmic gentility and protocol, Gillespie sought ideological controversy. Joseph Cottier, a retired Philadelphia school teacher and biographer, remembers Gillespie during a Ludwig Lewisohn lecture on German Expressionism in 1924 arguing vehemently for Shakespeare as the first real expressionist. Like his teaching career Gillespie's marriage was brief. He became an instructor in French and Spanish at the West Philadelphia High School For Boys. In August 1923, after a long friendship, Gillespie, who was then twenty­eight years old and had been transferred to the South Philadelphia High School For Boys, and Ruth Irwin Breslow, who was nineteen years old and an orphan who had been living with her grandmother in North Philadelphia, eloped and were married in New York City. But by February 1924 he had stopped teaching at the high school and by the summer he was in George Antheil's Left Bank apartment as a single guest,® supported by a family stipend. By December 1925, while he was still overseas, Ruth Breslow Gillespie had sued him for divorce, charging desertion.

g Antheil, op. cit., p. 156.

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On August 16, 1920, not long after he had begun his teaching career Gillespie was involved in a serious automobile accident which impaired his vision, giving him the cross­eyed aspect that both Antheil and McAlmon mention in their reminiscences; permanently injured his left leg; and which, according to many who knew him, considerably altered his personality. William C. Blood's widow remembers that her husband, who had also attended Germantown Academy and who was the owner and driver of the automobile which had been overturned by a car that had abruptly shot out of a street, always felt guilty about the accident because he believed that it had changed Gillespie's character, transforming him from a stable school teacher into an erratic bohemian. Gillespie's deteriorating marriage, his crucial decision to leave school­teaching and make a creative assertion, the lingering metabolic effects of this earlier accident, the diabetic condition that had already surfaced and may have been a side effect of the accident, and incipient alcoholism may have combined to give him the intensity that so many acquaintances remember him for. Gillespie's period of expatriation began in 1924 and ended in 1932. There is some evidence that he returned to the United States at least once during that time/ Harry Fuiman, a Philadelphia lawyer who knew Gillespie well during the twenties, remembers consulting with him on passport matters circa 1926­27 and recalls that he returned to Paris with Anne Atkin who lived with him for four or five years in Paris, Cagnes­sur­Mer and Nice. Mrs. Verna Herbest, who worked briefly as an art critic for the New York Herald Tribune's Paris edition, remembers that in 1927­28 Gillespie would frequent The Dome and other Left Bank cafes, and recalls that he would compare himself favorably with

Mrs. Blanche Alexander, who moved in Gillespie's orbit during the twenties, remembers that his Philadelphia friends helped finance his first ocean crossing in 1924 and that he returned to Philadelphia in 1926 with a copy of Ulysses. She also calls Gillespie's marriage to Ruth Irwin Breslow an act of gallantry on his part and an insignificant episode in his life, noting that Ms. Breslow had other personal involvements and no real intellectual interests. From a personal interview with Mrs. Alexander at the Beaver Hill Apartments, Jenkintown, Pa., January 1977.

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Joyce and Shakespeare on the ground that he telescoped more drastically than they did. Even toward the end of his life when he was all but swallowed .fay obscurity, Gillespie, m his rare social appearances, would draw himself up suddenly and announce: "Of course you know I'm the greatest writer in the world!" By 1929 Gillespie had shifted from Paris to Cagnes­sur­Mer on the Riviera where he became active in a small colony of American and European expatriates. Antheil's chapter in Bad Boy Of Music.^ "La Vie de la Boheme," is the longest segment of any book which makes reference to Gillespie and promptly became a bible to his small coterie of friends and admirers. These anecdotes taken together with Samuel Putnam's in Paris Was Our Mistress give a fair picture of Gillespie's enterprise and ingenuity when it came to cracking the middle class code and ensuring both his survival and that of his friends. Antheil's sketch, like Robert McAlmon's passing snapshot in Being Geniuses Together, is generous but misleading, however, presenting Gillespie as a "character," a genial rogue, a man who had no malice in him and could not comprehend money or the idea of private property; the composer shows almost no understanding of his friend's more serious mind: his work, his speculations about language, his views on literature and art. All the more surprising because Antheil. like Gillespie, began his work in music as a modernist. But whereas he retreated into traditionalism, Gillespie worked doggedly, quietly and, toward the end of his life, anonymously, to develop a challenging aesthetics. This description of Gillespie's strange stone house at Cagnes­sur­Mer typifies Antheil's concerns: "Outside nothing, but inside accumulated into the maddest atmosphere into which a human being has ever stepped. The artists who from time to time Linkey had housed, had decorated it, their imagination exceeding the limits of any surrealist or non­surrealist; for instance, in one room they had attached the furniture to the ceiling, it was the 'dance hair. Another room's otherwise white plaster was decorated al

®Antheil, op. cii., pp. 156­64.

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fresco with pictures no cabaret of my acquaintance could ever boast without police interference."® The physical exploits he fondly recalls but the linguistic exploits he politely brushes aside. Reading between Antheil's lines one senses that he took a condescending view of his friend's verbal behavior. He mentions, as does McAlmon, the significant fact that Gillespie could speak the way he wrote without effort. He quotes directly from Gillespie's essay "Antheil and Stravinsky,"^® and then miscalls it conversation." He does not attempt explication or clarification, beyond the comment that you cannot read his work with understanding until you solve his grammar, though Gillespie must certainly have spoken often to him about his work. And he tells us that young Gillespie in 1924 wanted to rival Ulysses,an attitude that he dropped in his maturity. Robert McAlmon joins Antheil and Henry Miller^® in remem­bering that Gillespie could use his idiosyncratic language at will in casual social conversation. In Being Geniuses Together he depicts Line as still another eccentric with literary pretensions. No sooner was Gillespie introduced to McAlmon, who had once moved in the Joycean orbit, than he said to him: "I am Lincoln Gillespie and find you the only form packing, symbol realisticator, tuck­functioning moderncompactly."^'^ On the other hand, Samuel Putnam, who knew Gillespie in Paris, Greenwich Village and Philadelphia, and who was an integral part of the expatriate literary scene in the late twenties and early thirties, notes that Eugene Jolas was genuinely excited when he first discovered Gillespie's idiosyncratic work in 1927: "With his highly personal

^Antheil, op. cit., p. 158.

^°A.L. Gillespie, "Antheil and Stravinski," transition. No. 13 (Summer 1928), 142.

Antheil, op. cit., p. 161.

12 Antheil, op. cit., p. 158.

IS * " Henry Miller, personal correspondence, Pacific Palisades, California, August 28, 1975.

14 Boyle and McAlmon, op. cit., p. 310.

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verbal experimentations which had in them no little of the psychotic, Gillespie was to become one of transition's more sensational exhibits. It was undoubtedly the linguistic aspect that appealed to Jolas, who was soon to announce his revolutionary theories with regard to language, and there were others as well

"who saw in Gillespie's ppose something more than an affectation or a psychosis."^® Putnam further recalls that Kay Boyle and her friends in Germany were very interested in Gillespie's linguistic expression in the late twenties and early thirties, though his source for that impression was Gillespie himself.^® Gillespie came to transition, never as a featured contributor but always as a respected one, when the magazine was relatively young. The first issue came out in 1926 when The Little Review was in decline. By November 1927 Gillespie's first essay "Music Starts A Geometry"" had appeared and he continued to contribute with some consistency until March 1932. In the fall of 1928 Gillespie was one of several Americans contributing to the transition symposium: "Why do Americans Live in Europe?"^® But by 1934 transition seems to have become more ornate and academic, despite the presence of Joyce's work in its pages. By this time Gillespie was back home in Philadelphia's Washington Square. The impact of the depression was to force Gillespie home sooner than some of his contemporaries but he returned to America

^®Putnam, op. cii.. p. 224. 16 Kay Boyle, personal correspondence, San Francisco, California. April 5, 1976. Kay Boyle writes from San Francisco that while she valued Gillespie as a friend, she was not interested in his work as such. She adds that his personal letters, which were written in the same style as his poetry, had meaning but his work did not for her. Kay Boyle was with Gillespie one of the sixteen signers of the famous transition (No. 16­17, June 1929} Proclamation. [Kay Boyle also writes that Gillespie's letters were among her papers which were all lost during the German occupation of Prance. Personal correspondence. Cottage Grove, Oregon, January 15, 1981. Ed. note.} 17

A.L. Gillespie, "Music Starts A Geometry," transition. No. 8 (November 1927). I S Gillespie's contribution to the symposium was entitled "Expatracination." traruition,' No. 14 (Fall 1928), 103­105.

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unwillingly. The social malaise that Samuel Putnam expresses in Paris Was Our Mistress was not part of Gillespie's psyche; for him the homeward pull was a cattle call.^® A valuable glimpse of Gillespie as he was toward the close of his expatriation and the years that followed is afforded by Sam Heller, a veteran Philadelphia painter and entrepreneur. Heller is among those who view Gillespie as an unfulfilled talent of large potential and he does something to clarify Gillespie's reaction to the Old Left. "Line Gillespie was part of the crowd. I first met him in 1924 and then again in the thirties when we were both involved in the New Theater group, which amounted in those years to an offshoot of the Communist Party. The Party had organized Tractions' which were supposed to activate artists and intellectuals. Gillespie came around as a poet and may have done some acting. Through the New Theater group he came to know Clifford Odets and also Harry Kurnitz, who later went to Hollywood to write the Thin Man scripts. "I saw Line Gillespie in Paris in 1931. I always thought him very talented, an extremely capable critic who liked to help his contemporaries with suggestions; he was not interested in self­containment and discipline and began to see himself as an influence. Rather than apply himself he would go off on drinking binges with Arthur B. Carles, a Philadelphia painter who taught at the Pennsylvania Academy of Fine Arts until he was fired for his avant garde convictions. "When Gillespie was under the influence of liquor his humor was dry and sharp. He had tremendous wit and a marvelous command of language. I met James Joyce through him at the Cafe Du Dome. I remember that Joyce drove up in a Rolls Royce.It was 1931 and he was in the money. Gillespie seemed on friendly terms with Joyce but they kept their conversation light. I seem to remember their talking about a show or some singers who were studying voice. Gillespie also knew Ezra Pound and had

^®A.L. Gillespie, "wOWde to COWL­oe," Journal of Modern Literature. Vol. 4, No. 4 (April 1975), 782.

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become friendly with the brother of Gene Tunney, a young man who was trying to find himself and who would take on fights in Southern France for five dollars a throw. "Line would not accept the idea of knocking out a poem, a story or a play. He would never accept the idea of being a craftsman. He was too inventive; he would not settle for the accepted. His whole life was non­conformist. Though he seems to have located himself in Left Wing Bohemia, Gillespie never became a political activist. He saw in left wing groups an opportunity for communicating with intellectuals, some of whom were involved in the arts. At home in France, he became an exile in Philadelphia; and in his domestic expatriation he sought out the company of political radicals, with whom he could not agree aesthetically. "Gillespie wasn't the type who would parade on May Day," Heller recalls. "He was always close to political activists but never became part of any political body. He was not a member of the John Reed Club because he was never involved enough to go out to sell the Daily Worker or help organize workers' cells. He would never attend classes in dialectics but would always show up at parties. Yet, he was for the masses, he was for the working man. He sympathized with the class struggle but was not part of its essence." Depressed Philadelphia's closest approximation to a Left Bank cafe was a Horn and Hardart cafeteria, known to the local underground as "The Heel," which stood in the early thirties across from the Academy of Music. David Madison, who became the Philadelphia Orchestra's associate concertmaster in 1940, ' remembers Line Gillespie as a literary philosopher and conversa­tionalist,. thoroughly at home there. He recalls that ,Harry K u r n i t z , w h o w a s s o o n t o b e c o m e a H o l l y w o o d s c r i p t w r i t e r , a ' ' playwright and friend of George Antheil, knew Gillespie well although his own career was in sharp contrast to Gillespie's uncompromising and increasingly unrecognized literary activities.

^'^Samuel S. Heller, personal interview at his Philadelphia studio, 2037 Delancey Street. December 18, 1974.

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In 1936 Kurnitz left Philadelphia and went to Hollywood on a seven year contract awarded him by MGM. He was eventually to write scripts for such films as Once More With Feeling, based on his memories of Leopold Stokowski, Eugene Ormandy and Fritz Reiner, and Shot in the Dark, which became a Peter Seller's film. The fact that Gillespie could remain friends with commercialized talents like Kurnitz and mainstream playwrights like Odets attests, to his wide range of capacities, his incessant concern with the art of writing and his persuasiveness as a language speculator at "The Heel." Following his return to Philadelphia, Gillespie entered the literary life of the city. The monthly family remittance continued to sustain him although generosity and alcoholism combined to deplete it. Social consciousness, the political militancy of the American working class, the consolidation of Stalinism within the Soviet Union and the rise of European Fascism were important to Gillespie but the politicized literary circles were not interested in Gillespie's particular verbal speculations and supposed herme­ticism. In an effort to break through the isolation Gillespie made frequent trips to Greenwich Village, where he occasionally lived for short periods of time and frequently met with the writers, painters and musicians of Jiis Paris and Riviera days. When Gillespie returned from Paris to his native city in the winter of 1932­33, he moved first to the Old John Singer house located on South Seventh Street near Washington Square; and then moved constantly, restlessly from one apartment to another, all of them in the city's Washington Square section. The "ginginabu­lations of the glasses, glasses, glasses"^^ made Philadelphia more tolerable. He frequented gatherings yet ordinary social com­munication did not interest him. Occasionally he would dance, though he wasn't always sure of his legs, and rarely he would recite his own poetry. Among Gillespie's local literary acquain­tances were Richard Aldridge, a poet and scholar who eventually

21 "ginginabulations..is Gillespie's own phrase as recalled by Maxwell Whiteman in a personal interview, Philadelphia, November 4, 1974.

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left for the Himalayas; H. H. Horowitz, a writer and bookstore proprietor who died relatively young; Bill Kozlenko, who began as a music critic for the local press, went to New York to edit an intellectual magazine titled Europa and evenmally to Hollywood, where he became a writer of fiction, a TV editor and an editor of one­act play anthologies. Lou Jacobs, a film historian and critic who wrote The Rise of American Cinema and was a con­temporary of Gillespie's, observes that in the twenties and early thirties Gillespie did not seem to be aware of film culture, which only began to develop in Philadelphia during the thirties. Philadelphia did have a literary culture, with an underground, and a crystallizing radical wing. One of Gillespie's contemporaries and a fellow Philadelphian was the late Harry Alan PoUmkin, whose occasional poems and film criticism were also published in transition. Potamkin returned to the States from Paris in the early thirties with a leftist orientation. When the staid Nine O'clock Club, a Philadelphia literary group, fragmented m the early depression years Potamkin gathered some remnants to­gether and in 1931 he formed a local chapter of the John Reed Club Located at 136 South Eighth Street, the John Reed Club published several issues of Red Pen and Left Review but went out of business in 1936. Gillespie never joined the Club but attended meetings frequently and submitted manuscripts for publication. The Potamkin group saw an emerging proletariat as the most significant fact that American writers had to confront in the thirties, but Gillespie would argue a formalist aesthetic line descended from the twenties. In the years 1935­36 Gillespie wanted to participate in the local WPA Writers' Project but neither his tweeds, his cigarette holder, his inimitable language ­nor his arrogant aesthetic stance appealed to the politicized intellectuals who dominated the project. Maxwell Whiteman, now an ethnic historian and a Union League archivist, comments on one of Gilelspie's ideological counter­attacks at the local John Reed Club: "I remember the words but not the content. He did hold the audience with his linguistic acrobatics, though. u • u­"To understand Gillespie you need to understand what nis

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contemporaries were doing. It was not so much what he himself wrote but that he belonged to a group in the twenties that was experimental in nature and had something that was never able to emerge." The Great Depression, with its breadlines, its labor unrest, its permanent unemployment, its student pacifism and its WPA projects, proved a provocative climate for Philadelphia's bohe­mian colony, which centered then around Washington Square, not far from those symbols of the literary overground — J. B. Lippincott and the Curtis Publishing Company. One focal point in the colony which developed during the thirties was the studio home of Martin Hyman, a newspaper photographer and the first cameraman whose works were exhibited at the Pennsylvania Academy of Fine Arts. Located at 919 Locust Street, the Hyman home became an intellectual, cultural and social exchange. Among the frequent visitors at the Hymans' were Gillespie, who was known superficially as a follower and friend of James Joyce; Charlie Ogle, a Philadelphia photographer and his wife, Verna, a former art critic for the Paris edition of the New York Herald Tribune; the late Harry Kapustin, a Philadelphia short story writer; the late S. Beryl Lush, a failed poet turned philanthropist­businessrpan, who became a friend of Gillespie's; Vladimir Kitchikoff, a Russian known for his caricatures, and Harry Kurnitz and Clifford Odets before their reputations were ac­quired. Writing in Philadelphia magazine, Bert MacCarry gives this description of Hilda Hyman, known during the depression years as "The Angel of Washington Square": "Hilda Hyman was properly adored by all Philadelphia bohemians who visited the home, for it was she who was responsible to a great extent for keeping the body and soul of many a starving artist together. Mrs. Hyman.. .could perform miracles with a piece of meat and a few potatoes. If a hungry man had only a few cents for a loaf of bread, he brought that and contributed it to the meal."^

22 Bert MacCarry, "Lost Bohema — Some Nostalgic Notes on Washington Square,"

Philadelphia, Vol. 33, No, 5 (May 1946), 46.

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The Hyman studio left its mark on the mtellectual life "f ci y and actually survived Pearl Harbor. However, the PO^t­World War II years nuclearized Philadelphia's Bohemia and its rem nants Mattered to Greenwich Village, to Hollywood and to the

A retired photographer whose work has been widely ^''hibited in the Philadelphia­New Jersey area, Hyman still lives with H today in Northfield. New Jersey.­ "We would meet on the roof of our home and talk about art and philosophy, he recalK The deoression had brought many Philadelphians back from Par fnd some even came'from Greenwich ViHage,. where the ren s were getting higher as non­artist types moved in. Line Gillespie showed up in 1932 and became part of the group. Line was very kindly I can remember that he was crazy about Pogo, the comic strip, and liked to talk about it. He was wonderful with children and had the ability to get down to their level. He was also goo with the people he liked. No one ever felt my photography as much as Line did." , . ^ The Hymans have an image of Gillespie on 'he move. In he throes of his frenetic residential changes, he would wind around his neck a scarf so long that it might circumscribe him twenty times and still trail on the sidewalk^ While he ^ Japanese artist, Foujite," had made a bust of h™, which Gillespie favored. Replete with strangulating scarf and bust Gillespie would pile all his belongings, which consiswd mostly o books into a pushcart and direct the movers with his cane. One of Mrs. Hyman's last memories of Gillespie was his Emi Janningsesque participation in a poetry reading at the Village Vanguard, a cellar hangout for intellectuals. "It was in 1947. Linkey sat on a chair with a spothght tramed on ] him. He was only one of several entertainers that night I wouldn . say he had a booming resonant reading voice. Linkey was no Dylan Thomas. He seemed to be reading his poetry in a casual

•Many Hyman di=d in Northfield, N=» Jersey in December 1976, leaving his widow,

Hilda. [••See ruz[1931]. TN. 31, pp. 177­78.]

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conversational tone that could hardly be heard above the tumult when the three of us walked in. The crowd, which was hardly listening, began pitching pennies at him. Line probably needed the money very badly and he couldn't have cared less for applause. Anne Heller, Bob Muchly and I found the spectacle so painful that we had to walk out." Toward the end of his life Gillespie Hved at one of Maxwell Bodenheim's Village residences for a time, an apartment owned by the fabled landlord, Stronsky, who was favored by Village artists. One of his last Village sojourns almost ended in disaster. A diabetic attack, precipitated by alcoholism, caused Gillespie's collapse and friends had to send him back to Philadelphia. It was shortly after this episode that the Gillespie family put the poet in a North Philadelphia apartment and gave him a nurse. During his final years friends remember that at parties Gillespie would keep popping cheese and bacon crumbs into his mouth to keep from blacking out and going into a diabetic coma. It is as an ailing bohemian legend and a show, a local anachronism from the Parisian and Greenwich Village days who had had it but was still unaccountably around, waiting for the end, that some contemporaries best remember Gillespie. "Line would come around every Saturday night in those years (1948 to 1950) along with artists, writers, singers and dancers," recalls Joe Zinni, a World War II photographer, a free­lance writer and a center city business man. "There was this tenor, that baritone, this scholar and that pianist. And sometimes Joe Gould would come in from Greenwich Village or Jasper Deeter would come from Hedgerow^ to put on skits for us. Line would talk knowledgeably about Gertrude Stein, who had been his neighbor in Paris, and James Joyce, whom he respected as a pioneer." The Gillespie that Zinni and others seem to remember is a bohemian stereotype who had lived through a disruptive period in our cultural history. He had been an American in Paris who had turned first into a legend and then into a curio. George Antheil

A Little Theater located in Moylan, Pa., that was nationally known during the thirties.

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and Samuel Putnam had commemorated him as an arch romantic rebel who had returned to lecture at The Heel and Greenwich Village, to drink, and to be gaped at. It is doubtful that any of Gillespie's social acquaintances during these last years of his life knew the poem "Maurice Evans," which ajspears in the winter issue of Iconograph^* as a companion piece to "Marlene Dietrich" under the collective title "Portraicts Skulpursune." An appended note tells us that Gillespie had been working on both pieces between 1941 and 1947 and a quick reading convinces us that we are no longer dealing with a poet whose aesthetics are Joycean. "Skulpursune" equals mind pursues sun or light ormeaning. Gillespie's single­minded pursuit of meaning, resutling in writing that moved far beyond conventional syntax, would not have found empathetic listeners in the social circles he resorted to in order to combat his growing physical isolation. For these party­going acquaintances his writing was not the point. They made a place for him in their lives as a living artifact who in exchange for a few drinks and a couch or floor to collapse on could furnish good incoherent conversation. Though they are kinder and somewhat more perceptive, even Antheil and Putnam have this view. On October 20, 1949 Gillespie, whose mobility had been drastically reduced by illness, made one of his last public appearances in downtown Philadelphia. Leo Rodgers, an office manager for Paramount Pictures Distributors, and Benson ' Dooling, a book reviewer for Philadelphia dailies, had arranged a special lecture appearance for Joseph Ferdinand Gould, author of the then unpublished Oral History Of Our Time. Gould had | worked on theNewYork City FederalWriters'Project during the « depression years and was one of Gillespie's close Greenwich j Village contacts. Rodgers gave Gillespie cab fare and asked him to go to Greenwich Village and come back with the featured speaker in time for the lecture, which was scheduled for the Sylvania Hotel in center city. Gillespie performed the errand

A.L.Gillcspic, "Portraicts Skulpursune (A) Maurice Evans," Iconograph, No. 4 (Winter IM6). 12.

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graciously and delivered a stirring introduction to Joe Gould's speech in his customary neologistic style. Rodgers remembers that the Gillespie introduction was better than the featured performance. During the course of the evening the literary polemics became exacerbated and Gillespie grew mildly dis­orderly. His remarks were applauded by the young people in the audience but they probably knew him as a flamboyant personality rather than as a man of letters. Eleven months later Gillespie was dead. Since unmistakable physical decline had been visible for a decade his death was not unexpected but it came abruptly. Early in September 1950 he was admitted to the University of Pennsylvania Hospital with a chronic diabetic condition and on September 10 he went into a coma. John Gillespie, who signed the death certificate and made the funeral arrangements, characteristically listed his brother's occupation as "none." Funeral services were private and burial was at the Mount Moriah Cemetery in the southwestern section of the city. Following the brief ceremony Marty Hyman walked over to the Gillespie family and lectured John on his brother's literary importance. The surviving Gillespie listened impassively and said nothing. Paul J. O'Brien had been a close friend and confidant during the last decade of Gillespie's life, and was among the bohemians who attended his burial. O'Brien came out of the old Sinn Fein movement in Boston during the early part of the century and used to sell The Call To Reason in Scollay Square. He knew many Fenians who were active in the Easter Rising and the 1922 insurrection, and he later became a Socialist, living first in Greenwich Village and then in downtown Philadelphia. O'Brien first met Gillespie at a New York City night club in the early nineteen twenties when Line was teaching Romance Languages at West Philadelphia High School. He remembers the Gillespie family as thoroughly bourgeois. "Line and 1 were very close. Line was a sweet, kind guy. He said he was going to die when he was fifty­five and he did that. Line's family had put him in the University of Pennsylvania Hospital. A couple of days before the end I phoned him and he sounded all

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right. He said he was coming over soon but the next time I saw him he was laid out at Oliver Bair's Funeral Home. Lymg there dead like that he looked like someone imitating himself. It didn't look like Line; it looked like his cousin. They had cut his stomach out and it was flat. In life Line had a pot belly. They buried him in Dar"by, I believe. "The Gillespie family never said a word to me. Maybe they thought I was the man who was giving their son the booze but it wasn't so. Line always brought the booze bottle here. "No one ever hated Line because Line never interfered with people. He had no enemies. "Toward the end of his life his family kept him in the house. They wouldn't let him out. If he went out they said they would hold up his legacy. Line never discussed his family much. When his health declined they had two nurses for him but later they transferred him to an apartment on North Broad Street where he was freer to come and go when his nurse let him. "Line wouldn't talk about his own work. He'd show it to you. He'd say, 'Here's something I want you to read'. Line wrote like he talked and talked like he wrote. He was a shorthand writer. He wrote shorthand, he thought shorthand. Often when he was talking people stood there laughing at him and grinning." Toward the end of his life Gillespie's musical horizons narrowed. He would sometimes say that George Antheil was the only composer worth listening to. Among contemporary authors he valued Joyce and Kafka most. "Line was a fine gentleman. He was always manufacturing words while he was speaking. He never stumbled in his speech. He would combine words, break them up, re­combine words and take them all apart again. I think the American expatriates thought he was cracked. He wrote letters justjhe way he talked. He was manufacturing words all the time."

^Paul J. O'Brien, personal interview at his Philadelphia residence, 2223 Spruce Street. January 7, 1975. O'Brien is now living in Dedham, Massachusetts.

^^O'Brien, ibid.

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It remained for Gillespie's sister, Freda, to think of a fitting evocation. Shortly after her brother's death Mrs. Frederic Douglas* of Denver asked the American composer, Norman Dello Joio, to write an orchestral work dedicated to his memory. Dello Joio began to work on the commission in Weston, Connecticut, where he was living at the time. The ensuing score, Epigraph, was in no sense programmatic but was shaped by impressions the composer collected from some of Gillespie's friends.^"^ The work was first performed in Denver by Saul Caston and the Denver Symphony Orchestra on January 29, 1952. On October 15, 1954, Eugene Ormandy and the Philadelphia Orchestra presented the seven­minute work to Philadelphians and it was twice performed by the Los Angeles Symphony Orchestra that same year. Since that time there have been at least thirty additional performances of Epigraph by various orchestral groups throughout the country and in 1953 the work was recorded by the American Recording Society.'^® In the recorded version Dello Joio makes this observation: "'Epigraph is musically in form a three­part song. I did not feel compelled to write a dirge­like type of music, but a music that sang, maybe roughly at times, and maybe with humor — because I suspect that is what A. Lincoln Gillespie would have wanted."

Sol J. Leon

•Freda died May 1, 1979 in Denver, Colorado. 27

Norman Dello Joio, personal correspondence, Boston University, Boston, Massa­chusetts, December 13, 1976.

28 Marked "To The Memory of A. Lincoln Gillespie," Epigraph is scored for a standard

large orchestra. The three sections are marked slow, fast, slow and are scored for two flutes, piccolo, two oboes, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, tympani, percussion, celesta, harp and strings. The work is in the style of mainstream American neoclassicism that dominated the thirties and forties and reflects the influence of Paul Hindemith with whom Dello Joio studied at Yale.

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