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ix Preface
xiii Theo-Svncopation by Richard Milazzo
163 Textual Notes
183 Bibliographv
187 Abraham Lincoln Gillespie. 1895-1950 by Sol J. Leon
The Svntactic Revolution comprises the collected writings oI
Abraham Lincoln Gillespie. All known original manuscripts,
typescripts, and publications were consulted to establish the text
Ior this the Iirst and authoritative edition oI the author's extant
Two texts, "Proletarreaderia" and "Dissynthegration," and a
construction by Gillespie, his working notes, letters, many (all, iI
student yearbook publication is discounted) oI the photographs
oI him, and the marginalia (and juvenilia, iI student yearbook
publication is discounted) are previously unpublished. The texts,
and transcriptions oI the letter entitled "Device-Contribs to
WRitext & WRiteFor'm" and oI the working notes Iound among
George Antheil's papers, are included in the section oI the book
designated WORKS; transcriptions oI the LETTERS comprise the
second section; the third section is comprised oI JUVENILIA;
Iacsimiles oI the construction, marginalia, working notes, and oI
the letter to Caresse Crosby, along with photographs oI several oI
Gillespie's contemporaries, are included with the photographs
and drawing oI 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
Iootnotes, subscripts are employed in the WORKS in order to
distinguish reIerence to textual notes Irom reIerence to Iootnotes,
allowing an unencumbered reception oI the author's texts. Thus,
while the superscripts reIer to the author's Iootnotes, all the
subscripts reIer the reader to the Textual Notes (TN) at the back
oI the book. However, in LETTERS and JUVENILIA, subscripts are
not necessary and all the superscripts reIer the reader to the
Textual Notes. Brackets unaccompanied by subscripts or super-
scripts generally indicate diIIicult readings. Empty brackets
indicate indecipherable material.
The Textual Notes are Iollowed by a Bibliographv oI writings on
Abraham Lincoln Gillespie. The book concludes with a bio-
graphical essay on Gillespie by Sol J. Leon.
With the exception oI the working notes (here simply entitled
"Notes"), "Truth Circumstance," "A Poem Irom Puzlit," "Device-
Contribs to WRitext & WRiteFor'm," and "Reading Modern
Poetry," the book contains all oI the texts (WORKS) it contained
when Out oI London Press inherited the project in 1976 Irom the
just then deIunct Something Else Press, which were the results oI
Iive years oI research and inquiry on the part oI Dick Higgins and
the editors oI 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
Iinally insured against textual errors, and Ior 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 Ior
others to enter the relentless gates oI textual experimentation
which unIold a neurological and cosmological world intentionally
Iormed into a permanently radical shape.
Acknowledgement and appreciation is expressed to the Iollowing
individuals and institutions. Francis SteloII and the Gotham
Book Mart Iurnished Iour original typescripts by Gillespie
("Pizzikats," "Proletarreaderia," "A Purplexicon oI Dissynthe-
grations, Dissynthegration"), The letters by Gillespie to Samuel
Putnam are published with permission oI Princeton University
Library. Charles Amirkhanian Iound the notes by Gillespie
among George Antheil's papers. He also discovered the Gillespie
marginalia in two issues oI Modern Music. Reade B. Nimick
provided the 1904 Germantown Academy Class picture oI
Gillespie and the issues oI Academv Monthlv containing
Gillespie's juvenilia. Sol J. Leon was instrumental in obtaining
the photographs oI Gillespie at Germantown Academy and Penn
State. He obtained the photographs oI Gillespie in his later years,
taken by Joe Zinni, courtesy Leo Rodgers; and the photographs
oI Paul J. O'Brien and Marty Hyman. The photograph oI
Gillespie on the Irontispiece is by Marty Hyman, courtesy Hilda
Hyman. Reproductions oI the drawing and oI the photographs oI
Gillespie were executed by Elsa Ruiz.
For their generous cooperation, my thanks also to Khani Begum,
Manuscripts Assistant, and Hilary Cummings, Acting Curator oI
Manuscripts, Special Collections, Morris Library, Southern
Illinois University at Carbondale; Charles H. Ness, Assistant
Dean oI Libraries, Pennsylvania State University; Reade B.
Nimick, Board oI Trustees, Germantown Academy, Fort Wash-
ington, Pa; Leon J. Stout, Head, Penn State Room, Pennsylvania
State University Libraries; Joseph H. Treyz, Director oI Librar-
ies, Memorial Library, University oI Wisconsin-Madison;
Katherine Lockwood-Vogel, Curator oI Rare Books and Special
Collections, Princeton University Library.
It is my belieI that Gillespie, had he known their eIIort to preserve
his work and known their enthusiasm Ior 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 Ior their patience, to Joseph Gross Ior his kindness, and
to Debra Satz Ior her gentle support.
August 1980
God-space broods like a pink void, spawning a jazz geometry oI
sub-atomological linguistic ultimates, electric time-yokes. The
three-dimensional illusion oI Iorm (the world) is charged with the
clash oI two parallel lines (the grandeur oI the precipitous). With
each collision in the domain oI non-Euclidean temporality mind
stumbles into a line drawn perpendicular to the diagonal oI the
Ultimates are temporal entiIications oI the precipitous. Semantic
actuality urges the vectors oI entiIication. The guardian language
impedes but cannot halt the precipitant. The extravagant
mortality subtending the vectors reciprocates the urgent, irre-
trievable sense-particles which prompt mind-utterance and
inadequate the guardian language.
The precipitant is deIlected by the entity as object oI a strict a
priori conIiguration oI vectors. The guardian language instan-
tiates the deIlection, renders the temporary linguistic substance oI
the object stationary and parallel to the posit which dominates the
entity (positive but inactual substance), and in doing so esta-
blishes the language-stature oI the entity, its extrinsic destiny
(inactual position): it reiIies the object-articulation oI the vectors.
The statural object, governed by the petriIication oI the sense-
particles, supplants the entiIic object. The statural entity postures
as such by curtailing the entiIic actuality oI the precipitant.
However, the deIlection cannot endure the voluptuous extensions
oI the precipitous. The guardian language succumbs to the
pressure exerted by the Ileeing onslaught oI sense-particles. When
they heed the particles' intemperate necessity, their hectic
implacable essence, the vectors articulate the pressure and
actualize, rather than deIlect, the entiIication, compelling the
object to Its space-moment, the negative substance oI its actual
position. The objectual entity extinguishes the positive but
inactual substance oI the posit-dominated entity, and by exacting
the im-pressures oI the sense-particles, the objectual entity
(substantiated ultimate) surmounts the inactual position (domi-
nation) oI that entity. The objectual entity (entiIic object)
transcends the statural object.
Space Iactors as void-adjective to the ephemeral destiny which
sorts the insuperable quantities oI temporal substance, including
Its most articulate entiIications (Space itselI), the deciduous
nioments oI deIlection. Essence, the void-destination, sublates the
adjective. Its negative substance occasions a geometry oI entiIic
objects whose space-moment negates the geometry oI statural
objects. Ultimates, then, are actualized negations. Semantic
`tuahty subsumes the totality oI vectors. Mortal totality
Death the wolI-Ieathered essence taunts the object-articula-
tion oI the vectors and yields the temporal entity oI Time itselI
the passing weight oI the sense-particles.
Subject to the strictures oI logico-contextual stature, the guardian
lanpage must hinder the weight oI the particles, deIend against
their I. .`-pressures; whereas mind-utterance entails their distended
motion, enables their extensions. The geometrical exaggeration oI
the object and the strictural Iorm oI the deIlectant bracket the
time-collision; this sweet mortal excess reasserts the entity as ultra
negative Iiguration. The object becomes merely the temperament
(weight oI distension) oI the objectual entity, a glittering mass oI
startled impediments. The precipitant-reciprocation oI the vectors
sustains the drastic qualities oI the object-articulation oI the
vectors. The mexpugnable motion oI this marvelous obstacle (the
object-precipitant) becomes the content oI the Iiguration. The
entity constitutes itselI as trans-spatial Iault and vanquishes the
language-destiny which guards the entiIications.
Mind-utterance is pure (unattested) in so Iar as it is peculiar to an
illimitable negation upon the guardian language. The sublated
stature oI entiIication, sanctioned by the bracketing modal Iigures
given accidentally and sumptuously through natural perception
on the one side and imperatively through rational Iorm enactment
on the other, maniIests the trans-actual content oI the negation.
Actualized entiIication claims the set oI actualized negations. The
syncopated (precipitating) context, determined by the drastic
(sudden, distended, emphatic) motions oI the obstacle (the object-
precipitant), eIIects the negation by stressing the trans-negative
Iiguration oI the sense-particles. In accordance with this peculiar
purity, speech is the catastrophic dimension oI language, theory is
the art oI theory, and Beauty is critique.
Actualized negations galvanize temporal entiIication, while the
vectors oI sublated entiIication elicit Ior the negations a synco-
pated context. The passage Irom negative substantiation and
actualization to trans-negative Iiguration graphs the negatively
substantiated actuality oI the absolute.
These processes reverse the history oI a single space-moment
which may be construed here as intuition provided that it is
accorded its Iull cognitional dignity, which is to say not merely
but also its intellectual Iigure, this (the intellectual intuition) in
seeming opposition to Kant: these processes render the thug-
ecstasy oI sense-particle Iiguration into a dazzling unbound
essence, disinterested, dimensionless and exultant. Reverse
history splits the space-moment in the case oI the objectual entity,
and ruptures the obstacle, the time-collision, in the case oI the
object-precipitant-reciprocation oI vectors, in order to precise the
concatenation oI ultimates (actualized negations). Their sundered
gravity is the syncopated context oI the entity constituted as
trans-spatial Iault. The precipitous, then, is the ceaselessly sub-
divided beat oI the absolute caught at the juncture oI ultimates as
they rush toward eriormous stringed death.
Mind-utterance externalizes the reverse unattested history oI this
unIoreseen, condensed and Iallen God. The concatenated object-
precipitant approximates the helium-lipped cranium, a tran-
scendent negative, oI the absolute. Like a para-deity, the
transcendent (the acute passing) motion oI the obstacle (per-
pendicular entiIic unbound essence) abolishes all deIlectants, all
hiero-ideation, and procures, with an awesome orange gravita-
tion-snap oI trans-rational necessity, a single bewildering
inhuman volt oI theo-syncopation. Thus, in return, the precipi-
tous grants mind-utterance the peculiar shapes and scents oI a
syncopated transcendent negative.
The nexus oI burst time-collisions which burgeon negatively Irom
externalized reverse history engenders the neo-real. Here, the
obstacle is Iinally uninterrupted; the point-thrall (the world as
such), unsustained. In this sense, the obstacle is pure (con-
tmuous), and judgment impure (discontinuous). The Iormer is the
case even where the absolute is the exhuberant death oI Iorm, and
because purity, here, is an illimitable negative. The latter is the
case not so much because actualized trans-negative Iiguration oI
sense-particles (theo-syncopation) risks judgment's exhaustibility
imaginary divinity merely obverts miracles but because
mind-utterance risks the obstacle's inexhaustibility, and as such it
is judgment itselI which exhausts the guardian language.
The continuity oI the pure obstacle is unattested and reverse, and
thereIore 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 dis-
tension is sustained. In so Iar as thesIc 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 ex-
ternalized as puce continuity.
Judgment is pure when deliberation is continuous with statural
necessity and Iunctions as vectorial guard, and impure when it is
continuous with the actuality oI the obstacle and the vectors (oI
entiIication) are unguarded and deliberated by the pure continu-
ity oI the obstacle. In actuality, judgment's pure continuity is
sustained deIlection, while its impure continuity is sustained
distension and thus resumes the pure continuity oI the obstacle.
Pure continuity oI judgment realizes itselI respectively as de-
Ilected risk and as purged temporality in relation to the obstacle
and to ultimates; impure continuity realizes itselI as sustained risk
in relation to the pure discontinuity oI the obstacle and as
semantic and entiIic actuality in relation to ultimates. Where
these externalizations are themselves deIlected and purged, they
render the continuity oI judgment pure and deIlection absolute.
Pure judgment is externalized as unsustained (deIlected and
purged) actuality, and the externalization (unsustained risk and
statural temporality) is actualized as pure (deIlective) continuity.
Impure judgment is externalized as sustained (undeIlected and
entiIic) actuality, and the externalization (sustained risk and
unguarded temporality) is actualized as impure (distensive)
Rather than purging itselI oI the (so called) illicit temporality oI
ultimates as well as purging the temporality itselI deIlections
which are in themselves impurities but which are not in Iact
imparted by the obstacle rather than Iending oII the
precipitous, judgment here reciprocates it. Judgment discontinues
Iorm enactment and the natural percept which opposes the
obstacle to it as its given Ioe, sublating itselI and interrupting the
guardian language. Sublated judgment now encounts the obstacle
not merely as (even) the illegality oI judgment itselI but within the
unguarded and entiIic continuity oI theo-syncopation. Impure
continuity oI judgment-as-obstacle (sublated judgment) discon-
tinues deIlective continuity oI judgment-as-judgment and
obstacle-as-obstacle (parallel posit-ive oI statural judgment and
statural substance which ordains inactualized ultimates) and risks,
the pure continuity oI obstacle-as-judgment (actualized judg-
ment). JucIgment Iorsakes its selI-imposed extrinsic statural
destiny and actually shapes the geometry oI the object-precipitant,
and reciprocally the obstacle shapes the reverse destiny oI
Impure judgment and the pure obstacle extend themselves
reciprocally in the essence perpending astonished deliberation
embodied in the processes (externalized actualization and actu-
alized externalization) oI reverse history; in so Iar as the essence is
unbound, it is the pure continuity oI the precipitous which educes
the neo-real, the trans-syncopated absolute.
Ultimates, Iinally, are actualized judgments. Mind-utterance, like
an obsidian sun casting shadows into the spectral ditch oI the
Unattested, discloses the distended temporality oI undeIlected
risk. The continuity oI the pure obstacle measures the concatena-
tion oI actualized judgments (ultimates). The petriIied sense-
particle, its pure (IearIul) stature, is usurped by the syncopated
sphere, by the Iorbidden (pure) continuity and perIection oI the
wager, the radiant unity oI risk itselI. This unity-as-excess-ion is
the ultra negative Iiguration oI the neo-real.
The trans-syncopated context oI the transcendent negative
imparts to judgment, to the vectorial totality oI all subsumed
models oI the Guardian Universe, the radical shapes oI the neo-
real, a Shape which exceeds itselI inexhaustibly. Semantic
actuality imparts to judgment the mortality oI the absolute. The
obstacle-as-judgment, like a blessed Iuse, like a neon cosmic rip in
brain tissue, thrives in the mortal calm oI the precipitous. Its
continuity merely banishes the world (thralldom) Irom the
world's own imponderable evidence.
Richard Milazzo
\ Whence occurred the LeaveOII? the TakeOnAgain? It has
seemed that the Intent behind 'Phonic Music was something more
than Contrapuntal manipulation oI Form-Means Ior Vocal ends;
since this sung Polyphony alone so Iinely imboded the (neces-
sarily) nicK-Spacing oI early Art, so patricianly embrood-
spawned itselI as Potential Ior later pan-Emotional` glint-runny
Iluidity. Certainly we have Music (all will agree on the up-AND-
into-Mozart) IulIilling the rigorous Induce-exactions oI a Behav-
iorism to what Purpose?? May we say, to have selI-structed
platIorm-layout Ior all Iuture intrinsic-to-Tradition Musication?
BUT, what happens???!!! This. aIter Beethoven's Iorge-
poundings had intoned a new Amaze-World oI FORM-livable`
i musical experience, the Romantic (i.e., Individualisti-Lyrismic)
enjoy-possibilities oI such were all that spine-intrenched Parloritis
cared to remember; that is, Beethoven's process oI arriving-into-
LyriAbsolutism was something too retchy Ior the now-eager-to-
I gidIlut Listeners "Give us them Sawngs, sweetly warmly!
VYVASHUSSLY!!" (one almost hears the Ior-Us cream-sweat-
ooze oI their Soul's Romantickley petule-plea). SIC, the rudi-
mentarising oI Creative attention away Irom Thought-as-Form,
I because no encouragement oI Form-as-Thought® (no applause
j Irom the mystiIied Saloners Ior any such) a Farewell-FanIare,
then, Ior the Musical Toreadors!!
point apparently unconsiderated by the Monodists. i
BEETHOVEN'S been a hard nut Ior germinal cracking Iew have done more than
more-or-less Fleely savor-remember his InIlux-into the-I-oI-us-not even ANTHEIL sole
to-date Regurge oI BEETHOVEN (iI we are permitted to omit synthe-IluIImg WAGNER)
has been able to NEO-re-use these (B's.) CRAIGian scaIIoldings.
Thus we can visualize the jawgape HeroWorship tendency
springing up in a no-Ionger-actively-KNOW-participating public,
a public Euripidee-dinto Ilatulently revering a Brahmsin Goddess
Ctrick' poetess, clept Monod6) who pettiIoggingly secures a
NEROian vise-hold on aesthetic attention, i.e., Kiss-Song-spue is
thereupon written onto the longsuIIering Piano! Resuming the
original picturization, what happened to the (TimeSpacing)
Geometry? Let*s say that Arithmetical diddle-dodder (this,
comparatively a Nursery-lapse) now obtained SKlaI-squeaking
parlor-parlance; no longer was there any horizontal make-
Equation exaction oI Feeling; only, rather, dame-boundy jumps
Irom Iirst-to-next sum-verticasements, all perpendickey Chord-
Moments in neat-succule Iiguration ZOUNDS !!! (Not that the
WhaleBlubber-OldFriend! sort oI EAR-RECOGNITION has
been outgrown, o no!!)
We implied earlier there had been platIorm-spawning, up-and-
into MOZART, which was to (could) have served as launch-
pointage Ior all oncoming musication. One wonders iI MUSIC
will take a scour-analogy-lesson Irom Philosophy, the which so
repeatedly has had to purge itselI oI much a-priori cIog-matter|.|2
What is this imperial Narcisse, MONODY? Is it, FORMly, aught
more than a baby-gurle-and-waddle species oI treacle-gagged
Phonic (usually AIa(?c/-grinny, at that) carrying on at best in
clubIoot senility, wherever its doggerel-Impute grim-Iacely
attempts Seriousness? is it more, in short, than easier thinking?
and II this Monody is actually muted Phonic,` why not
chiropract a virile Phonic?
Eh bien, a Thesis-Suggest: That our Composers regroove their
launchings in GeometRUN (Poets have an "Instinct Ior the
ArtiIicial," Limitation-liability evidently doesn't hurt Grandeur
®this obverse somewhat reveals the preoccupational order ordained by the Artist Ior
`elsewhere I have discussed the crono-sequence, Homophonic ~ Polyphonic.
or Intensity) let them cease arithmeshing EXPRESSION in
chordeasy 'pervade-squatting' and rather Iree those many
verypassing impact-masses momenting in Consciousness, to
entitically® panache-deplov their Totality in this manner
EXPRESSION (a psychophysiReality) may cocoon-seat itselI (all
that is necessary Ior and at it). Its outer Associate, FORMdeploy,
on the other hand needs conscious Tendthe-Engine! reverence
such, probably (due allowance Ior the myria-maniIold ways oI
the Ear-Mind's listen-lurking on SelI) is all the socalled Con-
scious-WILL can here hope to do, ´pas?
The inner-Expression oI all Instinct ~ Feeling ~ Emotion ~
Concept ~ Ideation must needs be exteriorised into the organised
~ organising FORM OrganiKable oI the considerated Art.® II
one but lends a moment's ear-eye-scrutiny to our Music's present
Form-OrganiK, one sees portray-adequate (i.e.,'precipit-Iull)
Compositional Breadth possible onlv thru (and as)
` Expectancy
the Overtoning coruscapers oI PHONIC the 'ODY-swimming
at best resounding but Iurther BRAY-incentive toward SelI-
Secretion Irom the any Orientals in our midst.
Further, iI only to check prevalent Bathos-Wallow in Mood-
VISC, let Composers (Ior halI aacentury, say) delete all attempt
to present Wave and Curve MOOD in Music; rather nick-
embroidering such erstwhile' cancerineUmbilicalage into skimp-
suIIice MOSAIC® (i.e., re-embroidering such back into the earlier
`implying here, that much oI each cerebrate Ideate-Moment will otherwise escape the
Enthus-drugged Consciousness.
®CROCE, "Aesthetica," Ior Iuller development oI the Expression-Precipitasis called
a halI-century oI MATH-pursue might moid-unIold Roentgen Panaceas Ior such (as-
nowadays-poked-out) plague Wasting-oI-Time.
®wherc CURVAGE but strew-collccts; RECTILINEARS Enrein the Pattern-Narrativity.
Geometry; Spherical **TRIG"® being an as-yet Quantita Incognita
to our locomote-Iestered Aspectance) into at least tidy-up sweep-
tighten Iitnessing. 1 wish Music solely incipientated in runny-
Happy Geometry, its whatever weave-pulse depict-varying only
from this geometriDynamic!!! (One advantage oI 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 incess-Iurther on the
"ineluctible modality oI the Intangible"?
`Pretense to such, by contemporaneous Instinct, has produced most oI the balloony
Languor-slime current.
(PhraseMoments illustrating Grammar-conduced-to-Horizont-
inIradigit-enunceColor Plastic
nowhere-within-Space transcendCommand Nirvana
nowhere-within-handy-Space Chinese FloatlnIinity
sweettrustmisery-Eyed hurtbyherMan-Woman
cashregisterAnnote dissemlNFO
Iragile-cleanslobber-purity Virginal
tinctburden sorrqwsweatintocheesejoy Plastic
exudeIorget lewdtalk-CourtesanPsyche
nosetweak-survivewhine American Voices
tender-regretreminiscEcho LETTU CE-crunch
shivlexist AlsoRans
Senescence' Hope-to-recover-YouthJoy, sans-Ignorlnnocence
Love Ior young girl
quasi-'Bo Mego-lntimerie Gab
chewdripMother-lipcorniceSmile Iullblowing-girls`
sewerquiet-underIlow-residue Social Acceptancy
cackvoice-putresceChina AmericanGirls-Shrill
Marmoset's peet-teeter traject
IartsootMurmurs distecho
`These two 1 call to attention as somewhat illustrating Mr. Pound's "Echo-BACK-on-
itseir possi-contrapuntal Context in Literature "monolinearity."
ashsift-oozedry-declamlmpersonal-voicechambers-Flop Aneli-
beIore Minddecree-drooIsput-leakLipsSPEAK
The inidal examples illustrate a style oI Word-Phrasing which,
attempting barely-covert continuity in minimised grammar-
sequence, could give the propagand-Urge oI Write (shortly, Talk-)
Communicate a more streetpass-PolyContact-Adequacy a
broader-gamuted JOLT-POSSIBLE, like to that given Plastic
Color by Pointillism.
The necessity oI "impressionistic" begin-the-incarceration-oI-
Grammar changes in Language-Iunctivity may seem question-
able. A Iurther step, then, is to suds a Fels-Napth at the
EXPRESS-Shirt oI precipiThinking,® commence-examining its
PhraseFront Ior WotVit-matter-how-much-the-Reader-is-Overt
Inulted bleedpleadCommunicate inhering to or as it approxi-
Implying, 3 acetyleaning WRITE-tendencies, current:
(B) DEFlimination rathan than Condensation to EyeMoods
Iavoring enhance-the-Context; StillLiIe-Emphases.
(these I have observed anyHow Irom Debussy Laze-
HTt.TPMPnij r" ? FORWARD-on-itselI Delineate, in the ByProduct-
HaltTEMPORARY-NounEntity oI capitalised Imageates within the PhraseMOVE with
`eir immediate resume-Adjectivhomaging-the-last-lmage return to the Caravanserai.
NOTE. - I wish now to vmdicate the above -Phraseds" as Iuller Apprehends than those
arriving through Iace & ears-washed! Crammarisc.
especially the CritiReact sort.
'certainly the PsychRhythm'-Ilecting PHRASE-oI-Words is Iirst digpoitit Iorcompress-
~ Pomtillise the Phrase per se. ridding it oI
- PleinAir-BROADERS (Ior any FilIull sentence ~
paragraph NEO-Unity) are rclegate-NEXTS Ior someone's WayIelt. KNOW-MORE
DEVOUT to EyeDink-MOASIC, the latter the Iguess-
(C) FillUption non-WeaveBelongs, padinteresticed skews oI
authorsSELF-OBTRUDE (v.-HEMlNGWAY's absence oI
(a broadspread IrrelevUp-startry, probably a "permit-
ted" Retrieve Ior the LossSuIIer taken up (C) below.)
anent Tendency A, Musk ~ Blubber CandyFORM soon-or-
late gets on CONTEXT'S psychophysickable nerves, ensues,
then, a SubWilled GrudgeFunct oI (C) below,
anent B, demIew Logogriphs being cut. For an exception here,
V.-Joyce's recent work, (transition)i PunPassing IMPORT-
Neo's, combining museMindBespeak with Ietirhapsic SONE-
anent C, What's been dough-clogging the sieve-process oI the
Speak-Mind, what's been shunting oII part WORDprecip oI
the original IlashsearConsciousness QUANTITY oI Images,
that polygonating Impactseries oI the was-aspected Ideation?
Surely the Psyche apprehends other than the 2'd sorts oI these
clashMeets,® other than ApplauseSeek-Impactage sirop'd in
grammar-seequenced Iledgeling-Placates!
There, possibly, we have it: The aIorementioned asyet bleed-
pleadNeed, Grammar'd communication. GRAYMAR. Academic
Bugaboo, stuIIshirt-PaunchPace-Idealiser, Nujol-Insidiate pet-
tisogging us in GET-drippy Complace-brewing HigherConsch-
Pretense lardrousing our slobAdmire oI a Mind's jello-sieving
us neat precipiseries oI 2-imaged |(|2i.e. dingle-series oI but
ONCE-impacting) line jamclashtwangs. This maybe locates the
Americo-perennial Bodenheims.3
But, can Impact-Onces halItreacle GramAIIixes, verb-conju-
cates, twixtvises, prepositions, articles, -ly's, -tion's, etc. aspect
the psyche justly? A soonglance locates all such NORM-
®Rather apprehends contrajostles oI PhotoMinim-IMPORTparticles.
cramming Expression as lullaby-WAKE Bromidick, at evo-best
semisubliTitter-Barrage same, eIIecting but Nursery-gulpgrabs oI
the involved photo-arborealising brainplay. HULME spoke oI
"every ideation, the impact oI two or more images |"|4 (ex.-HE-
RUNS, etc., through embroid-stages into recent tweakease). One
hassta ask, "Y not more PHRASE-MOMENTING 'Or-
More's"?"® Is it because our TreeHarp-scorning Kindergarten
TEACH-Minds can't-race ~ don't-permit SteNeogriphs?
As to what hasn't been precipitating through, I assert-venture that
there are 1-5 nick-Ideate particles, ImagePeerFlints grammarwise
unpresentable, even ungetatable wriggle-or-dent-IN Sculp-
Fillers oI each centrosomicant MindMoment, the which would,
given steNeoALLOW-Utterance, come through, to teemly con-
voke vraies idiographes d´intirit ideographs knit with
byProduct-Addits not only FORMstressive, also Context-so. We
have such preciclusterage in our some-alreadyGreat MUSIC.'
Why not in a much older TimesSpace-Organise, SPEECH.
As above and herein illustrated, disintegrammarising Impact-
GATHER handles my Think-AesthetiNeeds I Ieel I have
rightly thrown bureaucratic Grammar merely the hack-leIt-
One additional point The preIacing Stylisms toward phrase-
MomentUnity (the stenlDEO-or-TYPE Cluster, and similar
depictWraps-around-Personality) mark, I Ieel, a Next-tendence
in Time-tightened CommunIkspression¡.]5 The nick-particles
essay nucle-cluster in phrase-carrythru-synthesis, Context's core-
points majuscul-indexed or placed TeutoGalli-phrasely last (at
least our WRITE-Sense might proIitably be so treated, a while,
analysprawling Englishers!) such way there may be gradate-
imparted to English the runny Geomlntegritty oI a J. S. Bach.
Surely the FacetMiriaphony oI Modern LiIe clamors Ior adequacy-such.
I think oI J.S.Bach, Mozart. Beethoven. Debussy, Salie, Stravinsky, and Anthell.
1. Conversation with Hungarian Composition student, mem-
quoted Irom Marc Blitzstein, last year, Paris;
(MB) "What, you don't care Ior Modern, Ior recent
(HCS) "No.
Not Ior any oI it?!
Not even STRAVINSKY?!!
None, save Antheil."
2. Salzburg Festival, 1925. "Given the spiritual pollution
oI the superexpressionistic age, it necessarily and abruptly Iollows
that the new tendencies in art should take on a clear and
restrained objectivity. The ego the I is
ehminated, the symbols oI the switchboard and the beats oI the
powerplant Iind expression. The way to this in Music is via Igor
Stravinsky many Iollow, but do not attain him only
one does so, George Antheil, an Americain, who passes him, and
makes the whole mass oI contemporary composition this year
entirelv unimportant "
Underlinings mine, to emph-remind that the German Psyche has
never (as it presumably does in other Arts) exot-purloined its
Music Constructik, condition maybe entitling Teutbloods to such
occasionedal AbsoluteDiscludes. That makes three oI us
mine an Ear-HAFlo ViewFruct-SpanDarrive Irom (A) NYC-
Philada.'s since 1921-MusicSeason, the "representative" Im-de-
seigle MewsicKails (pardon) there splawing my musicpalate k la
guzzlingsodapopwhenwater'scravedi a delude-drown
immedlmbibeJoy Irom Stravinsky, with Y-Duty?-postreIlective
EvolceMuggies Irom the alsorans; to (B) coze-mingle Pounce-
Notions oI DynaSTART in the then Antheil's HaxatComposi-
tion, comparatively DawnGleams by the by. Incidentally it may
be addventured Ior the beneIit oI the (m)any who, looking
with their eyes, hear not` worthSEE-Hearings` are seldom
given by aughtbody, even the composer himselI. Two exceptions
auprIes these chemalgShows I know; Stravinsky's wasp-lyr-
Benevols and a Philade-'22 Happenln-MicroSalon-PianoSight-
Read-Interprexplaining, to JN and the writer, oI the Iirst
Stravinsky-scores to hit "south oI the MetropoBelt." Here
occurred almost-morenecessary Reading than the composer
himselI may've also where given. Blood tells; both the S. & A.
Mother-Iamilies are Polish "Dabrowskas."
To arg-strat, the "only one who passes him," eh? Howhere?
Structurally both polyrhythmical homophonists` twould
have been straits-diIIicult, even dischronatural Ior the Me-oI-'22
to Iail to note-believe that the younger's Tour-de-Force moment-
noticed diabolickeen clich`clickant improvislmitations oI any
Composer (usually his Remembrance-worthy) would, shortly
aIter his 7-22 sailing Ior Europe, pull Furthru an already
HomeTown theory has it, "The.. .Orchestra will always sound as well as its leader
Eyetrustable not to Mindvolupt-Eardissuade.
My nowNotion oI Rhythm's NecessLim as Kaleido-Caravan deems no Iurther Evaluate
here. 1 would only animadvert the Iollowing glintplea Ior neo-Academic Music-Schooling:
RULE-Compulsion Ior compositionists to Iirst publicise a rigorquantity oI graded-
"passing" Homophony. at least covert dissimulapes oI 5 homophonic Giants (Bach,
Mozart. Debussy, Stravinsky, Antheil Beethoven and Chopin reserved Ior ED-
secondary RemoteVeerage, as being tanj-unapt IMIT-ldeals Ior the primary psyche)
before any polyphonic '·diddle|'l2; (really, Iolks, we don't KNOW cnuI yet to tamper
larger Liablcs) be permitsprung on the jawgape heroIaithed Public QED?
hyperGenial Tend to ultimately OTHERY-scourIreed MileStone-
Composition` to IleuriIunct thereaIt, riItAware Chrysal-
OWN, indeI-5a/i5 shellacontemply equiv-wanehueing into the "5
& lO-Picture Writing" oI the sometime Stravinsky.®
A deodorous (iI ever) Comparison, tri-Iavoring AbstrEstim: take,
'cept the Oedipus, any Stravinsky Work will be Iound, in
cornuContinuum-plenty, Searchcomplexed FigMelodment, rhy-
thmically variconvulse-teaseseizing Melusication ® Ditto Antheil.
But, etc. (v. below)
But, in Stravinsky's Harmusication' occurs Hithertooze, in
normalcyairgulpings oI comparatively waneMaturity'sclutchat-
diatoneyYouthunintresting soughIrequency, Rummage-dashgid-
dy Polytonin & Aboutisms Ilotillating KeyThink- "basehug"-
ProgressionTruancies.® Contrast here Antheil's "Death oI Ma-
chines" Sontata (this, merely his Iirst uniPersonal Achieve)
in one DervFlash Arpeggio approximately three harmonic
progressions STENCE-AROME-occur, i. e., Harmonik under-
going a good EarPoint-FurthTighten.
The Iolowing may elabconvey me: Stravinsky's Harmostat Iuncts
paunch-rub Furiosity, evokes sheenspray-FlumeCLEARs;
Antheil's mechaccords sheenspray-EmeryCLEARs, i.e., Irom
`Starting chrono-with the "Death oI Machines" Sonata. Hcnceon I Iind Antheil deIinitely
past Stravinsky, this, notwithstanding the associa-GrappleHook Incredos oI several
reekcogging "Thomases."
`Anent this - Quotelnduce 1 "sometime" reserve judgment, not having heard Oedipus Rex.
®Akin to that FaithlnterestEvoke-something Unct-connecting-the-particles Iound in the
Know-speaking Voice, the Know-singing Voice, straitly in the typewriter, in the
immediComposition-SONErhapsody oI Gertrude Stein, and particularly in the Etude-
Pace-NEXTing work oI Joyce Ciransition n° 11).
'considerated here as TonalIelt PhraseTransit-AddUp ~ OBLIT ~ Ply-intoNext-
Momentage, thai Ever-ByProducess HedonFeelMemAnnoted by the SateFlux-connotive
®ln Iact, Stravinsky's use oI RecognDevices carries to a point oI minisuaging AttentPix-
Pleasure, sets up a Distresslota akin to one's banquet-receiving another richDish when a
CUT-Course is plea-expected.
Antheil I get Music's Iirst corniceNudgeOuts to FurthPeerult-
synthableSpaceMinEIim'd Aspection, tritely, a some precipavoid
oI HarMamma's ApronStrings.
WhereIore, this SuggestConclude: Is there Need oI backsaIe!-
splashdiving imo ConsoPASTease in these trumpetYourSELLF
days? I haIta Ieel that the SelISubstiPitiIunct Public likes the
Hurrah!-ANY MasochPossible in the redundbit oI "L."
inore-ne|u|rounder-startI¹immediate Momentumusels(÷Speed-
Gest & WeightLaunch & JointCoord oI Chaplin & Ath-
lamerican, t|he| MaleProoI-Dignassert-TakeCharge-Author-
ITie Demeanor ((contrast wEngtype)) ,, ((|PJistPlunjMuses))
¦(In|c|e-inU-Curvs)|)|i MALE
Europe's SmellMeshCiv h|a|s caused EURPersonality to
adaptselIinto wrigswav alors, Amers, skyKscrap-muscaIW/!!
Amer's RidicFear (trace to SelIConch ~ SexDefe[d}tism ~
TraumGuihs) has inhib'd his Thinking, aswellas ExpresselI-
Respect no keepexploriggling by his Psyche
tend MechanIorm?
Busybodies GroupFemNeuloeu/
IntellArrivistype (2nd Gen 1st born Amer child)
cant IeeldO|r|Eurinherit| | & KeeponWrigling
in NewTerrain
NewtoyIinders & SHAMeComplex
(oI Parents)
' AthletlndianDance
Amers, ONSERTW k la
Enginearing, don'trynitty
keep-on-wriggling k la Eu-
3 Conditions NessIor AmerPlastic
. tranquility, NATpain, CrowdendLivQuartez
PhlegmSpleen dishouts rite aupr`s des Fran`ais
I. (a) because in Europe I Iind MeaningScurry in tiieir
Organise-SelI-Divert hours loll here all simmer-riIe-
Expect-lush-stat, GET is less-necessary.
( b) because oI the absence oI Tight-blank Iaces here.
(European Maturity seems oI the in-touch-with-Youth-
Pulse ripe sort|.|2)
(c) Liquor-Gamme abroad somewhat breatheier.
{ d) abroad, as iI transplanted to an ideating DreamStance-
IndeI, the me-expatriate remenvisages America-the-
Spectacle, initsensing its cosmintegrality, critiIocaspect-
ing its Univeering probably Ior a Iirst time, (local Econs
are so intrude-mussuppy.)
II. the Spiritual Future oI America is not to evolve till a present
diabetes is admit ~ removed, t'wit: America's total lack oI
parent-sagacity to exprimply an especially-while-correcting-
them goodwill toward, and to cull an early admiration Irom
the children.
(The EIIectLoss into Personality is enormous!! contrast
the majority oI French Parents' Methattitude.)
THEN the American Spirit will commence-sing as naive-
direct-elimgoalpursue-clearly as its present FolkMelod
"PopularSong," Irequently as blare-Outr6Fruct-Ireely as its
dynaSaxophoneyc. NeoPolite-ObserveRigors will scourge
oII-away the become-cloyuseless oI our present SklaIMan-
ners survive-a tiII with Russian DeIeatindivid-become-
CollectiMass output, our EconGrandees will have also
residonned the surrealise raiment oI skilledlaborer-integrality
the SportSense will have been Iurthalloted into a
StreetPass-Calistheno (i.e. Fair, groove-compulsed into an
inevitaBanter-Fair we are a GoodWill-Collective will
assume social sensitude, a BodyClap-RazzCourtly deIt-
joice-skew-Apply-akin (somehow) to the Iinesse oI
France's Golden Period.
The Busybody-GoodWill will have insidAmericanized Eu-
rope (thru Dawesian EcoHighPressures, "Galette"-addvice,
constant-rub-away oI Europeans' giving in to the squarepeg-
insists oI Fringlish-voicestressing` travellers and resiDents,
spillover-maniIest oI America's Nth degree-PRODUCE-
Molochism, etc.) Semitised Russia will certainly psychYap
doubly, its individuentsremainingscorn-evadedDeIeatists,
speaking their present IlapdoodleNonDigninholdLiable'd
rushout-heedless-0-SelI!-stuII. (Russia's soon-enormous
CoIlectiOutput will yet lag indeI-behind America's shrewd-
ingeniuity'd Get-Rich-Quick-Fellers!'d individ-catalysing
III. Communism, Surrealism, Anarchism degrees oI Lyri-
Protestism since Lyrism is based in Individualism the
BureauLyrism oI C. is an obvious paradox. A.'s hysterLyr
will always ultimately grudge-pendule-reactionate, stay the
destroy-(to-begin-over)-hand (tho subjectively A.'s appli-
cable into a Recherche Ior the expression oI the Conscious-
ness betwixbeyond the Abstremities oI Thought¡)].3 S.,. a
French (psychanal-IiltIree) Try has obviously essayed to
continue "correctness," has but barely enlarged the Gamut-
Possible oI the Hithertooze-"Inadmissible" enlargers
Braque, Ernst, Michonze,4 obviously their SelI; the rest,
GoodManner'd Dada? S. lacked gutsweat adherents
collect-able to trek the toothsome oI the Psych-Running-
Down (In?) DreamStateProIIClimbs-into-Reality which
Andr6 Breton skim-the-FreudSoup-touchly impicts. Possibly
S. Iailed to posit a NeoAgonyProCreate.
`very important, since the move-Iorward stress oI English wordage is the more battle-
IV. My work veer-expresses my relation to 20thCentury Reality,
a relation I Ieel-think to be IillIuller than any hitherto
CritiCommunicLiable, i. e., mine, the necessity oI lending
consciousative LOGICATING to the AromeClashBuild-
innerising FORMTrends oI Music's MelodSyntheBuildA-
· long, the gradaccrue oI which (both delib and acciByProd)
may-will tot-add sub-et-Supra integerColIects Ior Iurthing
the Context'slmputationise; at the same time possibuilding,
in English sole language evophonically Iree enuI to do so,
SensationForms rhapsintrest ComposenuI to aesthCon-
comitate these neo-gather-imputes oI Thought, i. e., the
MarryMomelntentsity matings oI hovexpect Indeation &
Vehicle-BecomePunct. My ArticlQ {transition 12)5 delineates
the techBuild oI this.
To be presumed Times when coastbevels suIIice-Iashed the
vehicle oI the art-unity, the "theme-giving"` liIe oI preScience eras
was Iewthingsphased. Now that spirituality lush-pollute-hiber-
nates, creativity rationally expanticipates no aesth-objectiIise
*thout deLush-roughchewsing chaos-mulps oI geometreatable
current Iacetphase,
IntuitEctoPlastCatchVagues, to be boildown-choiced into High-
estCommonFactor-Entensities. The more, that polydeatic Unity
besets our nowaday, with, in TimeSpace work oI pretense-water,
en-spray-associativity. (ThoughtContextly et Musicontently) A
readers retrieve-solve to this problemSituate touching as it
does the supraspectral play-realm oI a considerable Triune
QUANTITY ~ INTENSITY ~ QUALITY - is Iound in skimp-
quick-browse-Peruse-prepsedul-racethru-Intake. (CoIIee incite-
slugs phlegm-dispose). Thusway is DemosPride` shedding its
DeIySkin. to don at-least-ScanceRaiment oI I-like-wot-knows-
me character.® Herein germ-starts oI robotemp-yet-discrimming
EsseFeel may be imbedded. For consideration:
`vis. Miss Riding's "Gertrude Stein and the New Barbarism" {transition June. "27).
i"know"l wot-I-Iike (obviously impossible outside the psych-laboratories).
3 ((like) }
Shouldn't the depict-communic Active Voice Agency be attrib-d onlv to the IdeoFeel-
Qualities Expositionatively Iructassaulting the Conscious? Attensh to "I-do" relations
certainly IendoII-cut-&-retards IMAGE-Precipivoltage-Q.I.Q. (see above).
(a) Subjective SubObjective Objective
(b) Unity Coherence Emphasis
The parallax oI (a) & (c) is an already Accepted. To estab a
birdsIeather Tend among all may we assay Coherence, demago-
gue at worst or best, to be the especial character oI Literature
(both being process-obliged to jugglpose sub-and-objective pick-
ings) that Literature,"` with artpulse Iunctly amouck twixt
Sone-organisEvers and HighPressureTheatrickLeaks, is actuelly
veer-warranting Coherence's (1) cease-docile-obeiss to an Aini-
Unity's gimme-only-icecream control-summons (2) gullabye-to-
cradleRockCommuNorms-ly give-ear-to CadetEm`hy's rumm-
agey loudtisms (these, iI, certainly stress ~ phrase-nearer
INITResponse psychAuriginals).
As instances oI such Reader-OUT-with-some-ProcesStriveGets!
transveering personalities in modern English Literature:
(A) Gerard Hopkins, "Poems" here, KidEmphy's rib-dudges
were DebussyConcern-applies into the placamediantising broth-
er. For one Iinds (1) quasiChurchChant nick-stresses eyecoying
Ear Inhale (2) WordOrder-paradoxes IormliIening the phrase-
Mome and, iI postponing Context's immedinsoak, additIurth-
glintbitting Prosod-rhythmicity.
Here, then, two important contrib-Ieatures neglamorised by those
contemporary malleators oI Language, the Poets. One only (Miss
Riding styles her a "Primitive") seems to have TakeOn-pooled the
latter device into NEXT-Exhibploitable, i.e.:
(B) Gertrude Stein's PhraseOrderParadox. Two sorts: (1) a
whereby Lend oI poetic PhraseContext to Music Ior DiVehicon-
tentise bandy-Ior FormPoss*s invigNeoBreatheHappierise (2)
Iurthrending the musicated SoneMoreIragmentate, the Once-,
ChopMomes, into petriMove-StillLiIe-interclashCubiIragmentis-
Literature, considerated here, not as Ensconce-Impart-oI-TubeSquiri-ThinkGold-in-an`'-
paiataVehiclise, rather as ReudceMintMalgWright oITinderEssenceMENT in ultrievable-
ONE MarryMomelnevitaCarriage.
ed.` (my "Iurthchop'-interp may serve to explocate the quasi-
Meteor-Ilocale oI Miss Stein's many Contextumbling divagas-
sociable shuttle-about rhapsodies.) Here, Iirstime-seem in Litera-
ture, is Iound the Iitting arrogallot to the SensationSelI, oI the
Sensate's artrightrite to nonhamply Ilapdoodleise® its own (THE
INIT-)LyrPaeanise by his now-thinking-"Well-kid-guess-its-
your-turn" truly-oI-the-InnerFolIowOrder-oI-Croce's-two-theo-
retic-ExperiLevels'd IdeationBrother. The gamme-gain alone will
have atoned Ior the now-impend-years oI mobby crhapsexploit.
Comparannototalising, Hopkins' "WordOrder-Paradoxes" are
the primergestes, cataclysweetmeats, the Tentanecessary spore-
wee GrowthStart; Miss Stein ing6nieur-analyspans a Thought-
Norm into hoverhandy-choppedparsleyspawnlay, the phrase-
quents contemplundergo Iurth shuttlecock-dissectage, Iinally
chrysallise in StillLiIe-UNaivet6, timespace-pervase at any When
oI a IormuniIied somusicality.
What then, Ior Vehiclise, this Hopkins ~ Stein tend? Shall we say
(a) the encollar-moulding oI NeoCoherePoss (b) Language's (i. e.
the i?u¸`-oI-Literature's) EmphAchieve aesthetic maturity
athru the distort-expense oI communik-sythertooze (c) the
rendering possible an equiv-inroad into ProseStatusQuo, clut-
terealm where must occur an Upheave-necessary damrush-
washoutcome, whence:
(C) James Joyce7 The contrasject Irom the above two, "Pastorals"
whose contemplaglint aspection necessarily legates MiniaLyr-
MomeQuiet to the "Ulyssian" spacestride-hypervelox-sym-
phugal, gives Ieeling oI sudden expunge into leaves-collecting
windspaces or that oI playuponstardust in astroVoidRealms.
`Every MomeSectUnity oI Miss Stein's insones the inevita-FrostPanemusication oI a
Vladimir de Pachman.
a still-young permit-grant, by the way the gyracontours will be slapstick a while To be
recalled (I) that our locomAspection is still dont-dizzy-me (2) that the SoundMarv oI great
Poetry somehowAbsolutely yet Iix-enhances the Text EarlyGeom.
SO much has been said-to-point oI Joyce that I shall try-avoid Re-itroes by checking all
tempt-me panegyrges and limiting my remarks to the Joycian VehicliseContrib.
Breath-caught clariIied then, once asks what is Joyce doing to
IomeIurth the "PastDoggerel" march oI the SoundOrganise-Lit-
Veh, oI SONE-evoke, that is. The sheer permaze oI Ulysses'
Stream-oI-Consch speaks selIoquently oI its FirstMemlmpress-
oI-Rhapsody delight-calibre, IristTwinklisms and VocSaUim-
banques abound-wooI the ContinuSemb desired. As to his
present Achieve oI "EtudePaceNexting,"® I must now back-trace.
In a 72 article, "Opera In English,2" I commented extensely`he
SoneContrib oI English: this Language's palate 'coy-Drawl-
Color'd-clankIilled gamme, its polyethnic conson-Iileage, etc.,
resulting in its unique (im-)personal DiscussDeclaim. This, then,
Joyce's Veheireditage. As to his enviraBecomeSelI one has only to
note his remarkably "conditionised" packtight supraceltic intel-
lemasspolymagery® (still lava-d6noueising Secure-indeIseemly),
Ulysses, besides apexIinishing the NovelNorm, phrasenormly
brings psych-impactity into the satisZenithRealm oI AesthOut-
Pour-IntuitPossi.`° As to its sheer SoneVariLushUncannyExact
well, most oI us can recognise Shakspere when read
unKnownst-aloud. That makes shortly another, another to have
CheIly quintessorganised EarPalateDelight. In "Work in Pro-
gress" (transition, actuelly) one observes the IurthRadex oI a
Device's insidicostal-complexivate-the-FORMIlow-oI-SoneRich-
TumbleDIsplay, in the PunPass-DuoMeans oI ince-possi-halt ~
resuming-the-CONTEXT's SetUpAdditlmpliqs-Bouquet.
Allans to Hopkins-Stein-Joyce, then, Hieraphants oI that
soleequitising RhapsiPoss-Realm oI actuality. Language A
BAS, Ior a while, the Timegrinny ToneChiaro' oI "strait" Music
rather, HERE'S TO the immeditrekadvance oI stenocrypt
Son'Oscuro, as Nonlnsuher oI AttenshVoltage!
Rhapsody, an always Necessary, oil-gush-Ieeds Lyrism, Rhapso-
as stated in my ThesisArticIe in transUion No. 12.i
`poirn Ior an Equip-shirking Age!!!
``here StillLiIe-PhraseAbrupts i~inerclash KaleidoMovie, the Iugue-paced ConscStream-
Context permitting no dance-a-polyaan-PageMome.
die groovedecence seems to be going-on onlv in WordSound-
Organise. And Lyrism's (naive-yet-) sTimeGrin must ever be
sciss-glinted intoward CryptAdequacy, in Iact this always Occurs
in lasting Composition. The Arts are compenetrating so Iar
only so-much-mutowash, iI you will yet compenetrending.
* « *
Indubitably the work oI such as Stein, Joyce and Breton show
proves that the Novel (as Literature) is thru with Ieed-my lambs!
concernments. Breton counsels what may be styled the Movie
ThrowBack-Inverse in his recommendHeroes-doubleNose-
Thumbing-Reader-&-Author Suggest. This is that ince-new'nuI
to give our Gramormers a suIIicomplex'd rewrite-Context Con-
cern. A propos nose-thumbing, "TOM JONES" does-so the
Reader, almost, one Ieel-thinks, the Author, i.e., in the upspue-
wreckimpasse-shamemoral-psychSituates which oII & on style-
Ilowsalong-outheave-present themselves (one sense-Ieels a resign-
incapac in the Author to Iurth-right-the-Hapmore-trend, that he
will leave results to the develgrind oI Process.) TO WORK
THEN, Gang, Miss Stein's & Mr. Joyce's peal clearly that the
Vehicle is now The exrudimentablising CreateConcern, a now-
yawning DisHibernial plasticklable at least. To Iurth-pursue
ThoughtContext at neglexpense oI VehiFormConcomitent will
be ludisastrous. Already two FormWrights oI Skill-Ireed-to-
breathe-HigherConschPretense calibre, they, lone Entitles to
directly race-pursue BigFishCatchings. Will there be more?
A i/e/j/`r-mention Ior those oI us engaged in tend-the-engine
Curtain, Spots show (right-leIt) raised platIorms (R) Belly Dancer
(L) Salvation Army Group; 2 Men, drum & horn; • Woman
blindIold, tambourine; mute Bus, MUSIC each
Trio, rush-posture BarberShopChord-"geUogether, TABLEAU-
Instant, lights oII.
stillmanurey AMERICA (Thanksgiving) (rear) 'ong
Table, raised 4-5 Ieet, center oI table Iacing AUDIENCE,
"GODDESS," huge, statue-austere (sit-) pedestaled; 2-6 iNai``-
ASSI STANTS s t a nd i n I r ont ; KKK' s ELK' s FEZ` KCs
TEMPLARS, etc. seated along table, both sides oI Godded
(ENTER) opposite sides, NIGGER with watermelon, WITC
with Turkey (pumpkin) jawgape-oIIer same, ASSTS. (Bus.-
Hellenic Acceptance) take to Goddess
(ENTER) 20-30 backslapping SOUTHERN "COLONELS &
PILGRIM WITCH-BURNERS (Lights, PlatIorms, reveal Gal-
lows & Iaggotted Stake) search, recogni-catch Nigger-Witch.
hoist each onto platIorm, imprison; unnoticmg, Banquet has
proceeded BALLET (CHOREO) synchronised HoipEAT-slap-
back-WASSAIL, Prisoners'cower, between mouthings dodder-
paunch GrowlFace "PlatIorm-Importance`' Irom Banqueters,
Lynch Stylises Irom SC's & PWB's, Jawgape HalI-Turns Irom
Banqueters at Speaker's VociFlourishes Iollowed, at '`ssts. plea
(G. Motionless) Ior release oI prisoners, by their Laugh-OIIs
Liberty & Assistants motionless till end, Stylismg (all) continues
step-slowed k ralenti, to Curtain; WhipCrack heard oII stage,
(ENTER) chestslapping SIMON LEGREE (whip) lockstepping
Negro CottonPickers, S. L. cracks Whip (BALLET) short Whip-
&-ShuIIle |RHYTHM, Irequent WhipSlash unexpect-irregular
Crescendo StompGathers, Niggers (SPOT) gloatspasm each
crack|i Goddess tower-rises, torch upheld, points (imperious
summons-MUSIC) Iinger at S. L., at Niggers (Hned, center,
mumbling* at herselO- S. L. jawgapes startle-Recognition, "I-
Get-Ya'-nodsalaams whip to Assts, to Goddess, cracks whip,
gleeIully! Consternation (all) War-Evoke Musicrash, 15-25 se-
conds Ilourish, youngster M6kaniK whirls Solo across stage
(ENTER) 6-8 backslapping NORTH-SOUTH GENERALS,
armsIul muskets, PWB's & SC's zip-slide-scurry-hulkgrab guns,
align, rush r. & 1. stage slowMoviePace (Bus. Shooting) mean-
while Legree giving each General a Westerner's slapback-"Haya"-
Ingratiate, slipping between escorts them DOWNstage, joins
MapConIerence (centerIront. Bus. PiIIleGestures & PaperFlap-
ping) Shooting continues same pace, only niggers Iall, S. L. takes
dice Irom pocket, explainthrowlooks, reIereely holds up North
General's hand, S.L.'s other hand absentmindedly slapback-
consoles South General, Shooting goes on, to TenPin Ialling
negroes (restand again, iI necessary)
CURTAIN (NOTE-the slowing-up Pace concurs everywhere)
(Jawgapes & SlapBacks everywhere) (P. S.) Some shooters stop
Ior "have-a-drink-cigarette"-Insist-ConIabs, etc.
Lights aIter Curtain show BellyDancer with Salv. Army Drum-
mer, observes her (BUS. specul-jawgape-Iascination) Other plat-
·at all such moments, Musics "Breaks" Ior VoiceSoneAllol.
Iorrn, other S. A. man, S. A. women (still blindIold) register as
beIore, SHORT EXPOSURE, Lights oII platIorms
SCENE II. BlindParlor ERA
(SCENE) rightleIt tapering toward Goddess' (Pedestaled center-
Rear, liIe-size) 2 stereo-bathroom-Iacade-HouseRows, 3-6 Hou-
ses, each row Ioreshortaper, back centerward, suggest Long-
RowMonotony. Lights show Solo Dancer (now ManSize ME-
KANIK) playing up to Goddess (DANCE) TemptFlirtSeduce,
Goddess wawksway-yieldstarts descending (BUS. JawGape
'Ovaryish scramb-alacrity) Irom Pedestal, wavers, restances selI
on pedestal, MUSIC-BREAK, oIIstage sawtooth SKryabinesque
murmur (APPEAR) doorways, Ladies-oI-the-House, all, like
drab Institute-Ginghams, Shoes-Hands-Epaulettes oI Iormida-
bristling ScrubBrushes (BUS) Come out, scrub door-steps neigh-
peer-imitly, sashay militantly (opposite pairs) glare-scour-align-
"straighten" each other, tendevel unwitting Nthdegree BD-SA
CakeWalkHysteria (BUS-each Scrubber, SA-austere, & Scrub-
bed, BD-giggleOII, interchange, work into Hairpull-Street-Brawl*
(ENTER) backslapping PEDLARS, bundles, cart, set-up (rear-
center) HouseLadies jawgape, caper delight-rummage
(ENTER) backslapping Curiosity-bent CROWD (late 19th Cen-
tury Costumes) jawgape, also crowd around Pedlars (BALLET-
"Sell-Buy" Hilarity Pedlars demonstrate StarchCollars-CuIIs
(BUS) 4-6 diIIident buyers, aIter meek-purchase, sadistigrab-
"collar" respective companions, each Grabber works SelI into
OrgFrenzEnthus, coaxes his "Grabs" to buy, Grabs Iidget
amoebawiggle-away I-dun-wanna DiIIidence-oI-kiss-asked-
young-girl (MUSICBellyDance-GiggleOIIs) selIhyp'd Coaxers
Iinally hypress-thrust Sell Collar-cuII outIits onto Grabs (BUS)
why-did-I-buy-this JawGape-Bewilderment, glee.* Scurry-
escapes oI sellers, slapstick group-pursuit by now-indignant
Victims (CHOREO Ilight-polydiagonals secanting Complace-
Swirls oI Crowd) Let's-all-play! (BlueDanube-HeelRockDiddy)
Burlesque impends, Music disintabrupts, intones grime-sneaky
(ENTER) "PREJUDICES" (3 groups, Reds, AesthIairies, Koon-
Kath-Kike TRIO) Crowd gives way, P's parade slowly down-
stage, posture DeIyCowers t|o|2 JawGape-Astound then RUMP!
Give 'em! oI all (3rd Rump is held)
(EXIT) P's, Rumps unknowing same crush-converge on assumed-
still-there Prejs, detonating WhipCrack (Goddess) all straighten
but (backs toward Goddess) Bellydance-rump her (moment
TABLEAU, Music holds its moment) Goddess registers puzzle-
conster-indignation, starts to recrack whip more threat-sweep-
ingly (MUSIC lunge) huge Billboard dropIalls, conceals Goddess,
"May 15," Lights (platIorms) reveal StrawHat counters, sleek-
Clerks, People stampede Ior hats (BUS. Gimme!-Hands air-slice
AciStretch-Appeal) Clerks jamboree-whizz hats onto upstretched
pleadhands, "Correctitude"-PARADE (AngloLeg-brisk Saunt-
Strides, "Have-a-Cigarette!" ConIab-gestures, etc. MUSIC into
TypewriteFussy clickpicts, chins-in-air, 2's-3's), also parading
(ENTER) many more Backslappers (3-5 OneMandummies) all
strawHats, save one, REBEL, push-edged toward PlatIorm, given
suggest-chance to buy, wont, mobbed, Kickrolled amiably
(1) MEN, hats on side, cigars jaunty, lapel-Iing goats, toe-
balance SatisIaxsh, etc.
(2) WOMEN, unwittingly BD k la Puritanne, Iolded hands,
thumbs twirl, saintly JawGape Faces
(3) CLERKS, lean over Counters, aligned, prissly creamslob-
smile, Iingcluck BD-ing Ladies
Short TABLEAU-in-Motion
(CURTAIN) Spots show both SA-Men on BD's platIorm
dancing her rhythm (other platIorm) BD-Woman (rear, kneeling
Try-Devoutness) rises, as iI wishing to embrace SA-woman
(Iorward) still blindIold, still Iacing audience, unaware oI BD-
presence or deIection oI Men. Incertitude stops BD, dynamic
Tableau, lights oII
SCENE III. Some Passings & Dawn oI NeoPolite
(TempoInevitaHorror oI LowGearWindUp, incessant)
SCENE (General Tone) ThermapeuTense Architecture, Sky-
ScrapeVertij, MechaMoloch ContourHue, Shimes Square be-
come ProleAthenian Agora, 7-11 MichelinTire-CorpMerge-
CityBoss-Capitalists (platIorms) loll back in CubiRoman-Horn-
AHardhart banquet chairs (Child-Goddess serves them drinks)
Large Telepawriting, NeoAlph-StenoCrypt-Dictamessages, seen
Iorming on blank wall oI building (Glare Ukases, MichSynods to
Populace, TeleRad 89-in-every-Home) Big Pieces oI Wood &
Steel sound Omin-Tolldin background. VisuWriting pauses,
SklaIMotiv (MUSIC sounds bonbon squeak-cluck-deIy eIIects k
la childrens' party)
(ENTER) 6-10 indigniIussy Whirling METHODICKS, arrange
selves centerIront, motionless, prissypose (increase in MusicFury)
commence Whirl, GutShriekAbrupt.* Methodicks collapse. En-
sueSilence, trap-doors mouth them below stage (snapback) 25-30
seconds motionless oppress-AbsoVoid-SILENCE, muttermur-
murs.*3 heard oIIstage, grow-mount into Ieet-stampSone
(ENTER) glassyIace CleanCollars, trick-step, preserve, stamp-
Sone, gearchain-wind around Iront and center, arm around
Neighbor's shoulder, Iree arm-hand wave-pleads, when passing
same, relent-BeneIection Irom unnoticing MichCapitalists
(BreatheHumStereo Irom CC's) end M.C. rises, yawns (MUSCIC-
FatCurdle) plugs, in switch, cellar-vomiting (ENTER) as many
clank-metal-in-oil-squeak ROBOTS, impass-disrupt Gear-Chain,
each R. Iloors a CleanCollar, supine, Robots travest-Lawpomply
plead Case to always-nonobserving MC's, squat, mechiropract
each victim's spine (Bus-writhing, TolIDin intones StressApplies)
MichCap. plugs another switch, robots rise, drag CC's into
bentover baby-in-the-Hat line (backstage, rumps toward Aud.)
R's come Iront, Iusilpelt them with white balls into OIIstage
RetreatExtinct. Autowriting resumes
(ENTER) (Music IinalFuryGather) StreetCrowd, incl. children,
watch writing, backs to audience, motionless. Gongs commence
Punct-sound, rhythmspaces stress once-a-barly each successive
beat oI 5 (Robots work backstage, align in shadows). New deeper
TollDinNote, Crowd eer-slow-starts WalterCampy-armLiIt-Tor-
soRaise-NORMveer-Kalistha (huge Oil and WaterGurgles, Pis-
tons, Metronomintones, etc. oIIstage) Body-LoosenUp eIIected,
crowd commences NeoStroll, Cambodistylise-StreetPass-Nick-
Lunges, mutuaware RituoweGesturates, hard-cold GreetGeoms,
must-posturated STOP-simultaneously by all (BUS-Whim Vari-
Choice oI 5-6 Iigures) during which a Iew, certiIExceptions,
(ENTER) rollerskates, EXIT other side oI stage, every 20-30
seconds a Music-"Break" HaltGrab, mutuIirm-but-not-irrita-
ruthless disHib-pressgrab one's NeighPass, standardise-where,
gradually relaxed, 4-6 seconds. Communegroupments gradually
Iormerge (PirouetteCurves around JabLinears) Patterns veer
Individeletely sashayward, into ultatavist Finale (Music color-
Ilares, HolyRollerish Apotheo-SuddenBecome-GROUPconsch)
(ConviviContapJazz R`sumd oI WhipCrack, Fing-Cluck, Hy-
pressales, AppealPleadStretch, Have-a-Cig, Lynch, Wassail,
SlapBack, JawGape, SlowMovie, gearChain, etc.) MichCaps rise,
shout-crack whips, MUSIC into Slough-OII, CURTAIN Iaj` to
StampSONE oI Ieet, Whipuncts, audibreathelntake, steroSylla-
Language has two Iunctions: it evokes and it communicates. Its
one Iunction is to make us Ieel; the other to make us see. In the one
Iunction it acts by suggestion; in the other by deIinition.
Language as used by the creative artist tries to make us Ieel
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 oI 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 oI see-ers in literature. Descartes was the Iather oI clarte
in French prose, and the tradition descends through his disciple,
Malebranche, through Saint-Evremond and La RocheIoucauld,
to Voltaire, Montesquieu, Vauvenargues, the Encyclopedists. In
England, prose took on Iirmness and clarity in the terse elegance
oI Dryden, the Iorerunner oI Addison and Steele, oI SwiIt and
DeIoe (DeIoe the essavist).
Critics and essayists, all oI them, deIiners, men who stressed the
communicative in language and developed it to such an extra-
ordinary brilliance that Ior the time it seemed to absorb all
language. Not one really creative work was produced in that
period; and even when, toward the end oI the century, the revolt
came, the prestige oI that prose held on and inIluenced the
creative work that Iollowed. Out oI it we get a bastard Iorm like
`"The age oI prose and reason" the academics call it.
InIormation enters into nearly all creative writing, but not purely as inIormation. It enters
as a means oI conditioning the reader's response to a given situation (as when a writer uses
description to carry out mood).
the novel oI ideas that is, the |digression|i about the subject Ior
a plastic progression into the subject.
This was evidently a conIusion oI values. In inIormative writing,
the center oI interest lies in the material itselI. In creative writing,
the interest lies in the development oI the material toward
conditioning our responses. One is an end in itselI, the other is a
Iunction. The quality that makes Ior perIection in one does not
necessarily apply to the other. The qualities that made Ior
perIection in the communicative prose oI the 18th century made
Ior Irigidity and deadly Iormalism when try-applied to creative
writing. The writing oI Edmond About was such an attempt in
French. Students in French are still Iorced to read Iragments oI
his stuII. Shaw's work shows the bad result oI this conIusion; so,
to an extent, does Meredith's. We cannot think oI anything which
possesses so completely as their work, the Ieature oI un-
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 perIect clarity and precision.
There is no ambiguity, no loose ends oI thought. Everything is
caught up, every detail adds a Iacet oI meaning. His evocative
writing, on the other hand, is Iull oI evasions, oI nuances, oI
ellipses, and veiled meanings. OIten our responses are condi-
tioned by the music, the stress, and hesitancy, and rush oI
syllables, as much as by the words. When, Ior example, in the
description oI water, the Iall and liIt oI syllables takes on the beat
and cadence oI the sea, one wonders iI the sea-sound oI the music
has not more immediate inIluence on our emotions than the
rather inadequate words. And one wonders iI in creative writing
the rhythm is not oIten at least as important as the words.
`As in this passage Irom a modern writer: "He leaned his elbows on the table and shut and
opened the Ilaps oI his ears. Then he heard the noise oI the reIectory every time he opened
the Ilaps oI his ears. It made a roar like a train at night. And when he dosed the Ilaps the
roar was shut oII 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 oI the tunnel again and then stop."
In giving the eIIect sleep should not the rhythm be sleepy, Iull-
voweled, and slow-cadenced, and to give dance must not the
words quicken and dance?
Words are oIten only counters oI speech worn smooth and Ilat
with use, with none oI the old image, the old boldness and
suggestiveness, sticking to them. The 18th century created many
stamp-words and narrowed others down to stamp-meanings. The
whole eIIort oI the ´NQO-clarticists has been to make language a
string oI counters; ie. a mechanism Ior Iacile conclusionizing.
Very oIten the creative writer oI today Ieels that many oI his
words, instead oI richly conveying emotion, actually muIIle and
deaden it. They are simply chunks oI dead language breaking the
current oI his relation to the object. Instead oI conducting they
insulate. Using them the writer has an unhappy Irustrated Ieeling
oI not getting at the object, oI missing its immediate Ilavor-
richness.` It is because they have narrowed down to their more
explanatory sense. That was a Ialse direction. The clarity oI
evocative writing is not that oI communicative writing. Language
as the artist uses it is a matter oI Ilavor. The technician's language
s a matter oI precise exposition, a deIinite communication oI
'mechanico-precise ideas.
In creative writing, clarity is not a matter oI making clear
statements. It is a matter oI being immediate oI catching the
Ilavor oI the object, not its mere outline, but its Iullness, and
meatiness, its density, and heat, and solidity.
It is not something to be got by deIinitions. It is to be got by
selection and juxtaposition oI words and material, through
rhythm, through tempo, through contrast, through the allusive-
ness and suggestiveness oI words and images. Not just any
juxtaposition or any rhythm, but each adapted to its Iunction.
Every detail and every expression is to be subordinated to
direction. Good writing is always deliberate. There is one clarity
demanded alike Irom the evocative and the communicative writer
clarity oI conception.
Editorial Note Observe, Iollowing, the stress upon the object and the direction.2
(pl-2) water water cast-ups gulpends, water
water onduwater sheell shell pseudreamdream suIIice
pulsthug yawconsch wave
trytugs evolupotent water...
animatryx must-go-ons crawl
water slough water water
(3) Awakens anticiplay
indepenarciadonisent LyrIeve
knoweyes artravailbirth evodestiny
(knee up, ol' Iella, yours, Conquiesce)
tossoIIAccomplish HistrioMoraleTRYspect
nestoil bevIullc Startmust painlunge
geyne pressitch legclawroot kissEarthadieu, anguitaste-pre-
mid-now aIt
bathe-in sorrowcenturies Acqui-gewjaw-SilenceFeel
sleepconsch dreameality BuddholINspect
(4) PLAY child's scuttle-acquishowoII-piracy?
no here
j Iirst MutuIlower
( Yearnborn Sollicitwodear
' Hunger Spirit budhonest primordask
except-ye-become-as-little-children (Vwondermeant)...
He, stalwist Fine, mutunipleadriven
She, Howsaynay-Sweetmoist-momedelaying
(5) clouds, away
libido-see, dear God, percepscient Homagcomplish
"OpenBeauty's" lovecommitting Holyne
HUManUS Grandeur
(EERieVokeBloom ReasonPush)
deepweepstanced pVeerthrall
' twixtbodyReverelAylR, toIromutuplaque
Iulminatrances Sexparacy
transindivisuating the Disparsomate
IulIill Equindividuotye
urge, IulIill, Urge
(6) apotheoFunct goalsight
Femsuccessent relaxbrews
bear, pospontiv Fern
yearn. Legs
claps, Arms
give, Womind, 'thout Headbend
yeuthanasElate past Pain!
(7) bornEcoming
Truth circumstance
'salways a gripe relish aceIetidy
to breath strinct-scoriate one's
in public
And awksquirms?
sardonically towers
i shing my ostracization
come back!
come back, I implore you
no stay away
i am ecstaticly.
(aIter a suggestion oI Hilaire Hileri) (synchro-with Orchestrauto maton)
(two chord-puIIs, trumpets) |(|2Snaredrum, stringplucks, mandoline `
t t (PP)
POKER Iunny- -'post-'adolesCollege-days- -Fall- -return- -Glee
` ` ` `
Club- -rehearse- AssemblyHall -walk-IiIteen-minutes- -FratHouse- -supper-rush
(insts.swoon) (typewriters' clickpict
t !
-eat-late-arrive- -inside- quantity-Freshmen-Ilit-past-
€ ~ (IiIe-peers, recherche intermingle)
-inaccountable- ? ? ? -evident-very-Iew-Glee-stragglers-
(muHo-chords (bassoons, etc.) devel, 30 seconds, a mood-view
t|crescinto|3 an oIIkey-thResolution oI Accordon & Jews Harp
-IulIill-YMCA, -nightclass-regs- aiitiii-gone-
ing rhapsody) (only a Metronome) (smeasy Iiddle-
backstage4 -redescend-dark-redrich-theatre-plush-BoxCorridorEldChap-arrive-
-zizzes¡)]5 ^
flits-along-side÷ -rush-loatHe-despise-Silence-waft-acCompany-WONT-talk- -perforce-must
(muted Cornet whinds-in-up then ACCEL.) ~ out (low Clarinets)
(Iruity jabbu, lech-timbres-pianissimo €
catch-a-lil-poker-tonite?"he'd-turned-to-me me-curdonvulsed- -his-obstract-
€ SILENCE) (Accordeon
impersonaptrich`e-glaregloom-pleaVoice IVe-no-memory-oI-his-look
grunts sillily) (one whang-clash oI Cymbals, delicato)
(dullicate GongIlunets, each ictus) •
/ · /
-I-smell-surmise-wopulent-Iinishalesman'd-Alumnus- -Campus Visit- "our-turn-Boys!'
( %
I I I /
-deerol-Alumnibus-wants-tbe-youngear'd-again! -chap-'bout-midIorties- -willing-lose-
! " "
-"listen-in-on-rehearsal, -ol'man- -aIterwards-Gang-chez-moi
|(descrip|7Music,-Orchestra,-*Collegiat Sing Stare Serious'€ Toko Party'0|8
t (40-50 sees.)
(Music-sodgo-into-pedalpoint-2-basso-notes-9 -superimposed-high-Arabic-wailMelodQlio
® LENTO · dies
rrettroactinggingg-memries- -seeryussy-Collich-Boys-grimIace-barkssiinngg musikaka-
sonorities- -Iriendly-mayaiding-raIters- dragonIly-airyairplanen-stencil-" "Prexy"-
smile-beams- postoasty- -adoliscentious-thoughts-ggoooddaayyss!! !!
chips- -chipsix-siix-players-mellow-courtly-pal-voices-"correctly"-
hiding-jackal-eeeaggerness- -PLAY!- -two-Ieelout-|pots]-i2 -Mr.Jackhill-intrest-|diverted]-i3
mask-gentility Mother-guard-your-young-Thru-The-Ages !!! then•• that-
" " " " " "
third-pot!!! -cards-unlooked-Jackhiirs-voice-snapabruptakeschargei4
(percuss-muted-revolver-shots, each Iirst syllab) ~ (aIt rubberband
OPEN!- -RAISE!- -RAISE!- -RAISE!!! - -TREBLE-RAISE!!!- -met...mutto
(distant speech-voices ~
mutto-gurg-suavities-Keep-Tvoice-impent-diabolism- -just-polite-enuI-not-get-nerves
(WaIIle-selling-Cornet € (Absilence) 10 in.rouleau
! t (ratchwheel P€F `)
-SHOWDOWN- Jackhill-tops!! 2hrs. -2 more- a halI-
Kettle-drums €cymbal~
'cept-5-6-desultory-pots-JackhiIl-W! I! N! S- WWIINNS'SSS ! ! w i n s
` (Metronome dulls thru the Iollowing) ` `
|" "|i5 allright-Iellows-midnight-i-said-i-was-leaving- -rendez-vous- -you've-studies-
play-tomorrow ? ? ? great ! ! ! -take-this-thirty-bucks|,|i6-tomorrowWrinks- -let's-have-
a-bang-BangUP!!!!" " " gap-silence-i-suppose-he-went-out |"-"|i7-geez-
says-Leyden-that-was-Iunny-almost-phoney- -why, -his-voice-raising-sounded-GAWN-
|satisIakting|-i8 -Chirico-horizoning-streetscenes -tweren't-human!!! " "19GWAN-
PIANO (Iaintly) stressicts haphazly
nightly-poker-all-week- -results-same- -samey-same- 8th-nite-halI-hour-beIore-
(Electric Fan joins, nearer)
didn't-any-oI-you-notice??-DID-YOU-LOOK-AT-HIS-FACE CLOSELY?!!2o-IVe-been-
an-abstraction-or-"Connection"- -possibly-a-Mesmo-L.C.D.-oI our-undodesiring-
libidegono-more-actual-Ilesh-than-thought- -in-this-case-thought-incandesced-to-
hyprobably-disembodied-|WillaItDeath|22-seeking-a LIFErstwhile-unrequited-satisIact??-
oI-our-Universe-roamoaning-Ior-Poker (Chordbust € ~ Astronomic Timbrality Horns &
Percussion) -gatecrash-punching-"the-hole-in-TimeSpace"-that-Antheil-speaks-about
and-we-are-its-pleasure-prey-victims!!! probably-an-old-or-recently-
dead-alumnus-oI-oursIH-make-it-a-point-to-look-|up]-23 t (oboe d'amour&marimba)
IS-SOMEONE-ENTERING-THE-ROOM??? lights-iced-Iizzes-highballs-imported-
cigarettes-smoke-hazed-atmoambient" `cupboard-Link-I'm-oII-Iellows-
cupboard-slippers-cup".. ."25 damIool-dank-id`e-Iixe's been-sounding-in-meze
cupboard-what*s-the-other-term? slipboard?-Iippure?-
losers-rm-all-Ior-an-hours-study-then one-second-you-Iellows!! Ig? -I-rush-
~ (human tune-whistled)
Banknotes-IloodChangeSTARE -greed-eyes "t"29 look-gang-here's-practically-
-'cepting-the-thirty-Ior-tonite's-d rinks will-each-oI-you-Iigure-out-your-loss-
~• small, clear, might be long-broader, better'n Hyphens at
certspeeds they'll be soakcepted)
«€ clausending, inclosures, tcreate passtress (supplant Under-
lines) wherwhen Writer wishes Slowintake, marvellous
SPACES Ior omission oI notquitextlySuperIWords, Emphsi-
REPEATS Ior CinePaceStressling
j The Stockticonnectiv,
j the Spacetwixt restpoints the Reader
HYPHENS tremain TextIunct (v. •~, above)
DASHES Delayemphyphens, Musicologs
CAPITALS (entire syllable or word)limn accumajminor -unct-
points oI now-unistreaming phrases-Iormerly-lines
KALEIDOSOEM (antiphlento) (quoted)
... ."Beneath~alI~Words~
So~unds~but~not as~
Signs" .... (paradophrasing~John-Rodker.. .transition 14)i
depths apportion ment erst~glee~trickl
~buttapup knives
knives sallow tongue~
sash~wile booze aramint~poothtaste~err-er-
er aheheehoh~ahehahooh~WOPS
(Iugaxel) dental cyclose teething
.. stoop cranny bugabah oil broil · teem
leek turmoil DRAWN bike
care yussiyuss potatoes grOOve dorn
BURSTlakechewed stealthramloin groan-
nurstgeTOSS eetabytapeepO
Portrait XYZ
eerchased~Tragesire BeDOthings Imbo-
declarity~pursuing (toujours~prissnuzzed ~gleamouth)~phalli-
durlDitty YOUyouyou ... Y•immutexh
imposture "shoor
wanna!~be!~noticed"€I Ilighted
~aSCETIC · · · .Sweetsweetness...
Iactmatterd~Nth~Degree (Claritty) S--0
•¸YETweakaciding-Rain~PUNCTS~TOothclampa ngelici-
ty into toodeyohto~adjectisecondry~ManlFest-
Iester Power LUST ... FrustustRateo~Quiesqueaking~
PVenomower (prizzepallic) (iInecessry)~
pRACE~these sweatglare~underamply Subs-
TAN Tivmpliq-paradecorrode~a~dourkoIIeed-Bach
€monVieux much~i~have~tr YLOVED You ...
(imboclairgleam-despite) ewer grrrRaspb
urn-InsistFond~scentchIaiIs to~manerr ly~al-
lotme Wishgulp equality THAT~Fruct-
FRIEND!!! ` you-powersmeeking
SKEW! . . . r a nc or s me
to be remembered that Mindality does not, with all respect to its
ampIEXpsychEGESIS, provide the only contributors to Writing,
occasional Mindi|tl|ease are Iound whose Temper deemust
demploy the hum-bler (i.e. avoiding the bum-blur) scantertiary
momes oI liIe, the BehavioRising oI these spawn-LAyRES I can
& do measure-trust, chieI among these to-dayte indubitably is
Bob Brown.i
his "1450-1950"2 bursts the chucglister oI the quality-best oI
humorists today, at same time prydelving a nicknice into the
shyer surIaces oI wist-Ieeling. i spose its readers are either
enchanted (page yours truly) or leIt Ilat-Ioot B.B.Bewildered.
WOT HOE, youse latters, pRovence aint Ior 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 Lightouch-FormPLAY (rilly, Read-
ers, Writing has near-always lacked tonality-variplay).
a pract|er|itiOH oI the above more-wellapplies to Brown's
"Specimen Ior a Readie-Machine." a yacht pleasailing an
excelsearich salad bowl-might describe my add-it-Ieeling. modern
writers aIumb Ior new deviSings oI thoughtinterplay could
wellintake the scholiastrymes and annote-chucks oI said work.
Bob Brown keeps me tingly exalt-in-the-desirideoxcellence-oI-
my-own-writing and, oI course, this, to me, is THAN Tribute.
|maybe quote|4
spawn June 11, 1895
Univ. oI Penna., B. S. Phila 1918
School Teaching
'19 Love AIIair hoapless, anything 'yond necking
nauseated her
'20 Start note-jabbing (thorts)
'21 Iorsake suburbs Ior city-psych-BOheems
'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.
(1) Ah! FEM, ReceptAIIabil, SymbExcusMerit oI Le-
thargy, HARP, ITALY, grassGreen.
(2) Oh! ripe-happy, 'cause-guiding MASC; SelIorge-
Imperessonality, HORNS, SPAIN, ORANGE.
(3) Ooh! delishIright, huddleDebecstacy, NEGROES,
4) Eh! stridemetalcrash glass, coldseer-penetrinsist,
(5) Eeh! squeakassure spoiled-child, approbaconIi, FIFE,
Categoric, psychophysRidRiggle Irom Lyrnew,
SILVER, nonFrance CHINA.
(6) Uh! snailDisapprob, grunt oI Ilat surIaces, Sub-
(putt) conscesse oI MidRegisters, BASSOON, ES-
(7) Ooh! BassEsse, Wonderment's rounded lips, ENG-
(put) LISHHORN, GERMANY, heavyunctVaseline,
(8) Ih! Hypothetic, evaneswhisp, delicanick Satire, pur-
Chit) sueRemotldeal, FEM-DecoyVanish, VIOLINu-
anceldio, INDIA, LAVENDER.
(9) Eh! BRITISHubconschlnvoice (the conschposed
(met) ResiduVowel oI Shorthand), coolness oI steady
gentle breeze atop hill, the loco-Iatalised Edu-
(10) Oy! Humor, haItexplorealm twixt Go(o)dWill &
Logiseriousness, edge-spilling piecrust, the plea-
sure oI a Surprise, the catch-one-oII-guard-ly
Realising a Hope, ZITHER, SEMITIC, PINK-
(11) Owh! HurtLearnSlide, ToothPowderThought, Ban-
(12) Awh! Earth, thresolution oI Ash into Personality,
PuzzCredule, mouthmushAssim oI Ultra-
(13) Alt! raspcontinu-socialty, brackDissillusion, Char-
coal oI REED-Instruments, reIme-whisper-vel-
(14) ehyeh! U.S. pioneer-diphthontrenches in T.B.M.-ultb-
drawl EvStress, Wot-GO-DO-now Impatience,i
kniIigorlndividuality lollmoming with wane-
VoItAgress toward dutystupor, CELLO-TryRe-
gistDeclaim, muddied BrightBLUE.
(1) Paunchrubberyapproachers (Conservatives)
(2) pseudsnortsnivelophistry (Continental JazzBands)
stalliompatient Stride (AmerNiggers' JB's)
(3) Neceshity (Dada)
(4) Ireality (nowaday)
(5) staitannic (NYC)
(6) scholdemployIurv (Chopin, "Etudes" Joyce, "Work in
(7) impetusatient Musinctervaleaps,
NirvanShriven ConIlauntrasts (Chinese Opera)
(8) Instextpression (hypressaleoning Moderneed)
(9) doIIensive Mechanism
(10) chewsovery Grammahs (Dickens, Aldous Huxley)
(11) puRETannied Fems (AnglAmerica)
(12) obsessease-gyraclutch (Woman Ior Iirst lover)
(13) innerisembite (GalliIaces)
(14) circaurambl (Fem)
pistplunjice (Masc)
(15) brayzing MorSpiroptimiasm (Christian Science)
(16) ConIourm oI PassFeelIull-IacurldeaCTS (MachinAryanism)
(17) Cowduty deIiclaims the Permitted (Churchmens' lusty
(18) Peersapouts (Tourists)
(19) melegant (Cannes)
(20) loosiditties (Thdrink)
(21) SwombDeath (Wagner's "GetOIICanvas")
(22) craItseman (Cellini)
(23) hybergeois (Englishmen)
(24) annihimmelvoid (NeoBeethoven)
(25) preempressionises Rabelayblarely (Rubens)
(26) cerebrunappies MonoIix (ArabMusic)
harmamaxem-slumbsawngs MonoIix (OcciMusic)
(27) shoort everywhair-liIetime (AmerPopSongs)
(28) Ilushlest (Woman)
(29) Spreenout (oncomeSpeech)
(30) LevDream COMBThRUE (Bledsoe)
(31) ConstompselIask "Y-cant-Cr6peChine-washRag?" (Gersh-
win, "American in Paris" 4th Movement, Finale)
(32) plastiquantswing-troughnalitymomes (Antheil)
(33) IIishouthooks (Grammar)
(34) SocOnchARatioceanate (Joyce)
(35) InIantrum (ParisTraIIicop, jam)
(36) Ahssopurient (AmernglishFems)
(37) BreatheFrazors (Garden, BaklanoII, 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' Ior Croce (Amerlodic)
(48) Mcntalertsaving Pigsnoutweak (GalliIaces)
(49) hardent plasticandy (Archipenko)
(50) LienBacher, memories (Wagner)
, no-mems (Schumann)
, wiJl-mems (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) SelIPritty (Chaikovsky)
(60) pickaperUpsures (Antheil's eernext-footland-HarmesuroIu-
(61) StareClimbing (Weinberger)
(62) bourgouachy (SuburbGirls)
(63) Paulianna (X'y)
(64) prEyed (CantReaders oI ModernLit)
(65) Englee-downlines (Epstein)3
(66) Curryewsurer (LowenIels)4
(67) protExotremhick (Mencken)
(68) Artycullation (France's, Ior Tourists)
(69) EddyFoyler (Tzara)
(70) calligradistsort (Caricature)
(71) MetaIorayze (Speechneed)
(72) Megagamania (Frank Harris, "Autobiography")
actuelitrature belongs
to reader; writer nowonly
bharpvoice, sympharmonicurv
Ior eyearable
In (I) themTEXTPunch vanishmelts towardlinto a paollygone-
`d'aprts HILER.
, ?hotogra/~,
I Gare
'BuyourTickets, MM-Mmes
where you wish!"
get oII
(Wagon "Creation")
( 1)
The PlastCreators' Iirstyears presumare a biproacchal veerIunct
along this saolute-graphailury, always-Toward-someday, sodes-
ceniiez-communeedoing, develling necs-brainpickraIt, tlater scellI,
anonydiscrimpalpsurely, to Anon-Juries
thus, corrose the Fastid aWayIrom gidsweatstainProIIs
Iied STACClishays"`
a bas sentyMENT, haut le SENT-I-meant!
Music "STYLE" whipIlingcrack oTradition
"MANNER" Comtribuposer's ChronoILyght on the
Whip; he, become the coruscabloomomen-
TanjDecorPreen onI an Inescapaswerv
which will-y he but contribitions
LITHOUGHTosound notonly Meltearxt, allsoCordehltexdura-
lity (v-any polygoing Eyklusts)
Antheirs Sporge, tentlarge-duaWaywith POLYTrOaNdALIT-
'`quotusing a remark oI J.P. McEvoy.i anent some deIoetiPaintStudents' "exclusuperla-
tives" in talk.
abcdeI Hypotharea demoting the
Ultpossibillings oI
\A's Musicompsation`
Poet'sCern is Qualight, rathan Quantext
Or, considheard as QuantextENSitey, isnt evry Ieeline oFree-
Verse time-stress-quant-samey?
actuelle Smass oLitPropag, tprotrect Smallease
Wruongord-ExpressAge (Gillespie)
aproposame, many Iind Antheil's PianoPlaying (wotever its technicrust) has musicly no
anent Produce, AmerPoets, note your-INcAlkalie-Textiness
Pound alsowes, buttadds Scholaden WordFruit!
APosTeryore, something to get eoutinto Painting
JewelRitAccelCounterpsychor-WoRdite oI AcadeemPoetry, oI
scholarcerned "Monolinearitey"
Supurbans wantgethis; Streetrats, rarely
Mateariobjex could be newrescene!
The White Foothinkers shamussed JAZZ to an OldMade,
Orchestration. leskU, which Personality's become dominante?
Y does the AmerWoman have so earlyIe dissexcharming odors?
Because (a) SexWonder playnly neerwascaroused? (b) Water
doesnt alcaline the Blood? (c) SelIDirectAssev neuracidiIies
SuburbComplace is an IgnorConIidence
Conschpirit BYCITS
Bhudedits AWAITS impour oFactimagery
punziplaze karmasokist DecoYen Pompieraeian
scaruscatracery timmedigets outrage Opinducts
pretensnarrant MustEVit spirackrete broidevel
inducound proleany conclueshunning eeriesponsybil
greak trystsparklers misshits Amerdeality
Chroameo thoualkt dienernlarging sklaIerry
ethquikability vichycles eunipursonality woarships
libigo moodeaIIex crallrighting sublimasturb
walloaminds dwintrospectiv nackuracy inIrisking
evypressoar pronownshamentos creallocate
selIoistenuto bitacting pleastic AmerIorts
negassing stillyIrememuse syntherile corout
snoub examplimations FanelliHopper marvellusty
broachure sprnyde Wlldeals equitty sklaIlout
Iear! Gallopheel sexpect huevents kissimmer
willdid puearlvoice alcohawlic gushot
wrympersonal selI-conscious inshintuate whoaman
allustration essensual ,aesthound cosmasspection
plastrepoise inIalliable ejaculiss spectackle
restcue terriIugalee phornotgraphy senseeminded
Iolksiedead pirouethink sklaIeatus democrapicky
keylusion wellded conattension mechallous
shriekreen pierc|i|ilver insite dability colorganise
slyting selIpitter IntOne lyreams negrowisms
meateorvalue permcore disjinncts cloakull
womankneeless vocabullery squrdge psychlic
Iactidya spurmport punaLludlT philocity
precipidwell decksquisit initoutpourpretens
assentsualimbs bullycose Ireaxtreams relieIaugh
ulthink Tootons synexdochrowth plastraggle
bumpalludes preocreation missoarientations
praggressiv. ovarylease temperanant whoboozer
tolernjoy repmew chucklut anarchetype iotea
Iollowswuppers Aeolyrpegging calculallow
hoptimystic shrewmord obliterary smellspect
soneyes decoyr Iactea readch pleorgasm
renaissorganise psickisms imnexplicit plisstening
statUresklye purrhaps hillycredulosity padmirme
dykasting raspirations graphickle ecstensieve
tellesclewtinates inIaccuraceize pticklup Expatriaints
hintstructions gadjects tainterior utiliterary
scourIelnthesis harmonkey explerimince
calligraphour imputility phallacious yappetising
stintuitiv pickuppety tryganise counterphit
harmonicallush enIaithrants prymate graphorror
Iurthrallusions sodgesire psychrowcess denticipate
perceptarea-ise nousquince abstenced enhewge
Conductours impklick preppery sense vapremote
plastcoince reachieve cleanxpect arrabiIIons
cerebriscretion mischerch6 looklist himport
Ireequality cerebrawl harrigant plastral
suberblatulence blasexalt6 bid6es goolustration
rawcoreal writempo sentimiews presumaybe
siloction aperIeeling meticulately vapmosphear
dontdizzymeres nextricing Angloaming whirdeations
Ireasonable Ieeligns cernamic Ilatubloso
proecursing adjectimea`brs punditty anonymintake
oughtobograIickl ginIerences cackontrast artburn
sniIIicant tright Chiricous pp€IIluktility
peopvoice syllintrickl happeezd hierxoticlassic
These Lexiconnings tryrep an hypothactuelling GroupVoicIndy,
a thrumpunning Nextrecogabl oI nowadayMent, livin a stage
which man has too-image-whirdeately groanoutinto. Hence this
stimass oI "stewpart kinventions," to extrymeet the bang!-Ieeling
oI jostrushpellsiidescuroarooilIlitsadismulctrivetauraideadening
Hietend-LivCircumsts which our Psych must radjustselI in.
SadisIaxly this has been & still is my wayouting oI certain
dinsistent Inneards. It has struck me that its purplexikonning
massarray can serve tinsite-hypressketchup-scowrout the ignor-
conIidacency, the dontdizzymeasly graphookingsodyprevrending
the times.
These interSuggestOpmines may not shaIt comIortly in the hearts
oI othWise-Interminded Modern Poets whose worksuch is here
exemplastructootillised. However, naught Dissuch concerns
I mhere. Poetry having clearly proved its 'pondaII Demosurge, no
I longer belongs to AwThor-Wonmond-`nterptyronny; rathis ScaI-
Imchegrate oIor respondaIIectiv layread-Groupising-Qual, clas-
sjcoining that Realm oI ThoughtPLAY (bach-to-Back?) yetso-
scantly communveaghed in the Occident, ALLUSION.
Allusion Aroamic Wondermen, ToeTip-
Solicit, Clerk-knowhappy-Wareshowing,
Hypurboring SelIBourge, AssociaTingLing,
ByPropener oI rounding-the-corner'd Ter-
rorains oIFurthKnowImmidibouquet
|P|lizz postulate actuppahy else drego the Way oI MechaMonot-
Is there deIinirecurlctus in all ModernPoetry? er
Is there deIinirecurlctus in all Tradijious MP? Ah! Consid MP-
Forebar (GreatAunt, Grandad, WetNurse, wothavyu), the
CHURCHANT¡.]2 Here occursed constant UniIormity-within-
Variation [Qsco/re Gravitation's Akcel), being'd oIcourse by a
necessSing-condition 2-5 notes in a bar into which ususome 5-
20 syllables ware to be phrasinctporled, viz:
j J J
(A) G6d, the almighty, the 6v6r-
(B) lasting; M`ker oI all good things, the onl`
(3) Righteous 6ne.
These staidlaced Eyectus Feelds are easlowcatables. Do we impugn
a samelar RhythQual burynhering in "tradijious" MP?
Pdris; this April sunset completely utters
utters serenely silently a cathedral
beIore whose upward lean magniIicent Idce
the streets turn young with r`in,
spiral acres oI bloated r€5se coiled within
cobalt miles oI sk`
yield to and h6ed
the mauve
oI twilight (who slenderly descends,
daintly carrying in her eyes the dangerous
Iirst st`rs)
people move love hwrry in a gently
arriving gldom and
s6e! (the new moon
Iills abruptly with sudden silver
thIse torn pockets oI 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
along, in considerations which constitute brimgoutable Larger-
PupOrt. Someany will ask, "Y limit the Ictus to one syllaber-
Line?" Because, Prowlyreader, one Ieels (a) that most lyric
modern-poetry's IntuiIlow need-contains but one Accumustress`
but one perline (b) that, broadschemely, each line is to be
hearIeylread limitin the same TimeSpaceQuantSwing; ergo, that
this DynergeConForm Iascisteasly makes Ictune more grooI-
romphurry-probable,` (c) so, because oI various Musicnativel-
lEycDevices blendScur Presornting-Employabs oI actuel Jazz-
Ireed "PoeLicence" (some in the above poem), usuccurring
Anent (b), I cannot Ieel myJPrassumption the genericly in error. I
personal shall enjoy the'daycome when one may hear MP
tReadto the Accomp oI a Metronogongne, sproviding Ilat-dull-
subseRvich TIMeBRict-Setting, t'UNEnIormitaise the (hypotho-
dic) PsyCROCEsthikinto becomeYeastAryan Pleascern^¡.]4
Anent (c) scrutigazeat Mr. Cumming*s poem again. FirstoIall,
note (lines I, 12, 14, 19 v. Iootnote 3|)|5 oneach the
ANTICIParadokIirStyllabyncopicturus, somehow relieIresh-
"pickup'-unexpequivto GongTronenter in Chinese Opera. Next,
note two CoupleQuanthemes (notext!) paradstate their An-
nouncection-wUtter. AFFolIows their quantstill Em-
broidevell, where Dissenti`rIiIZ/w pointtatmake-hurrystroke-shor-
tends these secthemions, rw`orwise, Ior three lines; then lo, a
Syncop/4w`w«n/heline dropshunt-arabasques the Text thru a sort,
oI subtonal-stressinging Maze-PiroueDeLivery, to coast orijagain
in the themal PoemUne's|.|6
`atimes the Accumulct paradiokomet'd, onto an earlySyllastress. Whence the Come-
AlongII oI the suevyllables provides AnticcumulSameDiIIerence, Q.E.D.
Atimes IVe Iound twicts, rarely three, never Iour, in some ModlineSchemes.
by Arysuch, I implean that Iluksensing PassFeelFuUs (treading some UniIorm-within-
Variation) tot-are TheGetsuII FunMerict oI all TimeSpaceArt, par ex.. listhe eergonic
Typewriter. Hence todate JudgeStandards (ghettoey percepreculls) atbest the Bureau
pedaguogue's Graphold-PowerVanity, atworst paralymIamtile DontDizzyMees need
TSQuantSwong ("people move love hurrv etc.").i Here, AUGS
due the three verblights are DIMINsquelched IAVor Rejoin-
tenuity-Flow; however, an ACCEL compense-pervases Carry-
AllongEsse inordtobringout the ClimeThoukht's Consumma-
A CesuraMome, oIcourse, the Reader quantowes himselI aIter
"gently" (thonly gulpIelt). Here Buskincts augmundread (these
torno pockets") a Iaint regurge oI the QuanThemOrigCoaStIN,
TempWhoastponyng the VeloxupsurgeFinale. A halI-third Pause
'Iore "while," a TextIul P aIt "while"; in these two imagina-
patience-delineastances, Quantimespasewing amountstin-to sheer
To climaks the Formove, ChrOMMAtic-homaging Breathiatus
(inevidaIt "Night" the Courtly oI the Homage will remove the
BreathFlop which usualies there) will inculcoastoss the Lines
textoIIy the Canvas.
These Suggests, as MountintoConCREScomething. Will some-
one Hardyer (some intuiIreer PrograMoveMentality) oblige?
wOWde to COWL-|oe|i
trench trunch |heimweh|2
skids skeeDADAS holocaust couviHness
DIAL dialectic tinto diailogic
Matter? shoor Y
how many
lost generations nick-dip-
tranch (my Iriends) tWill slice
dvomensonally AB-Oi® said S-o-D, HERE |COG-
it is to be rememb'd that GESTURE (as qwell as itslated,
SPEECH) had-has prarctive Psychannalys oI Major-Minor-
Passing Values.
re the MAJOR-J´S (Birth oI the APPELLATIVE Function)
(a) in Gesturd's |EvolvaggretionJr-tinto-Languivalence cumu-
due, oI course, to the indiverticidual's throat'd Hormones
aseak OUTing Quexpression there appaired, Sevty-
VALviewinging, an Evidsuch in Logning E`arlyMan, a
Iirstertiory METArticuNeoture, a Mitalphoring Grophth oI
his Kinesthemusclia: NOUNAMING.®`
`(A) READING oI less than muldimens-PRworDS is insulvint® to the Fertelligence a
SubTitle here would be: |COMMAINCING` THE RECHOBACK. (v-35)3
(B) Moreover, WRITING belongs in-to the READER.
(C) Conestabbing AEYLLUSION.
(D) Subjex-matt gets-a-way Irom the Wrighter.
`the superSCIGNTIFIC oI, say. ProI. Faure (Sorbonne) is indicated.
`thanx to E.E. Cummings I articuneo these Wedge-Puncts to caret a Tacet•Omissry
StremphreMinding letter (i.e. "EVearly" Man |connoCarries}i "EV-olution" and
(b) MAN taptelates!"* It is howev, to be annoticed that this
KinesthryKActik is but-still a VoicePointing® at Single oI
Person-Creature-Object-Thing® also that theach Sonic was
muccompled by-with |previaloustyjig GesturecKmos. This
aidabattended by the uppounding Nexcess oI HOMO-
Addit-BIoodEnergy-even-while-he's-at-VerTiRest; inits anti-gra-
vitational Strug quellevelling bRainal-Reservoirs tord subject-it-
cise APPERCEPTION (a sPort oI Premidposcepience) was
HEasyVOLVA. Albeit these Name-seving Puerceptions were
thumped out with GRepherential Memphasis.
(a) in the Cadenspace betwe'an any-two-seried Gestures lies
Opporspateality Ior seriatimeyesing the Gapt with quavsi
`did JOY prexist this Arrivel? 1 think not, J. Ieels something CogKnition'd (witness the
Child Helen KELLAR'S (Iirst ) SmilexQ.Jis
THOUGHTent: machyllating it, "VoicePointing" may be analogram'd as "VoiCeption-
ing" CEPginning also consid-as illuminningw the cohearing 'Urrlinesc oI IMAGE-
Striucturi7-Space. (JOYCE as Scin negating tHidPace.|)|i8
®to be inIerenced that (such as) the GODsest-Sweep (Referent. the Totallspace oI th,e
sunned Heavens) came Anthropicanny later, inna Feyse oI Im-mensuethsaying.
(A) an underlined letter, oI course, stands Ior |anyja-occupy-the-same-space "Abstrac-
tionate" Letter-Change (here "W") PUNPASSONE stry creating a Metaphiary.
(B) complete-word Capitials, oI course|,|9 Ior the usual Accumu-HIATUS, CENTRI-
(C) sPEEUNGS herein are obviUSly, a throeing-oI-STRESS-BALANCE to Present-
mean the vairygaited CONTEXTilMAGE, this "GuidElves," Itraited articonceptly
by ReIlUSE, begain the HUMIRANCLE:
(a) a Formerge-¦MOUTTerance|ii oI ACTIONisation, a LaveTroll graduly-more-
stresshapening, the "Iinunciative (duNeortic) JERBirth this Verbang|,|i2 a
LYNG |nowdon the Bipedallenguinomo's|i8 Psyche WILLoco STWRIDE, he
has threel Dimensonally sublimachted, i.e. related the innerds oI SELF to
PROCESS. Thence (i.e. the stremph oI us soccident-all-s.) Verballetting, all his |In
Nexiquences`' locorganicly praggress.
IloamoveFatigPoise-n-Counterbalance (note the straighten-
up BackStretch Peripherry oI the rhythmachtig AxeMan on
his UpSwing). Knownaday the instinctively-coming-to-Rest
"VANISHOUNDS" oI Vocal Anatomy (theyVe barium-been
scientiIicly ascertiIied), let us retroperate:
(1) there had 'peered Iact-likely, in PRYMAN'S Nownaming
AnalogSuch, a minarticu Shospiring Audiple as laving
Mucrest € VOCarry OVER comphornetically Irom-thru one
"Appellemph" to Connexting One {SerlaC).
(2) aIIirstly! this hantcing the Appellymphian |"advanish-
cing"]2o Sighsonal Mutmur'' Irom, say, the Directing (8)2:
KCANNeMAN® a sort oI interply® appartent-RelieK, was
plossibly Somethinartickly in the Eyears oI the GROUP,
sevoking in them a weecanee himpression that he himselI had
better remove or aMORbetter Connexsonemphastrect-
|disguysupterraIicate|23 (this Extruvia) minto an ArticElating
Result. (a) (n)24quixpedient ConnexByPrOdductive, pushinto-
ning connect|-|25Iurth the NAME-RH a bit,
thereby soundcharacommenced the extra-no-
menclasting PHRAYSE-oI-ContexTHINKING.
|in|26 this Phray (a Passing-VALev yields NEOJ:MEN-
TION FRoot) birth|.|27
(b) this Spazeal AddippRelph to be connosidered as
now-doomning RoverIrow oI PHreVIGest-Mour-
extrHEarIor appeared Iirs OVertorgninc oI PO-
WERKANNY-in-MANNY no longer merely his
indiGiving-Thororders in-by CaltoriIic Simples oI
or say, Connexhaling Vapor.
®POWER transitting to POEINT.
get three Majdeos|,|22
Stress, now deliveraddyng an int-wean'Addone'-
Sigince-Perkonkaption oI that Tryangularge "Guid-
edELSENESS" we now call EXPRESSION) to
Priman this was a MAJREACT, the POAINT!
(a) MAN, now having LANGLIA, is memphiliatext-
much oI PRIMEXPRESSION undergoaddead by Analy-
sprawling |SnuIIEx|28 oI later RACEv-litterally rimerxing
GRAMMANTICS had to MOdernMan been regrettably lost.
It is pullossibly only Recoverablivid (a) thru "Mental-Catharses"``
oI WORK-HABITS |(b)|29 in the Assoma oI CREATIVE
(re the MINOR-V's):"®
the ADJECTIJE is actually an alchemised VERB-Iorm (v-Funk
and Wagnell's Dictionary, "Language" mentions the A. as a
"Word Attributing or Predicating" we'd have said "Predicat-
tributing," Ior (EX.) "BIG MAN" was |mentoriginally| "MAN
BIG" (i.E. "MAN BIGS!'X]3i
the ADVERB as a Sophultone, Mino-rti-ccently asGram-later
these mallengthy "Varbellations" are, Ior the abetreath Ephrase oI Creativ Writing
approach-due-do: in-as-oI then all that I mycellI (a CRI alive hideolist) conDoDuece is
but pull-gethparenthesy, skimpdicatory a Socideaura'd LEngthearrantor (MAL-
RAUXvian?) Mind is needed, to greatively mandle such Assonequences. (NOVEL-
CHARAC thereby to validonce sonly a Construemery oI Henry-HlLLERunJAMESeON
"our FellowAnimals remaining dulish. (i.e. no "wiIe-make(s)-bread," etc.)
incl. his SULtimate ABSTRACTIONS and Correlativitotes.
notably thorose oI DR. BAUER (?), Berlin Psychiatrist.
"Point taken up in the Author's Articles-to-Martha-Graham.30
it is assumed here without Iurth devel-mention, that the MINOR GESTS (meaning
those mild-or-carraIt Quals oI PreSpeech MAN) carryovr-became impulstinctively the
Restidue oI GRAMMAR.
Embroild a gurliguey contenuate dont-dizzy-meerThrowBack
to V-thru-ADJ.
PREPOSITIONS, ARTICLES, etc. Iound-traited as House-
KeepairingLocoatticles, latter RELiCLicks vertsatissying HO-
MO-SAPIANTIC (oI Early € NOW Stage) (these PROBN-
CLITORICS, Rhythmakely, are SiMilly's; theyr Progcuscion
grosstomps no METAFORT)|.|32
NOUN-QUALS ?? v-(!2)33|.|34
GESTURE, thereIore, as not only preceding SPEECH also
distillIly preseed-middurcessively I-n-Forminglinguashing it.
(a) how dWell had GrammaIIixEmpseunateness`® (my guest-
begging in the last to be pard-ONning'd) aggruited itselI into-as
(b) did its EGAddit/® Iinaley-hopely, in Agclaimed Writing,
begome a ROTERY oI |Faschesty|37 Locodeddle?
anent (|b|)38 (concredensing the re thatsg NonDUE oI my
SOhnEPHwriting) one|`4o CREspanse Ieelthinks that all
WRITExstances, save those oI the NEOLAGER" so-do-my-
rely.`® (We consider the straight-languaged "DOCUMENT,"
even, as basally a LOCObjectiIux venairing a Shirking-oI-that-
INNER'd GRYMlNGL-Direcessary-to Creative-Writing|.)|46
`®Pointe already hownded by the Author, 1927 in (the Expatriate's Magazine)
`®v-GE, 38 under (a) twice.
"lech 'sept Miss STEIN's "tenderideos" and their nonneolagery Human ISshey!
TheSHE|,34i whose NOn-"ArtiIicial Emotions" NOLEOmarOin a butt |oasional|42
(Syllad-be Scylla!)43 Hwolcyword-in-Punpgasso. (EX: her Portrait oI PICASSO, "Iather"
becums ''Iarther|.|"44)
""mererrly" apropOKes here, ('side the MassturbOFFLing oI POWORDI.|*‚)
answernt (a) ErstmajRies' Polygrammaleot achieves essayling
FINEL`® FLOWER in James Jovce |(|47Kunstrutting Martyear-
ling a Poliana's annecmotel Copicause). In JOYCE`° ALL-I-US``
realismitelly UpIluIIs, SCHOLDARETY giggestraitly wingows
caribbony i?ounDelays, A Conseptic ADDated VIESTUPER
machieves PerSONE, Rhythmickled Shorts-and-Doodads 'come
IlaIIirsi YEArnest`` oI surFachey SomusicalciMien. The NAgi-
PROpEDA-Scholarse* YOUMENON (-thruw Basturmix) mani-
Iesters Quasipparance (aul Tideouldy), (1) much-and-morelyss
can be gainstaid: JOYCE, PedavonAgog MiMagentativ, Enjoy-
mellingerer oI Music-Ior-hithertooz-rung-rinceasonings, an A-
VEctord beeIuncthing a Splatense Vibrato. YON PADDYWAX
(e-wenmerst-wile Mucigalia) jWI/STORD52???? AIR!`` The Con-
Iabulumphaltic oI a sungsing Scaldigrezzonicator.`
the "Wheirazure" oI Polychronideotic`® JOYCE is, oI cousre,
lasturdjSplenchid`® IoreVealing the BA`AL-RIDIX oI Therma-
dont get SPINEL.
J. Rhythmicly, has so caliglearly Iorsaken the "Rappellemphases" (in sconcentrating on
the IcKL-dickl oI the curlicuitous SiMlLEY LANGUIX, away Irom the Rat-Tat-Tat oI
Metaphoraysing THORTEX, away that it is diIIicult to Iind two (let alone three LONG
STRESSONCS in any phraySINGL Contection. Thereby he's blargely disinherited
himselI Irom the OCCIDENTAL'S (Hellenic-Modality-born) MASSERIES oI SHOR-
beside the Associal "AlliedOtherness" |(|contextly implied)48 there |rccurs|49 here
mtraSemance-Use oI ProneOwn-FORMSicatrix v. my PROLEX Article "INTEL-'
I.e. all they waxly Hittight is an "aire": "Anyhillation-in-ISYLLASJsa SOW sPlay-a-
bowryng, rathan rapOuring.
|MosTseachers)M lieke to SING, ("case" the mlissoIitting Pchew!) boblacking-the-
KrvftAoXt-qua´BelCmio doesnt |InevitENDJss, sohnly a Pastive Forsing-AIEANS-
c/o the Paragraph on page 439?. (Girl-on-Roadside-watching-Display-and-Think-
Flirting) "Ulysses," which POLYVES (a) "FIREWORK" (b) "ORGASNIC-DELIGHT."
here is |BtIgindicaitedjse a (ByProN"b"and"d"ourne) WerbEchoBack (v35) oI SY-
LABS-oI-SOUNE, i.e. "Spl-urj."
ginativ Function.'' Thairby the othere IMAG1-, notewithstand-
ine POUND´S "Cave'" agnent-hearing WAGNER, all pur-
Suez]57 the T`ecda-StOUGH'dss oI J's ANEMaginatiVeritruss
(morelly an OPAN u-n-us-l-Versing"' hear-in tHey-make
Iewserrurs oI Comassion, ween less oI the OMiss-ary. Their
Sociological STlEmeUP to Capltallysm is Hevident. There-way,
to be sure, nareachieving the TOTOLITY oI a PROAMBL`
MATHOS. Such ProIlegmphasso is IndeVIVer`ic, Caligric,
nair-MASSiVIStic. (read Vendial CapItallysm|.|6o)
the Langthigde oI my FUNCTENT``" diIIerrs - rathan MIDST-
rayting, it is (oI) the Adzoyling sTrait-Semaginativ, a STRES-
SEMA, an Apbelling oI RELCLUSTS, a nologully AssoIIecteyev
Commukull, a ReckspLitsit pointellisting CRITALLY oI VEC-
stemmage, t'routout the caligrog-d redeandant ModeiIiers oI
QuaSmilly InIlecuage with it's subject-MATTatimes |Re-
sorte]64 sympointanta-SEMyquensponsing to the idioMEmphas-
timullg oI some AeRs-Thimmung, to that Sensu-US MAIDEN-
TUITHER`® as a vivideotic PReIerent ForMe to ScaIIoacsONc,
all this rawly Ior Critaeschism's Shoultimate |SevocloakalCom-
maincing|®'66 (espeshoulldy when othan my usu CRIT-oI-
IDEAS). In my work I'lieve a GLongeSTRESS-TypiContext-
Trundense METAPHERIA|)|7o |(·|7i etc.) "Holds|.r73 And
(atleast) (above all) it adds ALLUDIMENSION to LOGY-
`'·'chron-aIter J's "Work-in-Progress." this Caligigging (-qua-Creative-Function is allso-
crated only to "stulliFey" Gertrude STEIN.
`reporting to the SPIRIT a BoUTheoreticual oI |Scnsu-CHAR-A/l/ME-tn-AN.)s9
2®the CRITlCon's re-spawnce, oI course to the PromUTOne oI the |AR'MM.1•
30rcad the above as PROTEXT. not as "SOUNE" (only Ior an in-to-the-|Reder~T
UnderTonallty-Contrastlv-MuttRest may the "CRICTURE" perm' |solsounny)« Kal-
(c)igribbonings" as "Sevo-etc.." "espesh-etc." et al.)|.l69
.save the DANCE oI Martha GRAHAM. ECNTRESTHION is allong ways oII. (it may
WRIGH-ly Iormerge Irom-thru the morToring "Document |.Jtj)
a |Scentration}78 (a) on Shorbits oI SONIC (b) on LogiTryVia
Ior ALLUDIMENS' assymbowlic panimajetting FexSTAYcy-
MOME-|YUSE|79-ISSO-(recho-back)-RAIRn with Apropu-
esthymbs`` |perpetojsi "Iaunch'*`` the Swheetex'd ClustiCali-
gribboning oI hithertopzy Mimaginative`"` TRITING. These
Wrytes oI mine atimes 'Kom' rout-personal Petits-Cris, necho-
bracking`85 Splince oI a worldshape RELity, "parputo para-
VelliGNOsiologicalloy`° tHEBEseeching SEMPidentiIIAcets-oI-
(a) does this EVer-ado the TALEng Creator? (anontyet, you
(b) EVive-the Shorbits! BReeI ALL PASSING-
÷ c
in my RIT there's someCHompression (a) conchly (b)
ByPrOdductionly (EX: "locodeddle," in-as LEFTRIGHTING,
1 am not sure this Paragraph SOUNDS my claim there is tho, I Ieel|,|75 a glaven
puetic "BOISTpC'`e in-it which "Iloses STREVERKT|.|"77
``®at bleast. ASTAUNICHING. |.Jeiget 7 images (and Appelyingly, consuh (I) (6)62)|.|63
this Term may go on-record as |sniIlikenrnjao oI the Probloompending COLYDEO-
wheth ANGELTIC or iginailly Genevieve-LARSSONyc,82 I cant say. The Termsa
synsist here with Remedipoint: ToDate's "IMAGINATIVE," atrybe Resparktably
EVOLC, resortstill to Foarms-mimpallonging-the-(in-anygoatee)-Tale: the T. (being only
a LEnGing Excression-ism) when largedda'd |a-constarchicates|84 amost a woteknotty
CALIGRAIL, Kensuries late Q.E.D. all that TimeSpase-ART can ECCEet, Ior Ior
thousands-years, is SumayBegimpax, mostly as (aIIew-s) Pro-Sequiturn'd ShyreBISme-
byproses "code"|).|86
(a) the TALEng Sentencia Functly is smeloductively
(b) the MIND'S ActuaRycording (polassyomage'd) CREAT-
MOME, rath, als is harmatterly burst-bloomive
(c) applied to WRITING there comes the Impasseo-oI Iusing
these two Iunctions a-d-inegrally minto LIFentivity. To
alludo this midequately the Echo-Beck "Opporspateality"
must be |syllassendvisagje? ImagesTuIIt MUST MO-
SAICREACT tite-sear IMAJEXTURE, (what-are-to-Un-
prepAired-Reople) aMazed |JIMJAMBLING(S)|,88 naw-
der to be a LeIt Right klearning dart-pointConstrastace
the Point here's this a-non-aIIluviannec®®89 TraitRE-ƒLM
must bestart(l)ed{iht GO SPACES tocomalleong, iIIownly
in slater Writers)¡.]9i
(d) Miss STEIN has demonstraited the Whieling POwrssibs oI
VerbANormity`` one oIt has wondered how any
honustly-Imaginative Writer (oI the between-S-and-
JOYCE Perioii) could KEEP-FACE NOT enthuse-and-
gramdly. tunenIexating his entire Output in such
/ / \ ' LIFE-Stence)
(e) ZOUNDS! save Ior ConchStream SUbservation (and
|beingI®93 done?
RELing-The Cappercepi his Generalisings.
P o at REA
F p r e ta m i d
K SNIF c N .... s
ing 1 c
´ Jortisectionim will discov her ·'whield " verballateauring Historio-
p n A Id
t one 2 ni o
EXPLERIENCE THIS !""#$%&'()*% ,-. %/-&*#-0-/ !&123*,4. )5/62-*%#&1
77 7 (&18-/%#-/
steineon L
i i I S . . . . T OA
2 ciu
In a sense ?@ABACAD begum the syn/ac-reverbolution. Her interpreVIDance
u n a e
mand 1 s thelems-posso obehavynvesgi neoponolinaxclerence.
u t r
(..) "Being onbecombeing."
oo ! ! ! ! ! ! ! ! ! ! n! ! ! ! ! ! ! ! ! ! ! ! !
(s) neontaspection.
A e
H z A
neolager A ns
K "norlm"
D u d R c
aur V I S U E a
.... I!!
(i.e. DOWN THE "W A Saud," UP THE "VISsue.")
( . . . ) v- J oycc, l at er .
´George AntheU Paraquoted.
( · · ) pr g. John Rose Gildea´s Addequogstein.
j o 1 e s li m
a tl t a 1 m 0 i c t
N c U s
S s n H V ing
0 r s SENGLARTHITH BALOOMBUSTS TO compownent synthxbe
1 '' o
A centriIugn c EL'" ing
4231 XG · . . . . ' ' ' L '
P c s
B nt
nto s
®Some Philogs May SlIT to "nowmnemo" (Vide Criticism-//e«r~' Miller,·AIgv)[.´]2
"i y"
R . . . .
a e a i
'Paraquote OSTEIN'S t e
(Thanx, ONE Journalisll)
Q ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
p'""" A
n pt n
US " " "
|(3)|5 (Beging) "THE TSTT® IN F R A V E R B O L U T1 O N
c ncc
®We *Sist these ile dinIls STEINEONF.
9 '
Sureny Title |EECHAINJJg-Become poge-page-pago.
(PARIS) IMPLIED HIS INTREST '%()%*+,-.**%/01%,/2#*3+456
e as
1 ( S CE NT RI P AL E AS T ) !
!"#$%& () (*+# "%%,-&+.!/%0(1& IS FOUND SWICTING #(%+" 2)30%4 .4 #4
L a a A s c
O ® (pastedance)
a Ev
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RV ? L.
10 J
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1, Place Nicholas, Cagnes s/mer A.M.
dear BROWN,
glad th'Enjoy's mutual, Anne` & I got a steadstream oI
WarmChuck Irom "14-19-50"` iI interested in Criticism Jolas
or Crosby might outline my plan Ior a CritiGroupBe, strikes me
hightime Opinion undergo 2 radexcapades:
A) anony-(at least the particular-, hither to merely talkablout-
ed) Aesthimulus as Begin the WordReact-in-/wa`esoles,
insured by
B) Removal-oI-erstwhile-Groupressure-on-each to induce
immedicompl|ete| OpineGeneralises, i.e., no one !"##$%
oIIer (yet may) ImageReact but none to dare generalistate a
complete Viewpoint till all present, by their particl|a|ntribs,
integrised its BEcome
"14-1950" reint|I|ests me in possirythmic relations oI TextForm|.|
((I mean F®-or-F & F-or-T)) it is certainly You, & I alius injoy
an|u|dde "Krezzy" (my ComSeld)
May hit Paris this Xmas iI not, when do you visit southward?
Crosby owes me a Lookin (|d|em his eyes) how'bout a Mardi
Gras well, oI that anon. More immediately, should you hear oI
a Iree bed around the 24th December, we'd be perIectly willing to
warm (I assume Santa Hause will equiv |m|e carIare)
Many, many thanx, the Intent behind your GiIt is warmly
A. Linkers Gillespie Jr
|k bas all Iearborn Pretense to Immijudiciality|`
Tracy,® Antheil, Hiler,® here
dear Brown,
I Ieel guilty we've been having somany parties, past months,
tho I didn't want twriteU till I'd absorbed READIES` just
Iinished today (|& thanx| Ior GlobeGliding®) I consider Readies
the most important Brochure currently issued
Linkers Gillespie
which oI us wuz the drunker, chez JOLAS last year you were
pointed out to me three hours aIter I'd leIt!!
((WEZ)) |1930|
dear Bob |Brown|,
enclosed, 2 pomes,`° readextlyressed, also Explanapage tickled
to pieces t'hear oBirthoMachine!!`` j'd belter take up
MetalSculp|,| 'cos I'll be expecting you to ()*+ ,- Spesseman
oMachine (be sure & lemme know, in advance, the Where When
Howmuch) ./0+12- i7"?? My Eyesight's ,340 526 78999
Weather here good we expect 1-2 more-rain-speils (Iewdays,
each), a Iew Castovers, the rest :;$%< Our &2=>?6=+ Mistral
recently paid its yearly usu-visit oI 2+0 day. Apropos Warmth,
most places here are beatable personally, I alsavail myselI oI
my nude-sunbath-t|err|asse, whenever it's out are you sending
aughto "MORADA's" MunichOpening? (Iorgot to get address
Irom Antheil yesterday |(Thurz)|, he's oII to Prague (Capriccio
being played) back at end oMonth.|)| promises to be
congenially intellipleasant, here, this season. I can oIIer you a
room (Tracy, wiIe & 2 kids alongside 1 am cryinvulnerable)
howev', there are always rooms outside get-attable, soon as You'll
wish we eat home, saves considerably on poorly-pensioned-
purses (no, no 4th, Antheil says "pppp" impossible) you can join,
pro-ra|ta,| so wishing there are even tolerable hotels here!!
You can count on me Ior Readirighting, nowon!! gives a
longneedea?d Dynurge to one's Work (you can surmise !" glee,
seeing $%&! Supe`wrWords getting-the-Hacklout!!)
Do come, I'd be delighted to have Someone around
enuI to leave me '(&& to talk (Orch. Strains, "Mon Homme")
Till|e|n, here, Tennis, February.
All the Best,
1, Place Nicholas
cher~Bob |Brown|
glad~you~liked~my~readies Iound~them~rayther
~optickle~mys e 1 1 II!
wal|~|i~guess~we'd~bet ter~send~yousall (3 in I)~to~Hotel
SAVOURNIN writeIor~Accomodates
Terms ~35 ~to 50~Francs~per~diem methinks~y'might~
get~2~adjoining-to-Bath~Rooms~Ior 120 (at most)~daily|~|
approx iI~ Savournin~Iilled~try~Hides-
COLONIES`` |always-shoor-space-there-in-w/«?er (35-40 daily)
notsocheery~as~t'other|`® Antheil now-
Wien-Prague-ing mentioned~Mackenzie~et~Morada(d)
suggested~my~sending~also Munich
~took~one~oC~mine will~try~to~reach~him
wiIe .... tonight! Saz-poker tonight (even~iI~limitgame)
try Savournin Iirst (Hotel Savournin, Cagnes s/mer, A.M.
France address) Hiler read us his readie, just 'Iore mailing
Iound it lively & GramSnappy, Iraid the"OakPark'-Gillespies
are Caths, we're Prots
will leave it to you to tackle Tracy when you arrive the rest oI
us are poor critical opponents Ior him; his Writing & InIo is
straidangerussetly important (he might be Roveadied-around)
P.S. y'might tell Mack, that Antheil-Gillespie-Tracy contribs. will
reach him, shortly.
Friday 17th |October 1930|
dear Sam |Putnam|,"
only news I get Irom you is thru the papers, par example thru
BaldV® mention-your-impendaper iI you are still interested in
my work, and will let me know wot sorta stuII 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 oI the HYoungering Vanguards. He's done 3 athleTerse
shortstories on MidWeStEX, quite good.
Yrs, Ior Bigger & Better?
Linkers Gillespie
1, Place Nicholas
Cagnes s/mer, A.M.
|12 November 1930|
42 bis rue de Plessis
Fontenay-aux-Roses (S|eine|.)
dear Sam |Putnam|,
working on "Clarity in Lit,"`® will send along shortly
!"#$%& ("))%*+"%
A.L. Gillespie jr.
1, Place Nicholas
Cagnes s/mer A.M.
11/30 |1930|
dear Sam |Putnam|,
enclosed Tracy's version it is actually a product oI our
conjointing mentaliteases, so , haven't really "let-you-down"
"WE" are dvowely available indeIinitely, at least till April, here.
much success!
!"#$%&* ("))%*+"%
should you wish to sign both our names, ga m'est 6gal Tracy
suggested so
Tracy's work merits his sig.
sans mine dont-u-2-think?
Cagnes 12/14 |1930|
dear Sam |Putnam|,
very happy you liked Tracy's write-up y'may be interested to
know he's delv-studying words Ior mood-evoke in both shortstory
& critique (can be reckon'd around-with Hemingway, i
the Iirst (alas! our lateness) issue" sounds great!! so much so,
you'll Iind enclosed etc`® Hiler out, painting Iuriously to Iinish
biggest Canvas Ior Independents (Jan. 7th), great stuII, pure
Beauty-Thinking, 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 Ior Xmas Dinner. By th'By, RITES
(Sybarite|s| Painter, Philosopher & probably the best-instructed
talker I've met) dishes out ('sides magnificent Iood) a synthrange
Sworld oI Concatenideas should I suggest his writing up Ior
you his tentativ PreIace to "Sybaris" (somesuch)? `
regards to Bald, Widney,`° Muzzy & Bodenheim`` ((ask Max iI he
remembers our Iaymush talk (drunk, Poets' Gather, W. 4th,
NYC) wherein he tolld the "Death oI the Sillygism"))
ME - "Say, Mr. B, have you any news oI 'Irwin'?"`
M.B. - "Irwin? IRWIN? oh oh, yess!! Iirst she was your
wiIe, then she was my wiIe, now she is in Chicago!!"
'gards, Mrs. Putnam
|I've a truckly article on "the lowdown behind Prohibition," iI
interested, let me know (snotoobad!)|`®
12/21 |1930|
Sam |Putnam|:
Jaromir Weinberger, Czech Composer & Iirst European to
compose Music-Ior-Radio, is enthusely writing an article on
"RadioMusic," he's written his Publisher Ior 5core-Facts, and
will treat the Subject Irom every dynamic viewpoint I told him
400 words right? Wot more Irom 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 oI Ivan LeCuc|q|'s work?
1, Place Nicholas
|How soon? Jan. 15th?|`®
|Pension Freddy
12/28 |1930?|
!"# |Brown|
sorry, too had you asked my whereabouts nice party you 11
get this probly Mon. Nite tried phoning, %&& operators said no
phone alors, Til look in. Novelty Bar (get oII at "Place," walk
one square Iorward, you'll see, leIt, just 'Iore corner) at 9 P.M.
Monday else, Tuesday 4 P.M. (or Tuz. Noon, chez moi)
|Place Nicholas
Cagnes s/mer|
."/+&01 !%,
12/30 |1930?|
Bob |Brown|:
Y dont Kay`® & any oI the VilleIranchised come along Saturday
whoopee all Cagnes Iock-the-D|r|oors
come any time
1, Place Nicholas
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
Neagoe,`® 10, rue Do|u|nse| | (XIV) send
,-. |1931|
che|r| Bob |Brown|,
Peter Neagoe wants something oI you & me Ior "Americans
Abroad" (edited by him & Sam Putnam) iI interested, plizz send
oI yours & my "TalkiIe,"®'' th'only Prose thing IVe got
visiting Cha|n| & Titus`` tomorrer been reading Book-legging,
as a pre-sales talkup.
Love to Cora & Rose,`
amities k Robert etc.
+*&% /#*#
35, rue Rousselet, (VII) ch|e|z Michonze.
Tuesday Night |1931|
cher Bob |Brown|,
enclosed Tschann's card, book-shop near Dome, suggests price ¸
25 F. (33 V3° Ior him) will probably take a 10-20 (& has the idea
oI putting pages on his window's show-pane gummed up, good!!,
the chiaroscuro will attract the necessary attensh) wants you to
write him, making a proposition, he has a good shop-location,
Titus cannot be neared by me (since |im| aIIiliated with Putnam)
will try tomorrow, tho
also Sylvia, shortly etc. gosh, it's only a Miracle how one's
Iunds here redwindle to 3 Irancs in no time I've now got to
stick it out here till the 24th (arrival oI a Swiss Iriend, who'll
possibly provide me carIare back) however I've a nice Iree
room till the Iirst, & lots oI passing acquaintance (most oI which I
can't yet ask Ior a loan, especially since I cannot oIIer to pay back
beIore July 15th, next month being that guddem time to pay 3
mos. rent d'avance)
I reviewed Brown's GEMS Ior next "New Review" Sam may
locate my copy Irom his pocket, leaving Ior America (5 wks)
within 10 days
will return around June 1st Wambly Bald, Chicago Tribune
Colyumist, presumaybly is vacation-sleeping (5) Place Nicholas,
haven't heard, most everybody seems here, at least lookinning
iI you can send me 100 F., it's retainable July 15th I intent
squaring you & my one-now Cagnes debt then y'see, there are
so Iew here that I know intimately whoVe an extra sou
Neagoe mentioned receiving y-our work, am conIerring with,
shortly thanx!
write TSCHANN your proposition 8.35 F. will suit him as his
!"#$%&' |1932|
dear Bob |Brown|:
both yrs. rec'd, busy on signing up Ior "Let-there-B-BEER!"
better!! how 'bout ')" addressing our new Bichelor Club,
opening next Saturday Nite on a scratchy Bier-Th6se. 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 Iloor,
Ivan Black®® & Glerbz, *+,-.&/0$1 we are calling same the
"Monastery" so the deer-gals will get the Break oI knowing that
our hintentions are undoubtedly sexual, a puriently social aIIair
you, by the way, have quite a contingent oI admirers in our
club (we are 15-20 to-date, thereII be some 150-200 pippl pre-
so why don't you (& Rose?) drop over & speechiIy some
READIES®'* & BEER sale|s| 111 Iollow up lemme know
write c/o Bond
1204 Walnut St.
we might even Iind you a panse, ol' thing.
Love also to Cora,
where Robert??
Tell George to come too 2|3| Barrow St.
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 week-end, 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.
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 oI my
deIinitively Prominent Friends to write them a Boost-Letter oI
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 Iine time, vieille noix, to give me quite the Glowing Prod!
Y'see these recent years in Phila. here I've been read-write-talking
so voluminously that literally I crool with Reams oI Material
burstingling Ior Public Utterance!! I've written 4 Articles`` in
two years (all useIul in parts Ior RADIO-WORK), literally
hundreds oI 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
`J``presentationised over Radio
IVe a Chap in Mind, connected now with NBC, with whom I'd
dialog perIectly he knows all oI our Writing (twould be
delightIul?, Bob-by, Ior me to jeer "youse" one day, interview you
the next!) (I'm acutely adroit at writing Dialogue)
The Iollowing Salients you might signalise:
(some Expression, atimes, on the PLASTIC A's.)
(B) CRITIC-of-IDEAS~as-relating~to-the ARTS
(in this BorderRealm oI AESTHETICS, I'm not bad)
(via Uncles Theodore & Max BENDIX, the Iamily goes back
knew Classic Music "bassackwards" and am cognizant
(even unusually!) oI Modern M. |am I still the only one to
have had a Go at diIIerentiating Stravinsky & Antheil?)®''
at that, I've inIluenced as many Musicians (Composers,
Players, & Conductors) as Writers.
I believe I am talk intactlv here allnywhere (y'might add
something anent, plizz)
(E) Memoirs-of-EXPATRIA
(1) AIIectionate JIBES (Portraicts)®®
(2) " TRIBUTES ( " )
(3) INTERJIEWS (hundreds available in NYC alone)
(F) aught-ehe-vou´d-like-to-and
I Ieel, bob, that on the AIR III achieve some Mental SPACES
nextly at least Quickenning and I Ieel-know enuI about
manipulating my Voice to hold ListenersW
so, brother BATZI oI Yesteryear, plizz put together some sort oI
RAYRAYDIANT Testimony (vour word will go Iar toward
clinching things) see iI the above Hints, plus your any
Memories, will evoke something knock-NBC's-Hat-Lakeward-
&-Likeward, willst?
An AIRADIO-Podium wd. gie me LIFE-BLOOD Feeling
love to youse & Rose, & yr. Mother
A. Lincoln Gillespie fr.
1, Charles St.
at Greenwich Ave. is amusing
Linky (Bill S.
John Rose Gildea)
2/15 |194?|
100 Columbia Heights
Brooklyn, N.Y.
Dear Bob-Rose |Brown|,
yr. card would arrive precisely at the time when I am was
insolvent Ior two pay-days so here we rush a buck (now that
Bill Simont shops Ior us, Iood's much cheaper First Ave.)
sure, send us a copy when & iI you get around into it, not much
money in the Village, haven't seen Bodenheim Ior months drop
us a card Ior a visit, our (Scotch) Landlady is rath austere.
our View oI River & NYC will cause youse to sit a week-month!!!
(come give me a Memory I'm also doing an Article Ior
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 Iew years ago, and how we
planned and schemed to inspire the same Ieeling 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 loIty
citadel. But Classmates, although Iootball, basketball and the
dance are at present Ioremost in our minds, we must not Iorget
that there are examinations to pass and good grades to be made,
that will make our parents Ieel proud and happy. Surely the Class
oI 1912, one oI the largest the school has ever had, can obtain
excellent honors in both. Let us Iollow the old motto, "Work
while you work and play while you play," and we can then be sure
that the Class oI 1912 will be able to say with reasonable pride,
"We have done our part by the old school."
Let your recreations be !"#$% not '(#)*$+ Labor to keep alive in
your breast that little spark oI celestial Iire called "Conscience."
Fun we must have. Diversion aIter hard study is needIul. But,
Iellows, let us hold out Ior clean, wholesome enjoyment, and at no
time be persuaded against our better judgment, to participate in
anything that would oIIend our conscience or bring discredit.
upon our school. "It is better to have Wisdom than Gold; as Gold
can only shine oI itselI but !"#$%& makes its possessor to shine."
So, Iellows, get busy. At your books with a vim and let the Class
oI 1912 so shine that all may be dazzled with its brilliancy.
Fellows, we wish to impress on your mind that the ACADEMY
MONTHLY is not published Ior the First Form alone, but Ior the
beneIit oI 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 co-operation in both oI these matters,
absolute success is impossible. We want this paper to be better
than it has ever been beIore, and to equal the publication oI any
other preparatory school. ThereIore, Iellow students, gather all oI
the school notes that you can and write your themes on original
subjects so that they may be utilized'by the paper.
Football is now at its height. The Iever has surged into so many oI
our minds that studies and other more important things are
Iorced to drop into the background. Although in the past years
our teams have been excellent, and ones oI which we were at all
times proud, very Iew have been able to reach the goal called
"Championship." Will this prove the case Ior the ensuing year?
This question will have to be leIt unanswered till the end oI the
season. However, "Well begun is halI done," and iI all plunge into
the gruelling work with body and soul, the outcome will not veer
towards deIeat.
The Philomathean Society, one oI the most beneIicial organiza-
tions oI the school, should be one oI very deep importance to us
all. We all look Iorward to the time when we will, perhaps, be
inIluential and renowned citizens. Then it is that oratory will do a
great deal Ior us. Perhaps some will ridicule this idea. But "Man is
the whole Encyclopaedia oI Facts," and the man who speaks
convincingly beIore an assembly will surely be more inIluential
among his Iellow citizens than the poor speaker or the backward
individual who has no conIidence in himselI. ThereIore, class-
mates, let us take this branch oI our routine very seriously, stand
by our oIIicers and assist them in every possible way.
That a mighty asset is School Spirit' O, that all the boys oI G- A.
were bursting with its Iervour.
School mates, there are a great many skeptics scattered through-
out the various classes. Here is a sample oI their pessimism. "No
matter what you say, I Iirmly believe that no team can win by
school spirit. Strength is the main Iactor."
There are not many Iootball enthusiasts who take into considera-
tion the respective weights oI the opposing teams. Very Iew
realized this diIIerence 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 Ilow oI this enthusiasm, and we
can be sure the rest oI our opponents will go down in ignominious
It is in general more profitable to reckon up our defects than to
boast of our attainments.
The world today is Iull oI men, each one oI whom is wonderIul in
his own estimation. Naturally he is not content to hide his light
under a bushel, he must boast oI his exploits to his Iellow-men,
whether it be in a large assembly or in a conIidential talk. Now it
is a question whether he is as great in the eyes oI his companions
as he appears to himselI. Shallow brooks are noisy, and there is
no more depth to his superIicial boasting than there is in the
babbling waters oI the little brook.
Classmates, how many oI us belong to this braggart band? Do we
appear thus not only to the eyes oI the class oI 1912, but also to all
hold acquaintance with us?
Let us reckon up our deIects. They are many|,|` carelessness,
Ioolish actions, quarreling, neglect oI studies, rudeness, and
untactIul remarks, are but a prologue to the long list oI our
"A man's good breeding is the best security against another's bad
manners." II 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 oI all well-bred
Classmates, how many oI us showed expressions oI pleasure and
gratiIication when we received our reports? How many Iaces
expressed gloom and mortiIication? We Iear that the latter led by
a great majority.
Boys, a great many times we have heard that when we are
punished our parents suIIer more than we do. Imagine then how
grieved they were when they viewed the 60's and 70's oI our
various studies.
Class oI 1912, do you realize that you are seniors now, and will
graduate next June? When our English Teacher, Mr. MacKenzie
inIormed 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 oI condition, must be guided by well
stocked minds, the best managers obtainable.
These helmsmen are readily secured with the aid oI zeal and
health, the prime Iactors in the organization oI good reports. Let
us accept these guiding lights whose services are oIIered volun-
tarily, and there will be no more gloomy Iaces, no more heavy-
hearted parents and teachers.
There are but two obstinate weeks that hold in check this joyous
occasion when every soul is Iilled with mirth and gladness. It is
love, aIter all, that makes the world go round, and Christmasjs
the melting point where hard Ieelings and sorrow are thawed into
the warmer state oI 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 Iamilies who, without succor, are bound to be unhappy at
their exceedingly meager Christmas, knowing their little ones will
be disappointed when the hoped-Ior Santa Claus Iails to appear.
It is the duty oI everyone to spread joy and peace on this happiest
occasion. And not to him that is already blessed should we show
our Iavor, but to the poor and needy, who otherwise must spend a
cheerless Christmas, let us send our aid.
AIter all, Christmas, in its Iullest sense, is best appreciated by the
little ones and those in poverty. "The greatest grace oI a giIt,
perhaps, is that it anticipates and admits oI no return." Then let
us join the ranks oI those who by giving shall be doubly repaid,
and insure to ourselves a truly joyous Christmas.
Now that the exciting season oI Iootball has dwindled away to the
etherial regions, closer application must be devoted to lessons.
Our teachers all realize that Iootball interIeres greatly with
concentrated study, and Ior this reason grades have not been
severe. But a decided improvement in next month's averages is
looked Ior! It rests with us. When opportunity is given to
establish this improvement, it should not be neglected! Banish
halI-hearted interest and discontent Irom our minds! Better
grades and a sense oI pleasure in duty well done will repay us, and
with clear consciences we can enjoy our holidays.
The School quartet made a good showing when one considers the
Iact that the selections rendered beIore the school represented
their Iirst attempt at public singing. Do not be downcast iI you
did not like the sound oI your voices.
Inscribe this short saying in your minds: ROME WAS NOT
BUILT IN A DAY. Neither was a good quartet.
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 oI remorse and the
unhappiness which Iollow the wreaking oI vengeance upon a
supposed enemy, how many will actually have tasted oI the so-
called "Sweet?"
GratiIication is seldom derived Irom so malevolent an action, but
Repentance Iollowed by Gloom quickly reach the goal beIore the
"Sweets" can consider whether they will be able to pay a
proIitable visit to the mind.
Many lives have been spoiled by seeking the delusive sweets oI
revenge. Everyone has been advised to "count ten" beIore
completing an action. Father Time would willingly allow a Iew oI
his precious seconds to slip by unnoticed, provided a Iew hours,
or even minutes, were devoted to the task oI releasing the soul
Irom the thoughts oI petty revenge. This task would not be
diIIicult were the hammer oI Righteousness hung directly above
the cowering head oI the Monster, Revenge. No gravity would be
required to cause the mighty sledge to descend and crush the
demon absolutely.
No Revenge is !"# sweet. It is the "only debt which it is wrong
to pay."
We are all anxiously awaiting the arrival oI January 19th when
the Annual Concert oI the Mandolin and Banjo, and Glee Clubs
will be held at Manheim. That an excellent program Iollowed by a
delightIul dance will be given, is an unquestionable Iact. It is
evident that the arranging oI dance cards has been the easiest part
oI all preparations. But the other part must not be neglected nor
must we take it Ior granted that it will be a huge success. The
audience will be critical and quick to discern the slightest error.
Members oI the Music Clubs, don't give your audience the
slightest opportunity to pick Ilaws! Then last year's success, the
Iirst concert given by the Combined Clubs, will be easily
surpassed by that oI 1912.
One oI the most interesting events in the Senior year oI the Class
oI 1912 is the Class Dance. The date set Ior this Iuture enjoyment
is February 2nd and every head is buzzing with the diIIicult
arranging oI programs. President BalIour has selected excellent
committees and the class places entire conIidence in their work
towards perIecting it and enrolling it in the memories oI all as one
oI the Iinest Senior Dances that G. A. graduating classes have
ever produced.
No doubt you have all Iormed plenty oI New Year's Resolutions
to your proIit and the building oI your character. But here in a
nutshell is one which completely covers the ground:
"Resolve to perIorm what you !"#$%& perIorm ()%$!"% *+), what
you resolve.|"|`
When I awoke Tuesday Morning I Ielt a strange Iorboding oI an
unpleasant day. Not the weather. No, that was ideal. Sky oI azure
hue, and the warm sunshine to counter-balance the chill oI a day
in late September, made conditions such as would put any young
Iellow in the best oI spirits )* he were not madly in love.
The "iI had hold oI me. -$. was ravishingly beautiIul, in Iact in
my eyes she was indescribable, even when the choicest oI English
adjectives were brought into play.
My greatest drawback in winning her aIIections lay in the Iact
that I was slightly built, with rather eIIeminate Ieatures, and no
great show oI strength. My senior year in college Iound me well
up in studies, and in good social standing, but in athletics I was
not heard oI, having made no team whatsoever. Perhaps, I
thought, I could not protect her Irom the overwhelming seige oI
worldly woes.
But I determined to see her that very day and, iI possible, learn
my Iate. Anything rather than this torture oI suspense!
Naturally, she had many suitors, but my chieI rival was Walter
Brigham, captain and halI-back oI team, and the most
popular Iellow in our set.
How oIten had he aggravated me with such greetings as, "Hello
little Iellow," and "Run away, Bobby, don't disturb us tonight."
Hang it, why shouldn't I see her this minute? Seizing my hat, I
presented myselI at her door, and directly my adored one stood
beIore me.
"Good morning|,|® Bobby," she said, her Iace radiant with a
glorious smile, and her lustrous eyes dancing with mirth. Every
molecular particle oI me clung to those eyes!
"It's a delightIul surprise to see you here so early in the morning.
And isn't it a perIect day Ior the game?"
"The game?" |"|`0h yes, Football and the Iirst game oI 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 Iace
and in a moment overcome by temptation, I had snatched a kiss
Irom her rosy cheek! It was a bold stroke, but inwardly I was
"Bobby White," she cried indignantly, "that's the most "
"The most sensible thing you ever saw me do," I interrupted. "It
was the tribute Irom a heart Iilled to overIlowing 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 blissIully to the !"#$%&' )"&%'$*+
"Bobby," came her reply, "1 like you so much, and hold you as
one oI my dearest Iriends, but the man I !"##$ must be strong
and courageous, like "
"Walter Brigham," |I interposed|® curtly, almost brutally. "Good-
AIter this unIortunate tete-a-tete, I Ielt strongly inclined to throw
myselI 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 &'$()"* thought! 1 could Iancy myselI
trying to be amiable and she, a second Diana, receiving my
attentions with Irigid composure.
These distracting thoughts were dispelled by a clamorous ringing
at the telephone. A Iamiliar and silvery voice Iloated to my ear as
I liIted the receiver.
"Bobby," it said, "Let's Iorgive and Iorget. You promised to take
me to the game you know. I shall expect you at 2.30. Goodbye."
Some people are born Ior luck, but this was the Iirst time that
Dame Fortune had condescended to knock at my door. 'Twould
be Ioolish not to heed her call and promptly at the appointed hour
I was ringing at the door oI my Diana's palace. I was astounded at
her cordial Iriendliness. Surely such a sign oI Iorgiveness was
worthy oI the chivalrous and heroic deeds one reads oI in the
novels oI today. But I must bide my time and wait patiently Ior
Dame Fortune's second call. A pleasant aIternoon must suIIice.
The Game had progressed rapidly but so Iar neither side had
scored. Occasional good plays kept up the enthusiasm, and in
everyone's opinion Brigham was starring Ior his team.
Suddenly the Ioundations oI the grand stand shook under the
roaring oI the spectators, when a tall Iigure emerged Irom the
mass oI players and sped Ior the opposing goal. Needless to say it
was Walter Brigham.
Eleven men were warded oII, but there was one warrior leIt to
meet the Ioe. It was my Iair companions' dachshund! Not content
with Iollowing us to the game, he had slid unnoticed through the
gate and was now waddling directly in Iront oI the mad horde.
Running at Iull speed with the goal only a Iew yards away,
Brigham was enraged when |he|® encountered the animal directly
in his path, and with a savage kick he swept him aside and strode
on to victory.
"Oh how could he! How !"#$% he!" Gasped Elise amidst her sobs,
and turned to me Ior comIort. "Do get the little Iellow and see iI
he is much hurt." In a Iew minutes I laid the panting creature in
her arms, and her look oI gratitude was meat and drink to me.
It told me that I might hope, Ior with Brigham out oI the running,
my chances were not so slim aIter all. His victory was dearly
bought, Ior Elise passed him with an icy stare as we leIt the Iield
Ior her home.
Why wait?
Bidding her good-bye at the door, I took courage and said, "Elise
dearest may I see you tomorrow and pursue to the Iinish the subject
nearest my heart, which I broached to you this morning?"
An enchanting smile, a warm shake oI the hand, and a kiss waIted
Irom rosy Iinger tips as she Iled indoors was my answer.
I had won her in a Iair Iight and no Iavor, and iI I seemed to tread
on air as I bent my steps homeward, who can blame me?
It is absolutely necessary to the perIection oI our character that
we be imbued with a certain amount oI pride. But do we
understand the term correctly? There is a pride which is born oI a
wealthy social standing, which keeps us Irom mingling with our
Iellowmen unless they happen to be in the same class with us,
which Iails to recognize, no matter how worthy, any merit, lest it
be Iound among this certain clique, which narrows our lives into
mere snobbishness. Is this worthy pride?
There is another pride, that oI ancestry and so-called blue blood.
It is well to be well-born, but unless we live up to a noble name,
and by our conduct and achievements add lustre to its already
bright escutcheon, have we the right to be proud oI bearing it?
Surely, "It is better to be nobly !"#"#$"!"% than to be nobly
But to be too proud to lend ourselves to any mean action, to slight
our duties, to Iail in respect to our parents and teachers, that sort
oI pride is commendable. To take a just pride in lessons well
prepared, in the neatness oI our personal appearance|,|` in
maintaining the high standard and good reputation oI our Alma
Mater is justiIiable; and the pride born oI these sources will surely
add to our useIulness as Iactors in the world's work, and perhaps
inIluence others toward higher ideals oI what constitutes real
It is a pretty custom, though not so much in vogue as in Iormer
years to send on this day some sweet message oI love or greeting
to those dear to us. How eagerly we watch Ior the mail and with
what trepidation do we open the sealed missives, Ior Iear that the
particular she might have Iorgotten us. And how we compare
notes when we meet the Iellows, and point with pride to the
number Mr. Postman has delivered to '() and pity our less
Iortunate companions.
Childish Iolly, do you say? Perhaps. But none oI us are ever the
worse Ior the heart-warming which comes through this source,
and kindly sentiment thus expressed will cheer and lighten many
hearts on this day.
So long liIe to Valentine's Day, say we, and may the little
messages oI cheer Iind their way into many dark corners, and
brighten the day Ior the lonely shut-ins.
Although the greatest social event oI our Senior year, the Class
Dance, has now dwelt with the past two Iull weeks the delightIul
experience is always present and Ioremost in our thoughts. It is a
universal opinion that this year's dance has excelled any oI its
predecessors. And truly, Ior did not an artistically decorated hall,
entrancing music, and a congenial gathering oI choice spirits unite
to make the occasion a great success? The conIetti added hugely
to the merriment but proved a questionably pleasant addition to
the reIreshments. A great deal oI 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 Iun.
"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 soItness oI the air, in the len`hening oI the days,
in the very sounds and odors oI the sweet time, that caresses us
and consoles us aIter the rigorous weeks oI winter."
And now our grumblings cease. Under the inIluence oI these
harbingers oI spring we admit that the winter was not so dreadIul
aIter all, and we look to Mother Nature Ior clemency Ior all our
revilings against her.
With the coming oI this, her choicest season, we Iind the earth
garbed in sweet Ireshness, restIul green at every turn, (consider
how weary we should become were we to Iind red, Ior instance,
where now our eyes Ieast upon the soothing color Nature has so
bountiIully provided), the woodland songsters warbling their
joyIul paean; then why not lend ourselves to these sweet
inIluences, and rejoice also?
II our hearts have grown callous, our sympathies deadened, our
minds stagnant, our impulses toward good deeds checked by
Winter's icy and morose inIluence, let Spring with its soItening
touch loose all the Ietters that bound us, and let our better natures
prevail, that we may accomplish the purpose Ior which our Maker
placed us here. For we were not meant to be mere puppets but
each oI us has our place to Iill in the world, and we are important
in some respect, whether we choose to be so, or not. And iI we
IulIill our destiny, with clear consciences we can joyIully echo the
poet's song:
"The year's at the spring,
The day's at the morn;
Morning's at seven;
The hillside's dew-pearled;
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 Ior March 29, and the
participants are anxiously awaiting this opportunity to display
their youthIul "spouting." A prize oI $25.00 is added to Iirst 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 IortiIied."
This subject although it Iavors the aIIirmative, is suitable to all
concerned, and will give to each speaker a splendid
pour Iorth his loIty eloquence upon the attentive ears oI an
intelligent audience.
There is now presented to us a glorious opportunity to display our
real school spirit. Glorious opportunities is more to the point, Ior
what better ones can oIIer than the baseball, track, tennis and
cricket teams?
There is no student in G. A. who is incapable oI trying, at least Ior
one oI these teams. The Iellows who have not made the teams
hitherto do not realize how much they have strengthened their
more Iortunate rivals. The more opposition, the more :eal'
ThereIore schoolmates, put aside all doubtIul queries about your
chances, and swarm the opening practice with a horde that will
stagger, although delight, the coaches oI our various teams.
With what joy and happiness do we hail the advent oI another
Easter, when Nature presents to Earth its loveliest garments;
when sluggish winter has departed to give place to a season oI
cheerIul activity in every soul; when the Christian World unites to
praise and gloriIy Him who was resurrected this day.
In the time oI our Lord Easter brought "good tidings and great
joy," which have been diIIused through all the ages to our own
times. Let us hope that every nook and corner oI this old Earth
will receive its share. It lies within our power to scatter the seeds
oI joy.
Though we may be exempt Irom care, others perhaps are bowed
down with grieI and sorrow caused by the death oI a dear one. Yet
even as our Lord was resurrected, so may we hope that these
loved ones gone beIore shall reach a happier domain, and thus
give to the aIIlicted and bereaved a happier Easter in the thought
that they are "not dead, but sleeping."
Blessed Eastertide! Hard indeed must be the heart that will not
melt to its tender and benign inIluence! "Never be discouraged by
triIles. II a spider breaks his thread twenty times he will mend it as
oIten. Perseverance and patience will accomplish wonders."
The Editor takes this opportunity to present a bit oI sage advice
to those who hope to secure creditable grades in the June
One should not become discouraged because oI previous un-
satisIactory reports. The good that comes oI making a mistake
lies in the Iact 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 oI a malevolent
Rather look Iorward to them in pleasant anticipation as a means
to an end whereby you may obtain an excellent start as a
Ireshman in the college oI your choice.
A Iew days ago we were inIormed that this paper was run Ior the
Iirst Iorm only, and that the other Iorms were not given a Iair
chance to publicly display their literary eIIorts.
No doubt this grieved individual Iounded his assertion on Iacts,
Ior lately the Seniors' contributions have been predominant.
But let us Iace a Iew !"#$% Iacts. You will all agree that the
ACADEMY MONTHLY is run in the best interests oI the school.
Then does it not Iollow that the school should be represented in
its columns by the BEST LITERARY WORK available?
ThereIore, Schoolmates, iI you wish to see yourselves in print,
look to it that your work $'($)* that oI the heretoIore "lucky Iirst-
Iormer. "
It is gratiIying to see the Musical Clubs rounding out another year
oI successIul work. The concerts rendered up to date have been
received with sincere approbation by large and critical audiences.
and the Iullest conIidence in their own ability will secure Ior our
school musicians an eminently satisIactory position in the historic
annals oI the Class oI 1912.
Here's to the Combined Musical Clubs oI Germantown
Academy: May their shadows never grow less!
Everyone preIers the bitter beIore the sweet, and in like manner
must the unpalatable Exams be consumed beIore the delectable
pleasures oI our Class Day may be enjoyed.
The selection oI the Class Day "Cast" has been diIIicult. CareIul
thought and consideration on the part oI the Committees have
provided a competent group oI Orators, and an able and eIIicient
StaII Ior the Primer.
We hope to make this Class Day a memorable occasion, when
pride in our achievements shall honestly Iill every heart, Irom Dr.
Kershaw down the long line oI Faculty, Students, Fond Parents
and Admiring Friends.
Not a Senior should be idle with such important work but a Iew
weeks ahead oI us. The Class oI 1912 !"# and %&'( equal the loIty
standards established in Iormer years.
The Editor notes with pleasure the advent oI two original poems
Irom members oI the Fourth Form. We wish that more oI this
sort oI thing would Iind its way into the columns oI the
MONTHLY. Originality is what we are striving Ior, and all literary
eIIorts whether oI prose or poetry will be given careIul considera-
tion, and iI worthy, ample space in our School paper. Who knows
but that the Embryo Class Poet, or Prophet, or Valedictorian
shall be Iound in the authors oI these eIIusions? So, Iellows, bend
your energies in this direction.
"Oh, the wasted hours oI liIe
that have Iloated by;
Oh the good we might have done
that's lost without a sigh!"
We have been journeying Ior a number oI years and are now within
sight oI the goal which marks the end oI our school-days.
When we look back upon the time spent within the walls oI old G.
A. shall we be able to Ieel that we have reIlected 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 perIorm those
duties which honor required oI us?
We are all too prone to believe that school-days were instituted in
order that youthIul pranks might have Iull sway, and that nothing
in the shape oI serious thought or reIlection should be allowed to
mar their perIect enjoyment.
But, when we consider that our beloved Principal and teachers
are giving oI themselves daily and hourly, straining nerves, bodily
strength and patience, that we may be Iitted Ior coming manhood,
does it not mortiIy us, now that we are ready Ior sober reIlection,
to think that we may have Iailed to avail ourselves oI all these
splendid opportunities, or that we have held them lightly, when
they should have been oI the utmost importance to us?
Still, it is not yet too late. In the weeks remaining prior- to
graduation, much may be accomplished iI we will only buckle
down to thoroughly earnest application; and it is possible Ior the
Class oI 1912 to go down in School History as the Banner Class
Ior successIul examinations.
Go TO IT, FELLOWS! Show them all oI what stuII our Class is
made, and let us leave old G. A. with our heads held high, and our
hearts beating exultantly in the thought oI duty well perIormed,
and "Something accomplished, something done."
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, Iull oI 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 Irom our Ieeble eIIorts.
As we contemplate the parting oI the ways, the breaking oI the
ties which must come, a Ieeling oI sadness Iloods our hearts, and
we wish that we might be permitted to live these happy school-
days over again.
We are boys Ior only a short time. Manhood lies beIore us and
with it we must put on what stands Ior Manhood: Dignity,
Stability, Industry, ThriIt, hearts brave and true, that will stand
Ior the right and brook no evil.
Our preceptor, Dr. Kershaw, and our esteemed teachers have
smoothed the way Ior us, and by their daily example and teachings
have impressed these most vital points on our minds.
Perhaps, at times, they appeared to have Iallen on stony ground,
but the careless, careIree habits oI 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.
These are bound to crop out later in liIe, and we trust that in the
years to come our IaithIul Mentors will see the Iruits oI their
And so we say Farewell to the Old School. No matter how Iull
our Iuture may be, we shall always Iind 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.
Our season oI out-door sports this year has been crowned with a
goodly portion oI success. The Baseball nine has divided Iirst
place in the Inter-Academic 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 eIIorts in cricket were put
Iorth by a mostly inexperienced team and the outcome was
victories and deIeats. But not Iorgetting the relay and track
teams, a Iew words about their excellent season could not be
amiss. The Iormer 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 oI the Iair
rooters at the "Color-Day" event.
This sums up the athletic season oI our last Iew months at G. A.,
and even though we did not Iinish at the top, !" $%$ &'( )"*+,
which is always acceptable to the critics, and a satisIaction to those
striving Ior honors.
What a relieI this word brings to our minds! To "rough it" in
camp, to spend the summer at the seashore or mountains, or even
to "loaI," all these inducements appeal to our sense oI liIe's
happenings in a more gratiIying state. Who can resist the thought
oI swimming and bathing a positive immunity Irom Mother
Earth and the numerous attractions, some human, which the
summer resorts aIIord? Summer, here, there, and everywhere!
Summer with its sunburn and mosquitoes! Who can resist them?
I had just Iinished my annual reading oI Dicken's immortal
Christmas Carol, and with a prodigious yawn, reluctantly laid
aside my book. Scrooge, Marley, Bob Cratchit, Tiny Tim, and the
Ghost oI Christmas past all seemed very real to me. But stay!
What was that tall gray Iigure, with stern mien and Iorbidding
aspect, looming up Irom the Iire place?
Thus it addressed me: "I am the ghost oI the Future. Follow me,
and I will reveal to you the doings oI men ten years hence." The
room then grew misty, and I Ielt myselI Iloating into space,
guided by my ghostly companion.
My senses were rudely awakened by a stentorian voice which pro-
ceeded Irom one oI Market Street's choicest "Bijou Dreams."
It announced that the "All Star Quartet" was to make its Iirst
Philadelphia appearance here. My gruesome Iriend and I Iound
seats near the Iront. The Quartet was making a terriIic racket. The
principal cause oI disturbance was the Iirst tenor, in whom I
recognized, despite his horrible Iacial contortions, my old
classmate, Arthur Noland Harrigan. But the second tenor, with
rampant voice, and the originator oI the low growl, which passed
Ior second bass, who were they? By all the gods, Mart Buehler
and lamb-Iaced George Hastings, without whose able support the
Glee Club oI G. A. could not have survived! Do I hear applause?
Finally my gaze rested upon the Iourth oIIender. A loIty Iigure,
who drew gasps oI admiration Irom the ladies in the audience.
And justly, Ior who could resist a voice so mellow and sweet, even
iI it never did hit the right kev? Phil Harrigan was repeating his
successes oI Iormer days.
But tumult raged about this motley group oI songsters. A lanky
policeman Iorced his way through the crowd, and in short order
had collared the Iour and sent them hustling Irom 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 oI this august name quelled the disturbance. Was it
possible that the digniIied Bishop, the pompous Dean, the
eloquent orator, our honored Price, had become a mere "Gas
Bag," the Boss oI a gang oI unprincipled politicians? Oh, what a
Iall was here, my countrymen! Just then the gaunt, but heroic
policeman walked up the aisle. It was the meek and lowly Stokes!
Now a powerIul arm oI the law, he no doubt enjoyed retaliating
upon the Harrigans, his erstwhile tormentors.
This commotion broke up the perIormance, and we speedily
made our exit. Reaching the street, I noticed a large, Ilorid,
grinning individual, seated in an auto, in the midst oI three pretty
girls. I was almost overpowered when I recognized Perry, the
"woman hater" oI old. Ed. had evidently become a thorough
convert, and seemed Iully aware oI the Iact that "Women were
made to give our eyes delight."
Recovering Irom 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 oI a Troupe oI Minstrels. In the end
men and middleman I recognized old Iriends. Goaty Wight, Iirst
in all school rough house, and boisterous as ever; Wilkinson, still
true to his reputation Ior endless talking, pouring Iorth a rapid
Iire oI antiquated jokes, (Bob should have devoted his time to
running, and not let so much wind go to waste) and WegeIarth,
who had already selected the prettiest bunch oI girls in the boxes,
toward whom he would later direct his solo, a ravishing love ditty.
Weggy was unchanged, and was still oI the Iirm belieI that he
could capture the hearts oI all Iair damsels by a mere glance Irom
his soulIul eyes.
The next act was surely a "Hair Raiser." A well Ied, corpulent
individual, billed as the "Greatest Wonder oI 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 fiftv ham sandwiches." Wonderful Ed. Goshorn,
Ior a Iact; but we little thought in our palmy school days, that his
Iavorite stunt would net him a competency suIIicient to provide
Ior his old age.
My companion next conducted me to the Franklin National
Bank, where I met three prominent oIIicials. The tallest member
oI the group was unmistakably Butterworth, our Valedictorian,
who had reached the height and dignity oI a Bank President; but
who at the present moment resembled nothing so much as a
nurse. For he was in the act oI administering a dose oI Mrs.
Winslow's Soothing Syrup to an exceedingly nervous little man,
whose condition required this treatment every three hours. The
patient, we were inIormed, 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 Iair way oI becoming
a member oI the "RockeIeller Diet Club."
But the Vice-President, lounging at ease in the most comIortable
chair, oblivious oI his surroundings, and utterly unconcerned
with anything that savoured oI business, who was he?
Paul Tissot, always the smoothest and most easy-going member
oI our class. Judging Irom the charms he presented when Knights
were bold, he should have turned Iemale impersonator, a second
Julian Eltinge, as it were, and become a Ieted matinee idol. But
liIe is Iull oI such disappointments.
We next halted at an auction sale, and joined the usual curious
and impecunious crowd which one always Iinds there. The
Auctioneer, purple oI Iace, and arms beating the air, as he
delivered his bombastic harangue was trying to dispose oI a heap
oI 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 Iine sample on
the whole, oI rhetoric, which the learned call Rigmarole."
And now my guide directed my steps to the Bulletin Building, the
home oI a most popular newspaper. Small wonder, Ior Paul
Roberts was its business manager. I remember how diIIicult it was
to secure subscriptions Ior the Academy Monthly when he acted
in this capacity Ior our valuable and entertaining magazine. And
as Ior advertisers, they were an unknown quantity! As we entered
the oIIice, we observed a tall melancholy creature with a jumble oI
drawings under
his arm, sneak out oI the door as though aIraid oI
some great personal violence. Cornell's wonderIul cartoons had
been so realistic that he rarely ventured Iorth without a
bodyguard. Allen could draw anything under the sun, and was
particularlv skilIul in drawing his salarv.
A|tI Broad Street Station we Iound the Drug Store still in
existence, although the operators oI the Iountain presented new
Iaces. But there was something Iamiliar about that jolly red Iaced
Iellow, who was concocting wonderIul Sundaes and dispensing
them with lightning rapidity to the lines oI waiting damsels.
Surely it is Charles Betts, who always was sweet Ior the girls, and
who had not lost his cunning ways in the passing oI the years.
A dapper little man, resplendent in brass buttons, epaulets, and
gilt tassels was lounging against the counter, waiting Ior an
opportunity to address the Wizard oI the Fountain.
"Bettsy, old man, can't you stand treat Ior an old classmate?"
It was such a joy to greet Captain Hough, home on Iurlough, aIter
a tour oI the world, that I became reckless, and ordered Sundaes
galore, ignoring pocketbook and digestion alike.
Bill was Iairly bursting with anecdotes and adventures, the telling
oI which I persuaded him to deIer until the next class reunion, when
I leIt him hurriedly to catch the train Ior Chestnut Hill.
In the course oI the journey, I overheard a blonde haired
individual relating an exciting episode. The story ran like this: "I
was helping the SuIIragettes out yesterday, and maybe 1 didn't get
in wrong. Marching side by side in the parade with the peachiest
one oI the bunch, I Ielt the magic inIluence oI her enthusiasm
surging within me; when suddenly my companion hurled a stone
through one oI the plate glass windows oI City Hall. Like an
inIatuated Iool, I Iollowed suit, and it cost me a year's income to
crawl out oI this scrape. When next I meet a SuIIragette it s the
other side oI the street Ior mine." The hero oI this remarkable tale
was Stan Ketcham, who was always getting into hot water at
Now the train halted, and we shortly entered a handsome
residence, where a house warming was in progress. This, the home
oI Dr. Addis, was Iitted 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 !"#$ Iirst.
ProIessor Barnett, a noted guest, was explaining the uses oI these
modern inventions, and all the women were taken by storm,
marvelling at his ready command oI 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 Iurther
enjoyment oI the company, by rendering the "Magnolia Sere-
nade" on his guitar.
Ye Gods and Little Fishes! AIter 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 oIIered it on every occasion. His companion was
Richard Clapham, seeming ill at ease amidst this gathering oI
celebrities, and evidently wishing himselI saIe in his Iive horse
power limousine, racing back to town at the rate oI three miles an
The explanation oI the various wonderIul contrivances com-
pleted, a great hand clapping ensued, which Hen acknowledged
with much bowing and scraping; but he need not have plumed
himselI on his marvelous success, Ior in reality the applause only
came because reIreshments were next in order, and verily, the
"Eats" were as popular as ever.
The inner man satisIied, I retired to the smoking room, where I
listened to an interesting bit oI gossip. It appeared that Ned Bell,
whom you all know to be the most absent-minded Iellow in
school, during one oI these lapses oI memory, actually proposed
to two girls. Had married one, and, as we read in Iairy tales,
expected to live happily ever aIterwards; and was now being sued
Ior breach oI promise by the other! Poor Ned, he was in dire
straits, and his little wiIe in the depths oI despair.
But Phil Barba, the IaithIul ally oI the class, to whom one always
looked Ior aid in any predicament, came to the Iront as usual, and
relieved the situation by marrying the Iair plaintiII himselI. Do
you wonder that she succumbed to Phil's many charms?
Another prominent guest was a Iamous ball player, just returned
Irom the Chicago White Sox to the Texas Bush League. We
marvelled that the management could part with so valuable a
man, Ior he was credited with a Iabulous number oI "hits."
But since these were not made !"#!$% '(% $!)*+"$, but only with
the Iair Ians who thronged the grand stand to catch a glimpse oI
that #()-%./ Iorm, BalIour's release was not so hard to
understand. Allie was always more successIul in captivating the
ladies, than in hitting the pill, or stealing bases.
Great was my astonishment when I next Iound myselI within the
sacred precincts oI a Girls' School. ProIessor 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 oI bright and
beautiIul pupils to an army oI envious visitors needless to say
oI the male species.
At the ringing oI the period bell, the majority oI the students
tripped down stairs and sped Ior the gymnasium, where they
surrounded two tall, Iine looking men, evidently the instructors oI
the various games and sports and consequently most popular.
And wonder oI wonders! I beheld in these trainers, DaveTibbott
and LeiI Norbon. Following their Iavorite occupation, and none
the worse Ior it, judging by their beatiIic countenances as these
Iair 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
Ielt my senses dwindling into utter oblivion.
I recovered myselI with a start. These queer experiences would
have seemed realistic, had I not been reassured by the same old
Iireplace and the discarded "Christmas Carol."
It is my earnest hope that I may be pardoned Ior predicting such a
Iuture Ior my classmates, even though dreams held Iull sway o'er
the mind, Ior
"Tis such things dreams are made oI"
Music Starts A Geometrv was originally published in transition, No. 8
(November 1927), 166-69.
1. OP (original publication) repeats text Ior Iirst Iootnote aIter superscript in
body oI text.
2. Corrects open sentence.
Textighter Eve-Plov or Hothouse Bromidick was originally published in
transition, No. 12 (March 1928), 171-75.
1. Jovce´s recent work, (transition). Finnegans Wake.
2. Parenthesis Ior numeral 9.
3. [Maxwell] Bodenheim. see /2/;`|1930|, TN. 21, pp. 175-76.
4. OP omits quotation mark.
5. Corrects open sentence.
Antheil & Stravinskv was originally published in transition. No. !3 (Summer
1928), 142-44.
1. OP repeats element gu::ling.
2. Quotation mark Ior apostrophe aIter semicolon.
[Notes´]. Transcription oI Gillespie's previously unpublished notes, unsigned and
undated, Iound among George Antheil's papers. Probable date, 1928, establish-
ed according to publication date oI related text, "Expatracination," Fall 1928.
See PLATES 23-24 Ior Iacsimile.
L Corrects open parenthesis.
Expatracination was originally published in transition. No. 14 (Fall 1928), 103-
I. This text was the author's response to a survey entitled Whv Do Americans
Live in Europe? conducted by transition. Fall 1928.
Among those asked to write "brieI stories oI themselves autobiographies oI
their mind, selI-examinations, conIessions, conceived Irom the standpoint oI
deracination," were George Antheil, Kay Boyle, Harry Crosby, Walter
LowenIels, Robert McAlmon, and Gertrude Stein.
The Iollowing questions were asked:
I. Whv do vou prefer to live outside America?
II. How do vou envisage the spiritual future of America in the face of a
dving Europe and in the face of a Russia that is adopting the American
economic vision?
III. What is vour feeling about the revolutionarv spirit of vour age. as
expressed, for instance, in such movements as communism, surrealism,
IJ. What particular vision do vou have of vourself in relation to twentieth
centurv realitv?
2. Corrects open sentence.
3. Corrects open parenthesis.
4. [Gregorv] Michon:e. Russian surrealist painter; see Undated[9´iTv TN. 27,
pp. 176-77.
5. Mv Article (transition I2) "Textighter Eye-Ploy or Hothouse Bromidick,"
WORKS, pp. 7-10.
A PastDoggerel Growth of the Literarv Jehicle. Language´s Relapproach Music
and Plastic was originally published in transition. No. 14 (Fall 1928), 126-30.
1. mv ThesisArticle in transition No. 12. "Textighter Eye-Ploy or Hothouse
Bromidick," WORKS, pp. 7-10.
2. Opera In English. work lost.
Amerikaka, Ballet was originally published in transition. No. 16-17 (June 1929),
1. Author's brackets.
2. OP: //.
3. The sense makes period dubious.
Claritv 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 (May-June-July 1930), 98-100. Tracy was a
critic, poet and short story writer. See Gillespie's LETTERS (pp. 116-19, 121) to
Sam Putnam regarding the circumstances oI the collaboration.
1. OP: gression.
2. Presumably Samuel Putnam's note, the editor oI The New Review.
Monograph for Harold Weston´s "Evo-Love Series" originally published in
transition. No. 19-20 (June 1930), 201-202.
1. Corrects open parenthesis.
[Truth Circumstance] is an "excerpt" Irom 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
1917-1934, ed. Hugh Ford (University Park and London: Pennsylvania State
University Press, 1972), pp. 85-86.
The article also quotes Irom 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. 86-87) with him:
" '1 never give out interviews', said Link. A Iew 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 oI
Sanscrit? I like the melodic lines oI 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 Iell asleep. I picked him oII the Iloor 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 Iew questions'. He said, 'Shall I be banal or would you like to hear a
Iew Pizzikaks?' |see "Pizzikats," WORKS, pp. 53-57| I said, 'Mix them up'. He
said, 'All right'. Then it was my turn.
" 'What do you think oI Beethoven?'
'Froghide croakboom legs Ior dinner'.
'How do you react to Ravel?'
'Diamond dice thrown high'.
'What is a Pizzivol?'
'Kissqueak Iingplek daddleback'.
'Will you ansamander one more questackaquaII?'
'PoeIix may ultraprovide anything!'
'Tellabel me this: Can you let me take 30 Irancs until tomorrow?'
" 'I haven't any money on me, but stick around and we'll borrow some
A Poem from Pu:Ut consists oI the "last lines" Irom 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 1917-1934, ed. Hugh Ford (University Park and London:
Pennsylvania State University Press, 1972), p. 87.
Readie-Soundpiece was originally published in Readies for Bob Brown´s
Machine, ed. Robert Carlton Brown (Cagnes-sur-Mer: Roving Eye Press, 1931),
pp. 83-90. Reprinted in Americans Abroad. An Anthologv, ed. Peter Neagoe
(The Hague |Holland|: Servire Press, 1932), pp. 168-74.
Gillespie's LETTER (p. 121) to Bob Brown, dated Tu: |1931|, requests that
Brown Iorward his (Gillespie's "Talkie," presumably "Readie-Soundpiece," to
Peter NeagIie Ior publication in Americans Abroad. Although it is possible to
assume that Brown Iorwarded the manuscript Ior "Readie-Soundpiece," there is
no indication that variants in R (reprint) constitute corrections upon OP
(original publication). However, where several oI 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 oI 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, iI any. is
recorded in TN. As no manuscript survives, we cannot know that the criterion oI
sense Ior the best oI two readings has yielded merely a choice between two
typographer's errors,
1. Hilaire Hiler. "came to France ten years ago He was (judging Irom his
paintings) very much amused by the great French scene. The little bistrots and
their clients, the liIe in the French seaports, the Iunny little streets, the wine and
wood merchants....
..L´Homme au Chat.. .is a good example oI how skillIully he handles his
pigments. Oporto, and Pris de la Frontiire Portugaise, are the Iruits oI a trip to
the Iberian peninsula last summer. His 14 Juillei is as good a canvas oI French
liIe as we have seen in a long time.
"Hiler is not a 'school' artist, which may explain his Ireedom Irom any accepted
style. Following three years' attendance at the University oI Pennsylvania, he
entered the Philadelphia Academy but he leIt aIter three days. And he has been
doing lithographs, paintings, gouaches and drawings ever since aIter his own
"During the past Iew years, Hiler has been amusing himselI decorating some oI
the little night clubs about Paris. The novel interiors oI the College Inn, the
Jungle and the Jockey are his. And in his spare time, he is writing and
illustrating a comprehensive history oI costumes."
(Louis Atlas, "Hilaire Hiler's Paintings," The Paris Tribune. December 8, 1927,
reprinted in The Left Bank Revisited. Selections from the Paris Tribune I9I7-
1934, ed. Hugh Ford |University Park and London: Pennsylvania State
University Press, 1972|, pp. 202-203.) Also, see reproduction oI Hiler's painting
"My Theory," transition. No. 14 (Fall 1928); and 12' 14 |1930|, LETTERS, p.
2. R. opens parenthesis.
3. OP: chacinio. R: crescinto.
4. R: backsTage.
5. OP and R leave parenthesis open.
6. R: impersonapfrichi´
7. OP repeats R does not element descrip. Neither OP nor R opens
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: airvaplane.
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 oI double exclamation points.
21. R: Spirilecheralitv.
22. OP: Willa-ft Death. R: IJillafiDeath.
23. OP: oup. R: up. ·
24. R obverts inverted commas.
25. R obverts inverted commas.
26. OP shows line-space succeeding line, R does not.
27. R shows Iour exclamation points, and phrase is preceded by symbol · ~
and lowered into halI-line-space.
28. OP: hancluth. R: hanclutch.
29. R obverts inverted commas.
30. R shows single pair oI inverted commas.
Readievices was originally published in Readies for Bob Brown´s Machine, ed.
Robert Carlton Brown (Cagnes-sur-Mer: Roving Eye Press, 1931), pp. 91-92.
1. John Rodker. his article, "The Word Structure oI Work in Progress,"
appears in transition. No. 14 (Fall 1928), 229-232. He Iounds Ovid Press in 1919
and Casanova Editions. His Collected Poems are published by Hours Press,
Device-Contribs to fJRitext & 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 oI a
salutation or heading there is a title, underlined, centered, carrying a period, at
the top oI the page. Between the Iirst and second paragraphs, and between the
second and third, there are typographer's symbols Ior space ti. Given the
analytical quality oI the writing and that the content is speciIically related to
"Readie-Soundpiece," which appeared in Readies for Bob Brown´s Machine, ed.
Robert Carlton Brown (Cagnes-sur-Mer: Roving Eye Press, 1931), it seems
appropriate to include the transcription in WORKS.
1. Bob Brown. Iounds Roving Eye Press in 1930 and invents reading machine.
The press was exclusively devoted to the publication oI his own works: The
Readies (Bad-Ems, 1930), Demonics (Cagnes-sur-Mer, 1931), Gems. A Cen-
sored Anthologv (Cagnes-sur-Mer, 1931).
2. I450-1950 title oI Bob Brown's book (Black Sun Press. 1929), which reIers to
Gutenberg in arguing against printed type and Ior the moving type oI his reading
machine. Also, see Bob Brown, "The Readies," transition. No. 19-20 (June
1930), 171.
3. Ronald Firbank (1886-1926): aesthete, author oI Prancing Nigger {92A) and
The Flower Beneath the Foot.
4. Gillespie's note along leIt margin oI the second and third paragraphs.
Memorv was originally published in Americans Abroad. An Anthologv, ed.
Peter NeagSe (The Hague |Holland|: Servire Press, 1932). 167.
Joks was originally published in transition. No. 21 (March 1932), 321-22.
I. OP repeats phrase EvStress, Wot-GO-DO-now Impatience.
Pi::ikats (series 2). Text is based upon original typescript Iound in the Gotham
Book Mart, New York. It is the Iirst oI Iour texts: the second is entitled
"Proletarreaderia Muse-Notes (scries 2)": the third, "A Purplexicon oI
Dissynthegrations"; the Iourth, "Dissynthegration." The Iour texts comprise
nine consecutively numbered pages, with the Iirst 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 oI
the Iour typescripts.
"Pizzikats (Series 2)" was originally published in Essaving Essavs. Alternative
Forms of Exposition, ed. Richard Kosteianetz (New York - Norristown - Milan:
Out oI London Press, 1975), pp. 370-72. Original publication is based upon a
typescript by Hugh Fox which contains numerous errors.
1. Hilaire Hiler. American painter; see "Readie-Soundpiece," TN. 1, p. 166.
2. Jaromir Weinberger. "Czech Composer & Iirst European to compose Music-
Ior-Radio." Gillespie, 12/21 |1930|, LETTERS, p. 119. Also, see 72//` |1930|, p.
118, and 417139, pp. 124-26.
3. [Sir Jacob?] Epstein (1880-1959): sculptor (author oI Let There Be Sculpture.
4. Walter Lowenfels-. co-Iounds CarreIour Press; author oI Elegv on Apollinaire
(Hours Press, 1930), USA with Music (CarreIour Press, 1930), Elegv in the
Manner of a Requiem in Memorv of D.H. Lawrence (CarreIour Press, 1932).
Proletarreaderia Muse-Notes (series 2). Text is based upon previously un-
published original typescript Iound in the Gotham Book Mart. It is the second
oI Iour texts. See general textual note Ior "Pizzikats (series 2)," above.
Transcription provided Ior autograph text oI the two diagrams.
1. J. P. McEvov. playwright? author oI Show Girl in Europe.
1. Corrects open sentence.
A Purplexicon of Dissvnthegrations. Text is based upon original typescript
Iound in the Gotham Book Mart, New York. It is the third oI Iour texts. See
general textual note Ior "Pizzikats (series 2)," p. 168.
"A Purplexicon oI Dissynthegrations" was originally published in Essaving
Essavs. Alternative Forms of Exposition, ed. Richard Kostelanetz (New York -
Norristown - Milan: Out oI London Press, 1975), pp. 295-96. Original
publication is based upon a typescript by Hugh Fox which contains several
1. Or
Dissvnthegration. Text is based upon previously unpublished original typescript
Iound in the Gotham Book Mart, New York. It is the Iourth oI Iour texts. See
general textual note Ior "Pizzikats (series 2)," p. 168.
Reading Modern Poetrv (Thru a Trace of its Basewias) was originally published
in 1933. A Year Maga:ine. Phila., Section One (June-December 1933), 33-35.
1. Pli:: capitalized; paragraph indentation beIore else removed; sentence
2. Corrects open sentence.
3. Corrects missing parenthesis.
4. Corrects open sentence.
5. Corrects open parenthesis.
6. Corrects open sentence.
7. Omission oI paragraph indentation beIore cluster TSQuantSwong in
conjunction with omission oI punctuation aIter element Une´s suggests a genitive
relation between element and cluster, the sentence ending with parenthesis.
wOWde to COWL-oe was originally published as a Gotham Book Mart Ilier,
1934. Reprinted in Journal of Modern Literature. Vol. 4, No. 4 (April 1975),
782. Although the Ilier itselI was unavailable Ior publication, a smudged xerox
copy was. ReIerence in title to Malcolm Cowley, author oI Exile´s Return (New
York: W.W. Norton & Company, Inc., 1934).
1. Last two letters oI 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 oI OP (original
publication). When C aIIords a reading where there was none at all beIore, it is
bracketed into the text and recorded in TN {Textual Notes). When C moves
Irom recuperation into variation, the variants are divided into those which seem
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, iI any, is recorded in TN. As the manuscript is unavailable we
Cannot know thai the criterion oI sense Ior the best oI two readings has yielded
merely a choice between two errors.
1. C: connomarries.
2. C closes sentence. ` , tw 71
3. Text Ior author's Iootnote 35 is missmg. Sec below, TN. 71.
7. C: Evolva greiion.
8. Third place illegible. C: anv.
9. Corrects missing comma.
10. Corrects open sentence.
11. C: HOUTTerance.
12. Corrects missing comma. . !.
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 aIter letter.
17. C: Structure.
18. Neither OP nor C close parenthesis.
19. C: previaloustv.
20. C; advanisheing.
21. ReIerent Ior (S) unestablished.
22. Corrects open sentence.
23. Fourth place illegible.
24. ReIerent Ior (n) unestablished.
25. OP appears to yield hyphen.
26. C; on.
27. Corrects open sentence.
28. C; Snuffex.
29. Corrects )b(.
30. Author´s Articles-io-Martha-Graham. works lost.
31 FiIth to ninth places in mentoriginallv are illegible; C omits
mentoriginallv to "BIGS'")-, period corrects open sentence.
32. Corrects open sentence.
33. See author's Iootnote 12.
34. Closes unit.
35. 1927 in (the Expatriate´s Maga:ine) "TRANSITION"´. "Music Starts A
Geometry," WORKS, pp. 3-6.
36. ReIers to GrammaffixEmpseunateness.
37. C: Faeschestv.
38. OP: B.
39. OP: re-that. [re in author's italics.)
40. SigniIies contracted possessive pronoun?
41. C reads comma.
42. C: oasional.
43. OP: (Svllad´be)ScvUa')
44. Corrects open sentence.
45. Corrects open sentence.
46. OP transposes period and parenthesis.
47. OP reverses parenthesis.
48. OP: (beside the Associal "AlliedOtherness") contextlv implied).
49. C: occurs.
50. V. mv PROLEX Article, "INTELLECT (vs) AINTELLECT work lost
51. C: flaffin.
52. Or "MJSTORD." (J 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 under-
57. C: purSue:.
58. C: ´Needa-StOUGH´d.
59. Fourteenth, twenty-Iirst, terminus places are illegible. C: Sensu-CHAR-
60. Corrects open sentence.
61. ReIerent unestablished.
62. Consult author's Iootnotes 1 and 6.
63. Corrects open sentence.
64. C: Resorte.
65. Fourth, IiIth, terminus places are illegible.
66. Third place illegible. C: Soocloakal Commaincing.
67. C: Reder.
68. C: solsounnv.
69. Corrects open sentence.
70. SuperIluous?
71. Dot serves as symbol Ior Iootnote. C omits dot and reIers text to Iootnote
numeral 35. Beaudoin writes in an editor's note at the conclusion oI C: "At the
time this manuscript was presented to Iconograph Ior publication by A. Lincoln
Gillespie, Iootnotes 36-39 were missing. He said there had been actually 39
Iootnotes at one time, but one memorable weekend while he was living in the
Pontalba buildings with John Rose Gildea, over which 172 halI pints oI bourbon
had been consumed, these Iootnotes which were the last page oI manuscript had
been destroyed. He went on to say that the more he thought oI it he Ielt they
were unnecessary anyway, and made no attempt to re-construct them."
A brieI text Ior Iootnote 37-8 exists, although 38 is not reIerenced in body oI
text; missing, in Iact, are texts Ior Iootnotes 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: sniflikenm.
81. C: perpeio.
82. |7?. Ellsworih?] Larsson. associated with Samuel Pessin oI Milwaukee and
Prairie magazine; contributor to transition. No. 4 (July 1927) and No. 5 (August
83. Or term.
84. Eight place illegible. C: a-constarchicates.
85. Text Ior Iootnote 35 missing. See above. TN. 71.
86. OP transposes parenthesis and period.
87. C: svilassend´isag.
89. Text Ior Iootnote 36 missing. See above, TN, 71.
91. Corrects open sentence.
92. Third, Iourth, terminus places illegible. C: FORM.
93. End-line shows element be. C reads end-line as be- and head as geing. Text
Ior Iootnote 39 missing. See above. TN. 71.
The Svntactic Revolution (Indu its "verbolutes") was originally published in
Iconograph, New York. No. 3 (Fall 1946), 15-18. Editorial interventions were
limited by the interlinear Iorm oI the text. Footnotes, however, are rearranged
into proper sequence.
1. John Rose Gildea. see "Semantics Beginna Canneng," TN. 71, pp. 171-72,
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.
5. ReIers to Iootnote 10 ¦numbered 3 on page 3 in original publication)? In
which case, there are two reIerences to same Iootnote 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 oI the arts" in Denver, who married
Freda Gillespie, one oI Gillespie's three sisters.
Portraicts Skulpursune was originally published in Iconograph, New York, No.
4 (Winter 1946), 12-13. Transcription is based upon mimeographic autograph
text oI the original publication.
1. Author's brackets.
2. Alfred Krevmborg. Iounds the magazine Others (1915-1919) and co-Iounds
Broom (I92I-1924); 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 1-3 on p. 97 extend Iootnotes 1-3 on p. 109 .
John Rose Gildea (p. 101): see "Semantics Beginna Canneng," TN, 71, pp. 171-
72, and "The Syntactic Revolution," WORKS, p. 86.
Paul J. O´Brien (p. 105): "close Iriend and conIidant during the last decade oI
Gillespie's liIe, and was among the bohemians who attended his Iuneral. O'Brien
came out oI the old Sinn Fein movement in Boston during the early part oI 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 Iirst in Greenwich Village and then in downtown
Philadelphia." Sol J. Leon, "Abraham Lincoln Gillespie: 1895-1950," p. 203.
Also, see PLATE 31.
Stanlev Wemvss (p. 107): journalist, bibliophile, selI-taught linguist, author
oI 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.
All the letters are previously unpublished, and all are autographs, with the
exception oI the letter to Bob Brown dated JUNEFIFTEENTH[9Zv, which Is
typed. All the letters are signed. Undated or only partly dated letters are
chronologically ordered according to internal evidence. Position oI headings,
indentations and signatures is regularized, whereas Gillespie's spellings, capitali-
zation, and punctuation are retained. Length oI 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 oI the letter or placed in brackets at the
end oI the letter. Superscripts reIer the reader to TN. Brackets unaccompanied
by superscripts generally indicate diIIicult readings. Empty brackets indicate
indecipherable material.
For Gillespie's autograph note, signed and dated Februarv 1932. without a
heading and entitled "Device-Contribs to WRitext and WRiteFor'm," and
included among the Bob Brown letters in the Philip Kaplan Collection, see
WORKS, p. 49. PLATES 25-26 reproduce a Iacsimile oI Gillespie's Happv New
Year Greetirxg card-construction to Bob Brown. Because oI the graphological
nature oI Gillespie's letter to Caresse Crosby, a Iacsimile oI it is provided in
Gillespie's letters (which include the note and the card-construction) 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 oI letter established according to publication date oI Bob Brown's
book 1450-1950 (Black Sun Press, 1929).
1. Anne Aikin. lives with Gillespie Ior Iour or Iive years in Paris, Cagnes-sur-
Mer and Nice. See Leon, p. 191.
2. 14´I9-50 allusion to title oI Bob Brown's book, 1450-1950. which reIers to
Gutenberg in arguing against printed type and Ior the moving type oI his reading
3. F is circled, with arrow indicating that it should be read (inserted?) between
hyphen and the word or.
4. Gillespie's note along leIt margin oI (B).
Undated |1930|
Probable date oI letter established according to publication date oI Bob Brown's
books The Readies (Bad-Ems: Roving Eye Press, 1930) and Globe-Gliding
(Diessen: Roving Eye Press, 1930).
5. |r.F.| Tracv. critic, poet and short story writer; writes "Clarity in Literature"
(WORKS, pp. 31-33) in collaboration with Gillespie. See Gillespie's LETTERS
(pp. 117-18) regarding the circumstances oI the collaboration.
6. [Hilaire] Hiler. American painter; see "Readie-Soundpiece," TN, 1, p. 166.
7. READIES. Bob Brown, The Readies (Bad-Ems: Roving Eye Press, 1930).
8. GlobeGliding. Bob Brown, Globe-Gliding Roving Eye Press, 1930).
9. ROJi. Roving Eye Press, Iounded by Bob Brown.
((WEZ)) |1930|
Probable date oI letter established according to publication date oI Bob Brown's
The Readies (Bad-Ems: Roving Eye Press, 1930).
10. 2 pomes. works lost.
11. oBirlhoMachine. Brown's reading machine.
Undated |1930?|
12. Colonies´. Hotel des Colonies, Cagnes-sur-Mer, France.
13. Author's brackets.
Fridav 17th |October 1930|
Princeton University Library enters date October 1930.
14. Samuel Putnam. Iounds The New Review (1931-1932); translates Kiki´s
Memoirs (Les Souvenirs de Kiki de Montparnasse) Ior Black Manikin Press
(1930); author oI Paris Was Our Mistress (New York, 1947).
15. [Wamblv] Bald. columnist ("La Vie de BohIeme") Ior 77ie Paris Tribune
(edition oI The Chicago Tribune) Irom c.1929-1934. See Bibliographv, p. 183.
Undated |12 November 1930|
Postmarked, carte postale.
16. Claritv in Lit[erature]. co-authored with Tom Tracy. WORKS, pp. 31-33.
11/30 |1930|
Letterhead reads: On Borad the / Cunard / R.M.S. "Berengaria."
12/14 |1930|
17. the first (alas' our lateness) issue. reIers to Samuel Putnam's magazine. The
New Review, and to the article, "Clarity in Literature" (WORKS, pp. 31-33), co-
authored 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 oI the paragraph, where the parenthesis is closed and
the period closes the sentence.
20. [Bill and Marv] Widnev. their Montparnasse apartment was a regular
gathering place Ior artists and intellectuals.
21. [MaxweW] Bodenheim (1892-1954): prominent in bohemian circles in
Chicago (1913-1923) and New York. Marries Ruth Irwin Breslow, to whom
Gillespie previously had been married (sec below, TN. 22). Bodenheim and his
third wiIe are Iound murdered in their room on the lower East Side in 1954. (See
Albert Parry. Garrets and Pretenders. A Historv of Bohemianism in America
|New York: Covici-Friede, Inc., 1933|.) Poetry: Introducing Ironv (1922).
Against This Age (1923), Bringing Ja:: (1930); novels: Cra:v Man (1924),
Replenishing Jessica (1925), Naked on Roller Skates im) memoirs: Mv Life
and Loves in Greenwich Jillage (1954).
22. Ruth Irwin Breslow. Gillespie and Breslow marry in August 1923. By
December 1925, she "sued him Ior divorce, charging desertion" (Leon, p. 190.
23. Gillespie's note along leIt margin oI Iirst two paragraphs. The article to
which he reIers is lost.
12121 |1930|
24. mv Prohibition Articled. work lost.
25. Gillespie's note along leIt margin oI Iirst paragraph.
12/28 |1930?|
Carte postale postmarked 12/29-30/38. However, there is no (other) evidence
that Gillespie was in France in 1938. In Iact, the letter dated 4/7/39 reIers to
"these recent years in Phila."
12130 |1930?|
26. Kav [Bovle]-, contributes readie. "Change oI LiIe," to Brown's Readies for
Bob Brown´s Machine (Cagnes-sur-Mer: Roving Eye Press, 1931); co-authors,
with Robert McAlmon, Being Geniuses Together 1920-I930 (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 brieI note Irom George Antheil to Samuel Putnam. The letterhead reads:
Hotel des Colonies / Cagnes-sur-Mer (A.-M.).
27. Mich[on:e]. the second page oI the same letter is also addressed to Putnam
and signed by Michonze. It reads: "There are a Iew drawings and a reproduction
wich is called 'Un debout, un couch6'. II you have space in the next number put
it in. I'm working hard and have painted a lot oI new things. The best artist
down here with a wonderIul mind is Hiler. The rest is bull-noise." Gregory
MicIionze, Russian surrealist painter, is among the artists discussed in Francis
Dickie, "Modern Montparnasse: Workshop and Playground oI the Artists
Tragic Genius and Comic Commonplace. Some oI Its Most Famous Present
Characters," The World Todav, Vol. LVIII, No. 2 (July 1931), 105-114: "Several
times I have visited his |Michonze's| long narrow studio in a tumble-down
house, two centuries old, oII the Rue de Rennes. His pictures grip you, they give
you strange emotions. Though they violate all your tastes in art, they convey
something bizarre, a nuance Ior which, search though you may, you cannot Iind
words. Here are the Iigures oI men and women oI an unreal world. Men without
heads. A whole canvas oI Iaces only that depict all the most awIul in human
expression" (p. 107). See textual note Ior PLATE 27, p. 181.
28. English´d Opera. in "A PastDoggerel Growth oI the Literary Vehicle"
(WORKS, pp. 20-24) Gillespie reIers to it as " '22 article, 'Opera in English'."
Work lost.
Tu: |1931|
Probable date oI letter established according to publication date oI Americans
Abroad. An Anthologv, ed. Peter Neagde (The Hague |Holland|: Servire Press,
1932), which reprinted Gillespie's "Readie-Soundpiece" (WORKS, pp. 39-48).
Letterhead reads: Le D(3me / CaI6-Bar Am`ricain / 108, Boulevard du
Montparnasse / Paris, le.
29. [Peter] Neagde. author oI Storm (Obelisk Press. 1932) and (Obelisk
Press. 1934).
30. Talkie. "Readie-Soundpiece." WORKS, pp. 39-48.
31. [Edward] Titus. opens At the Sign oI the Black Manikin bookshop in
Montparnasse; Iounds Black Manikin Press which publishes D.H. Lawrence's
Ladv Chatterlev´s Lover in 1929 (although the book does not carry the Black
Manikin imprint), and Kiki´s Memoirs, the English (Samuel Putnam's)
translation oI Les Souvenirs de Kiki de Montparnasse, in 1930; publishes and
edits This Quarter Irom 1929-1932; husband oI Helen Rubenstein. See "Edward
Titus at the Sign oI the Black Manikin," Published in Paris. American and
British Writers. Printers, and Publishers in Paris. 1920-1939. ed. Hugh Ford
(New York: Macmillan Publishing Co.. Inc.. 1975).
In "Abraham Lincoln Gillespie: 1895-1950," Leon notes that "while Gillespie
was in Paris a Japanese artist. Foujite, had made a bust oI him, which Gillespie
Iavored" (p. 200). Tsuguhara Foufita (or Fufita) wrote the introduction to Les
Souvenirs de Kiki de Montparnasse, and Kiki´s Memoirs includes a portrait oI
the painter by Foujita. "Dark glimpses oI it.. .what is back oI the Oriental mind
contemplating Western liIe...are unveiled in his pictures oI the proletarian
streets and suburbs oI the great city |Paris|, in his curious attempts to penetrate
Christian religious mysticism, above all in his painting oI women. Only his
animals and Ilower pieces, signiIicantly enough, are Iree Irom this underlying
note oI concealed criticism." B.J. Kospoth. "The Problem oI Fujita." The Paris
Tribune. February 8. 1925, reprinted in The Left Bank Revisited. Selections
from the Paris Tribune 1917-1934, ed. Hugh Ford (University Park and
London: Pennsylvania State University Press, 1972). Sisley Huddleston, Back to
Montparnasse. Glimpses of Broadwav in Bohemia (Philadelphia and London:
J.B. Lippincott Company, 1931) contains a sketch oI Foujita by Kiki and a
photograph oI Kiki by Man Ray. Robert McAlmon and Kay Boyle, Being
Geniuses Together 1920-1930 (Garden City, New York: Doubleday and
Company, Inc., 1968) contains a photograph oI Kiki as a model taken by herselI
at VilleIranche.
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 co-authors, with Bob Brown, Ama:ing
Ama:ons (New York: Modern Age Books, 1942).
Tuesdav Night |I931J
Probable date oI letter established according to publication date oI Bob Brown's
Gems. A Censored Anthologv (Cagnes-sur-Mer: Roving Eye Press, 1931).
Letterhead reads: Le Ddme / CaI6 Amdricain / 108, Boulevard du Montpar-
nasse / Paris, le.
Tuesdav |1932|
Probable date oI letter established according to publication date oI 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
34. READIES. Bob Brown, Readies for Bob Brown´s Machine (Cagnes-sur-
Mer: Roving Eye Press, 1931).
J U N E F I F T E E N T H |1933|
Probable date oI letter established according to letterhead: 1932. A Year
Maga:ine / 721 Spruce Street / Philadelphia, Pa., U.S.A. / J. Louis Stoll-J.B.
Hoptner - Ada Tier. 1933 originally published "Reading Modern Poetry"
(WORKS, pp. 69-72).
35. I´ve written 4 Articles. works lost.
36. shorts. presumably short stories, lost.
37. Bracket opens parenthesis. Also, see "Antheil & Stravinsky," WORKS pp
38. Portraicts. "Portraicts Skulpursune." WORKS, pp. 94-96.
2115 |194?|
Philip Kaplan Collection enters date 194?
With the exception oI 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 Irom October 1911 to June
1912 when Gillespie was Editor-in-ChieI oI Academv Monthlv vi his senior year
at Germantown Academy, Phila., Pa. "Prophecy" was written Ior the
Germantown Academy yearbook Ye Primer when Gillespie graduated class
Editorial, Our Dulv, A Plea for Aid, Football, Philo, were originally published
in Academv Monthlv, Vol. XXVII, No. 1 (October 1911), 5-6.
School Spirit and Our Reports were originally published in Academv Monthlv,
Vol. XXVn, No. 2 (November 1911), 5-6.
1. Or colon.
Christmas. An Improvement in Lessons, The Quartet, were originally published
in Academv Monthlv, Vol. XXVII, No. 3 (December 1911), 5-6.
Revenge. The Musical Clubs Concert, Class Dance. New Year´s Resolutions,
and The Dog Decides, were originally published in Academv Monthlv, Vol.
XXVII, No. 4 (January 1912), 5-6, 8-10.
2. OP omits quotation mark.
3. OP omits comma.
4. OP omits quotation mark.
5. OP: Interposed.
6. OP: the.
Pride, Jalentine´s Dav, The Dance, were originally published in Academv
Monthlv, Vol. XXVII, No. 5 (February 1912), 5-6.
7. OP omits comma.
Spring was originally published in Academv Monthlv, Vol. XXVII, No. 6
(March 1912), 5-6.
Easter was originally published in Academv Monthlv, Vol. XXVII, No. 7 (April
1912), 5-6.
Class Dav Honors and A Retrospect were originally published in Academv
Monthlv. Vol. XXVII, No. 8 (May 1912), 5-6.
At Parting, Athleiics. Jacation, were originally published in Academv Monthlv
Vol. XXVII. No. 9 (June 1912), 5-6.
Prophecv was originally published in Ye Primer. 1912, pp. 26-32.
8. SuperIluous period aIter exclamation point removed.
9. OP: A.
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. Academv Monthlv Staff, originally published in Ye Primer, p. 65. `
4. Cover. Academv Monthlv. Vol. XXVII, No. 5, Germantown Academy, !
Phila., February 1912. I
5-6. Musical Clubs, originally published in Ye Primer, p. 82.
7. Captains, originally published in Ye Primer, !" 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.
11. Originally published in La Jie, Penn State University, 1915, !" 278.
12. Originally published in U Jie. Pcnn State University. 1916, p. 330.
13. Originally published in La Jie, Penn State University, 1916, p. 484.
"A.L. Gillespie, Writer, Dies: Linguist Was Leader oI Paris
Colony." The Evening Bulletin. September 11, 1950.
Antheil, George. Bad Bov 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 1917-1934. 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
1917-1934. 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 1917-1934. 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 1917-1934. Edited by Hugh Ford. University Park
and London: Pennsylvania State University Press, 1972.
. "The Sweet Madness oI Montparnasse." The Paris
Tribune, January 1971. The Left Bank Revisited. Selections
from the Paris Tribune 1917-1934. Edited by Hugh Ford.
University Park and London: Pennsylvania State University
Press, 1972.
Brown, Robert Carlton. The Readies. Bad-Ems: Roving Eye
Press, 1930.
Connolly, Cyril. The Rock Pool New York: Atheneum, I960'.
Cowley, Malcolm. Exile´s Return. A Literarv Odvssev of the
I920´s. Rev. ed. New York: Viking Press, 1951.
Davies, Stan G6bler. James Jovce. A Portrait of the Artist. New
York: Stein & Day, 1975.
Dello Joio, Norman. Epigraph. New York: Carl Fischer, Inc.,
Dickie, Francis. "Modern Montparnasse: Workshop and Play-
ground oI the Artists Tragic Genius and Comic
Commonplace. Some oI Its Most Famous Present Charac-
ters." The World Todav. Vol. LVIII, No. 2 (July 1931), 104-
Ford, Hugh. Published in Paris. American and British Writers.
Printers, Publishers in Paris, 1920-1939. New York: Mac-
millan Publishing Co., Inc., 1975.
Foujita, Tsuguhara. Bust oI Gillespie. Paris? ca. 1927-1932. Work
Fox, Hugh. "Who Was Abraham Lincoln Gillespie?" The New
York Smith. Literarv News, Summer 1974, 4.
Hastings, George Starr. "Class Poem." Ye Primer. Germantown
Academy, Phila., 1912, 22-25.
HoIIman, Frederick. The Twenties. New York: Viking Press,
Huddleston, Sisley. Back to Montparnasse. Glimpses of Broad-
wav 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 1917-1934. Edited by
Hugh Ford. University Park and London: Pennsylvania
State University Press, 1972.
Leon, Sol J. "A Threnody Ior Abraham Lincoln Gillespie (1895-
1950)." Text Sound-Texts. Edited by Richard Kostelanetz.
New York: William Morrow and Company, Inc., 1980.
"Link Gillespie, Writer, Dies." Philadelphia Inquirer, September
11, 1950.
McAlmon, Robert, and Kay Boyle. Being Geniuses Together
1920-1930. Rev. and with supplementary chapters by Kay
Boyle. Garden City, New York: Doubleday and Company,
Inc., 1968.
McMillan, Dougald. transition. The Historv of a Literarv Era
1927-1938. New York: George Braziller, Inc., 1976.
Pound, Ezra. PoundfJovce. The Letters of E:ra Pound to
James Jovce, with Pound´s Essav on Jovce. 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.
WegeIarth, Channing L. "Censor's Speech." Ye Primer. German-
town Academy, Phila., 1912, 35-38.
Wickes, George. Americans in Paris. Garden City, New York:
Doubleday and Company, Inc., 1969.
Zaniello, Thomas A. "The Thirteenth Disciple oI James Joyce:
Abraham Lincoln Gillespie." Journal of Modern Literature.
Vol. 7, No. 1 (February 1979), 51-61.
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 vou in a review of
all the kinds of reason. Now' Evervone sing after me'
Velimir Khlebnikov, Zange:i
Ex' Exex' Exexex' COMMUNICATED.
James Joyce. Finnegans Wake
"Tis-ohlv-a-dreim, - Mevanwv"
Krevmborg pivrch-theavor slevrtoneman
Nobleo tears, lempchvrian ksong, stvspalieol mime
A.L. Gillespie, Maurice Evans
Discoursing beIore the era oI the talk show and tape recorder,
Abraham Lincoln Gillespie's spontaneous conversation survives
uncertainly in the memory oI his contemporaries. But where
apparently incessant verbal speculation was transIormed into
deliberative poetry, essays and prose, it lives as a stubborn rebuke
to standard models oI communication and ingenious craItsman-
Intermittent reIerences to Gillespie in the current literature on the
twenties show that he is still remembered, though superIicially, as
an Ur Bohemian with a strange linguistic method, whose talent
was Ior living rather than art. George Antheil's chapter in Bad
Bov Of Music´ is still the best portrait oI Gillespie in print; but
though it is sympathetic to him as a human being it avoids the
`George Antheil, Bad Bov of Music {G&tAtn City, New York: Doubleday, 1945), pp. 156-
larger question oI 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 eIIort
to re-create his cogitative language. OI the three expatriate
Americans, only Samuel Putnam, in Paris Was Our Mistress´
-moves beyond mythiIication. Nor has Gillespie been seriously
remembered by either Gil Orlovitz or Cyril Connolly, two
contemporary novelists: Orlovitz's fee Never F* contains a
caricature oI a bisexual expatriate, with little or no talent save Ior
talk, cadging Iood and drink and smiting the bourgeois in the
pocket-book, who has returned to the ancestral city; and
Connolly, in his novel The Rock Pool,´ set in the French Riviera
and published in the mid-thirties, writes journalistically accurate
paragraphs describing Gillespie's tactics in coaxing meals Irom
caIe proprietors.
The Iollowing is a Iactual account oI Gillespie's liIe, based on the
recollections and reminiscences oI his contemporaries, all oI
whom have either never read his scattered work or have Iorgotten
it almost completely.
Abraham Lincoln Gillespie, Jr. was born in South Philadelphia's
Twenty-Sixth Ward on June 11, 1895 to Abrham Lincoln
Gillespie, Sr. and Lillie Bendix. His Iather was a plumbing
contractor whose business was located at 622 South Broad Street.
The South Philadelphia oI the early 1900's was stilt a habitat Ior
older Anglo-Saxon Iamilies, but Eastern European and Italian
immigrants were settling there in increasing numbers. By 1905 the
Gillespies, responding to the growth oI the immigrant population
and an urge Ior upward mobility, moved to the more exclusive
`Kay Boyle and Robert McAlmon. IleIng Geniuses Together. 1920-1930. 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. 182-93.
®Cyril Connolly, The Rock Poo/(New York: Aiheneum. 1968), pp. 76-77.
residential Germantown section and settled in a large three-story
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 oI younger
whites, some oI them students.
Lincoln, as he was customarily known, was one oI Iive 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 Iamily, not rich but Iairly pros-
perous; among their neighbors on Manheim Street were the
Powells, a wealthy shipbuilding Iamily, and William Fulton
Kurtz, a president oI the First Pennsylvania Bank. With the single
exception oI Freda, the Gillespies were never sympathetic with
Lincoln's unconventional liIe style or his writing ambitions.
Although he resembled his Iather, temperamentally Lincoln
seemed closest to Freda, who later married Frederic Douglas, a
wealthy patron oI the arts, and moved to Denver. The Iriction
between Lincoln and his Iamily, and, in particular, between him
and his brother, John, seems to have lasted throughout his liIe; at
the Iuneral Gillespie's center city Iriends stood apart Irom
members oI the Iamily.
There was nothing outwardly in Gillespie's student years that
pointed toward the events that were to Iollow. He is remembered
as an honor student at Germantown Academy, a private school
located in a Iairly exclusive section oI the city. Early school
pictures show a young suburban American, rather slender, one oI
many who were being groomed Ior a proIessional career, a
comIortable liIe and a substantial contribution to the alumni
Iund. He entered Germantown Academy in 1904 and graduated
in the Class oI 1912. He was Class Prophet, Editor-in-ChieI oI the
Academv Monthlv, a prize essayist and debator, and a member oI
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 liIe.
From 1912 to spring oI 1915, Gillespie attended Pennsylvania
State University, in the Iirst two years as an electrochemical
engineering student, switching to Liberal Arts in his third. In
August 1915 he transIerred Irom the State University and
enrolled as a member oI the Sophomore Class in the Faculty oI
Arts and Sciences, University oI Pennsylvania. He was admitted
into the College Courses For Teachers subdivision, and was
dismissed Irom the University by the Executive Committee in
June 1916. No reason was given Ior this action, but his college
advisor was an Assistant ProIessor oI Greek and Gillespie was
excessively absent Irom his class. He enrolled at nearby Haver-
Iord 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 "Ior a business
career or Ior literary work." In February 1918 he returned to the
University oI Pennsylvania and Iinally graduated with the Class
oI June 1918 with a B.S. in College Courses For Teachers.
The Iive years that Iollowed his graduation were to see him
attempt, unsuccessIully, to conIorm 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 Ior Shakespeare as the Iirst real
Like his teaching career Gillespie's marriage was brieI. He became
an instructor in French and Spanish at the West Philadelphia
High School For Boys. In August 1923, aIter a long Iriendship,
Gillespie, who was then twenty-eight years old and had been
transIerred 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 LeIt Bank apartment as a single guest,®
supported by a Iamily stipend. By December 1925, while he was
still overseas, Ruth Breslow Gillespie had sued him Ior divorce,
charging desertion.
Antheil, !"# %&'#( p. 156.
On August 16, 1920, not long aIter he had begun his teaching
career Gillespie was involved in a serious automobile accident
which impaired his vision, giving him the cross-eyed aspect that
both Antheil and McAlmon mention in their reminiscences;
permanently injured his leIt 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 oI the automobile which had been overturned by a car that
had abruptly shot out oI a street, always Ielt guilty about the
accident because he believed that it had changed Gillespie's
character, transIorming him Irom a stable school teacher into an
erratic bohemian. Gillespie's deteriorating marriage, his crucial
decision to leave school-teaching and make a creative assertion,
the lingering metabolic eIIects oI this earlier accident, the diabetic
condition that had already surIaced and may have been a side
eIIect oI the accident, and incipient alcoholism may have
combined to give him the intensity that so many acquaintances
remember him Ior.
Gillespie's period oI 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 1926-27 and recalls
that he returned to Paris with Anne Atkin who lived with him Ior
Iour or Iive years in Paris, Cagnes-sur-Mer and Nice.
Mrs. Verna Herbest, who worked brieIly as an art critic Ior the
!"# %&'( )"'*+, -'./01"23 Paris edition, remembers that in
1927-28 Gillespie would Irequent The Dome and other LeIt Bank
caIes, and recalls that he would compare himselI Iavorably with
Mrs. Blanche Alexander, who moved in Gillespie's orbit during the twenties, remembers
that his Philadelphia Iriends helped Iinance his Iirst ocean crossing in 1924 and that he
returned to Philadelphia in 1926 with a copy oI 4+533"36 She also calls Gillespie's marriage
to Ruth Irwin Breslow an act oI gallantry on his part and an insigniIicant episode in his
liIe, 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.
Joyce and Shakespeare on the ground that he telescoped more
drastically than they did. Even toward the end oI his liIe when he
was all but swallowed .Iay obscurity, Gillespie, m his rare social
appearances, would draw himselI up suddenly and announce: "OI
course you know I'm the greatest writer in the world!"
By 1929 Gillespie had shiIted Irom Paris to Cagnes-sur-Mer on
the Riviera where he became active in a small colony oI American
and European expatriates. Antheil's chapter in !"# !%& '(
)*+,-./ "La Vie de la Boheme," is the longest segment oI any
book which makes reIerence to Gillespie and promptly became a
bible to his small coterie oI Iriends and admirers. These anecdotes
taken together with Samuel Putnam's in 0"1,+ 2"+ '*1 ),+314++
give a Iair picture oI Gillespie's enterprise and ingenuity when it
came to cracking the middle class code and ensuring both his
survival and that oI his Iriends. Antheil's sketch, like Robert
McAlmon's passing snapshot in !4,56 745,*+4+ 8%643941: 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 oI private property; the
composer shows almost no understanding oI his Iriend'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 oI his liIe, anonymously, to develop a
challenging aesthetics.
This description oI Gillespie's strange stone house at Cagnes-sur-
Mer typiIies Antheil's concerns: "Outside nothing, but inside
accumulated into the maddest atmosphere into which a human
being has ever stepped. The artists who Irom time to time Linkey
had housed, had decorated it, their imagination exceeding the
limits oI any surrealist or non-surrealist; Ior instance, in one room
they had attached the Iurniture to the ceiling, it was the 'dance
hair. Another room's otherwise white plaster was decorated al
®Antheil, %;. -,,.: pp. 156-64.
Iresco with pictures no cabaret oI my acquaintance could ever
boast without police interIerence."® The physical exploits he
Iondly recalls but the linguistic exploits he politely brushes aside.
Reading between Antheil's lines one senses that he took a
condescending view oI his Iriend's verbal behavior. He mentions,
as does McAlmon, the signiIicant Iact that Gillespie could speak
the way he wrote without eIIort. He quotes directly Irom
Gillespie's essay "Antheil and Stravinsky,"`® and then miscalls it
conversation." He does not attempt explication or clariIication,
beyond the comment that you cannot read his work with
understanding until you solve his grammar, though Gillespie
must certainly have spoken oIten to him about his work. And he
tells us that young Gillespie in 1924 wanted to rival Ulvsses,an
attitude that he dropped in his maturity.
Robert McAlmon joins Antheil and Henry Miller`® in remem-
bering 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 Iind you the only Iorm packing, symbol realisticator, tuck-
Iunctioning moderncompactly."`'` On the other hand, Samuel
Putnam, who knew Gillespie in Paris, Greenwich Village and
Philadelphia, and who was an integral part oI the expatriate
literary scene in the late twenties and early thirties, notes that
Eugene Jolas was genuinely excited when he Iirst 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.
Antheil, op. cit., p. 158.
IS * "
Henry Miller, personal correspondence, PaciIic Palisades, CaliIornia, August 28, 1975.
Boyle and McAlmon, op. cit., p. 310.
verbal experimentations which had in them no little oI the
psychotic, Gillespie was to become one oI 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 aIIectation
or a psychosis."`® Putnam Iurther recalls that Kay Boyle and her
Iriends in Germany were very interested in Gillespie's linguistic
expression in the late twenties and early thirties, though his
source Ior that impression was Gillespie himselI.`®
Gillespie came to transition, never as a Ieatured contributor but
always as a respected one, when the magazine was relatively
young. The Iirst issue came out in 1926 when The Little Review
was in decline. By November 1927 Gillespie's Iirst essay "Music
Starts A Geometry"" had appeared and he continued to
contribute with some consistency until March 1932. In the Iall oI
1928 Gillespie was one oI 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 oI Joyce's work in its pages. By
this time Gillespie was back home in Philadelphia's Washington
The impact oI the depression was to Iorce Gillespie home sooner
than some oI his contemporaries but he returned to America
`®Putnam, op. cii.. p. 224.
Kay Boyle, personal correspondence, San Francisco, CaliIornia. April 5, 1976. Kay
Boyle writes Irom San Francisco that while she valued Gillespie as a Iriend, 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 Ior her. Kay Boyle was with
Gillespie one oI the sixteen signers oI the Iamous transition (No. 16-17, June 1929}
|Kay Boyle also writes that Gillespie's letters were among her papers which were all lost
during the German occupation oI Prance. Personal correspondence. Cottage Grove,
Oregon, January 15, 1981. Ed. note.}
A.L. Gillespie, "Music Starts A Geometry," transition. No. 8 (November 1927).
Gillespie's contribution to the symposium was entitled "Expatracination." traruition,´
No. 14 (Fall 1928), 103-105.
unwillingly. The social malaise that Samuel Putnam expresses in
Paris Was Our Mistress was not part oI Gillespie's psyche; Ior
him the homeward pull was a cattle call.`® A valuable glimpse oI
Gillespie as he was toward the close oI his expatriation and the
years that Iollowed is aIIorded by Sam Heller, a veteran
Philadelphia painter and entrepreneur. Heller is among those
who view Gillespie as an unIulIilled talent oI large potential and he
does something to clariIy Gillespie's reaction to the Old LeIt.
"Line Gillespie was part oI the crowd. I Iirst 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 oIIshoot oI
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 CliIIord 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 selI-
containment and discipline and began to see himselI as an
inIluence. Rather than apply himselI he would go oII on drinking
binges with Arthur B. Carles, a Philadelphia painter who taught
at the Pennsylvania Academy oI Fine Arts until he was Iired Ior
his avant garde convictions.
"When Gillespie was under the inIluence oI liquor his humor was
dry and sharp. He had tremendous wit and a marvelous
command oI language. I met James Joyce through him at the
CaIe Du Dome. I remember that Joyce drove up in a Rolls
Royce.It was 1931 and he was in the money. Gillespie seemed on
Iriendly 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 COWL-oe," Journal of Modern Literature. Vol. 4, No. 4
(April 1975), 782.
become Iriendly with the brother oI Gene Tunney, a young man
who was trying to Iind himselI and who would take on Iights in
Southern France Ior Iive dollars a throw.
"Line would not accept the idea oI knocking out a poem, a story
or a play. He would never accept the idea oI being a craItsman.
He was too inventive; he would not settle Ior the accepted. His
whole liIe was non-conIormist.
Though he seems to have located himselI in LeIt Wing Bohemia,
Gillespie never became a political activist. He saw in leIt wing
groups an opportunity Ior communicating with intellectuals,
some oI 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 oI 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 oI any political body.
He was not a member oI the John Reed Club because he was
never involved enough to go out to sell the !"#$% '()*+) or help
organize workers' cells. He would never attend classes in
dialectics but would always show up at parties. Yet, he was Ior the
masses, he was Ior the working man. He sympathized with the
class struggle but was not part oI its essence."
Depressed Philadelphia's closest approximation to a LeIt Bank
caIe was a Horn and Hardart caIeteria, known to the local
underground as "The Heel," which stood in the early thirties
across Irom the Academy oI Music. David Madison, who became
the Philadelphia Orchestra's associate concertmaster in 1940, '
remembers Line Gillespie as a literary philosopher and conversa-
tionalist,. thoroughly at home there. He recalls that ,Harry
Kur ni t z , who wa s s oon t o be c ome a Hol l ywood s c r i pt wr i t e r , a ' '
playwright and Iriend oI 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.
In 1936 Kurnitz leIt Philadelphia and went to Hollywood on a
seven year contract awarded him by MGM. He was eventually to
write scripts Ior such Iilms as Once More With Feeling, based on
his memories oI Leopold Stokowski, Eugene Ormandy and Fritz
Reiner, and Shot in the Dark, which became a Peter Seller's Iilm.
The Iact that Gillespie could remain Iriends with commercialized
talents like Kurnitz and mainstream playwrights like Odets attests,
to his wide range oI capacities, his incessant concern with the art
oI writing and his persuasiveness as a language speculator at "The
Following his return to Philadelphia, Gillespie entered the literary
liIe oI the city. The monthly Iamily remittance continued to
sustain him although generosity and alcoholism combined to
deplete it. Social consciousness, the political militancy oI the
American working class, the consolidation oI Stalinism within the
Soviet Union and the rise oI European Fascism were important to
Gillespie but the politicized literary circles were not interested in
Gillespie's particular verbal speculations and supposed herme-
ticism. In an eIIort to break through the isolation Gillespie made
Irequent trips to Greenwich Village, where he occasionally lived
Ior short periods oI time and Irequently met with the writers,
painters and musicians oI Jiis Paris and Riviera days.
When Gillespie returned Irom Paris to his native city in the winter
oI 1932-33, he moved Iirst to the Old John Singer house located
on South Seventh Street near Washington Square; and then
moved constantly, restlessly Irom one apartment to another, all oI
them in the city's Washington Square section. The "ginginabu-
lations oI the glasses, glasses, glasses"`` made Philadelphia more
tolerable. He Irequented gatherings yet ordinary social com-
munication did not interest him. Occasionally he would dance,
though he wasn't always sure oI his legs, and rarely he would
recite his own poetry. Among Gillespie's local literary acquain-
tances were Richard Aldridge, a poet and scholar who eventually
" Gillespie's own phrase as recalled by Maxwell Whiteman in a
personal interview, Philadelphia, November 4, 1974.
leIt Ior the Himalayas; H. H. Horowitz, a writer and bookstore
proprietor who died relatively young; Bill Kozlenko, who began
as a music critic Ior the local press, went to New York to edit an
intellectual magazine titled Europa and evenmally to Hollywood,
where he became a writer oI Iiction, a TV editor and an editor oI
one-act play anthologies. Lou Jacobs, a Iilm historian and critic
who wrote The Rise of American Cinema and was a con-
temporary oI Gillespie's, observes that in the twenties and early
thirties Gillespie did not seem to be aware oI Iilm 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 oI Gillespie's contemporaries
a Iellow Philadelphian was the late Harry Alan PoUmkin,
whose occasional poems and Iilm criticism were also published in
transition. Potamkin returned to the States Irom Paris in the
early thirties with a leItist orientation. When the staid Nine
O'clock Club, a Philadelphia literary group, Iragmented m the
early depression years Potamkin gathered some remnants to-
gether and in 1931 he Iormed a local chapter oI the John Reed
Club Located at 136 South Eighth Street, the John Reed Club
published several issues oI Red Pen and Left Review but went out
oI business in 1936. Gillespie never joined the Club but attended
meetings Irequently and submitted manuscripts Ior publication.
The Potamkin group saw an emerging proletariat as the most
signiIicant Iact that American writers had to conIront in the
thirties, but Gillespie would argue a Iormalist aesthetic line
descended Irom the twenties. In the years 1935-36 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 oI Gilelspie's ideological counter-
attacks 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
contemporaries were doing. It was not so much what he himselI
wrote but that he belonged to a group in the twenties that was
experimental in nature and had something that was never able to
The Great Depression, with its breadlines, its labor unrest, its
permanent unemployment, its student paciIism and its WPA
projects, proved a provocative climate Ior Philadelphia's bohe-
mian colony, which centered then around Washington Square,
not Iar Irom those symbols oI the literary overground J. B.
Lippincott and the Curtis Publishing Company. One Iocal point
in the colony which developed during the thirties was the studio
home oI Martin Hyman, a newspaper photographer and the Iirst
cameraman whose works were exhibited at the Pennsylvania
Academy oI Fine Arts. Located at 919 Locust Street, the Hyman
home became an intellectual, cultural and social exchange.
Among the Irequent visitors at the Hymans' were Gillespie, who
was known superIicially as a Iollower and Iriend oI James Joyce;
Charlie Ogle, a Philadelphia photographer and his wiIe, Verna, a
Iormer art critic Ior the Paris edition oI the !"# %&'( )"'*+,
-'./01"2 the late Harry Kapustin, a Philadelphia short story
writer; the late S. Beryl Lush, a Iailed poet turned philanthropist-
businessrpan, who became a Iriend oI Gillespie's; Vladimir
KitchikoII, a Russian known Ior his caricatures, and Harry
Kurnitz and CliIIord Odets beIore their reputations were ac-
Writing in 34.+*,"+54.* magazine, Bert MacCarry gives this
description oI Hilda Hyman, known during the depression years
as "The Angel oI Washington Square": "Hilda Hyman was
properly adored by all Philadelphia bohemians who visited the
home, Ior it was she who was responsible to a great extent Ior
keeping the body and soul oI many a starving artist together. Mrs.
Hyman.. .could perIorm miracles with a piece oI meat and a Iew
potatoes. II a hungry man had only a Iew cents Ior a loaI oI bread,
he brought that and contributed it to the meal."`
Bert MacCarry, "Lost Bohema Some Nostalgic Notes on Washington Square,"
34.+*,"+54.*6 Vol. 33, No, 5 (May 1946), 46.
The Hyman studio leIt its mark on the mtellectual liIe "I ci y
and actually survived Pearl Harbor. However, the PO`t-World
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 Philadelphia-New Jersey area, Hyman still lives with H
today in NorthIield. New Jersey.- "We would meet on the rooI oI
our home and talk about art and philosophy, he recalK The
deoression had brought many Philadelphians back Irom Par
!"# some even came'Irom Greenwich %&'()*+, -.*/* 0.* ren s
were getting higher as non-artist types moved in. Line Gillespie
showed up in 1932 and became part oI the group. Line was very
kindly I can remember that he was crazy about 12)2+ the comic
strip, and liked to talk about it. He was wonderIul with children
and had the ability to get down to their level. He was also goo
with the people he liked. No one ever Ielt my photography as
much as Line did." , . `
The Hymans have an image oI Gillespie on 'he move. In he
throes oI his Irenetic residential changes, he would wind around
his neck a scarI so long that it might circumscribe him twenty
times and still trail on the sidewalk` While he `
Japanese artist, Foujite," had made a bust oI h¹, which
Gillespie Iavored. Replete with strangulating scarI and bust
Gillespie would pile all his belongings, which 32"4&4-# mostly o
books into a pushcart and direct the movers with his cane.
One oI Mrs. Hyman's last memories oI Gillespie was his Emi
Janningsesque participation in a poetry reading at the Village
Vanguard, a cellar hangout Ior intellectuals.
"It was in 1947. Linkey sat on a chair with a spothght tramed on |
him. He was only one oI 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 NorthIield, N÷» Jersey in December 1976, leaving his widow,
|··See ruz|1931|. !"# 31, pp. 177-78.|
conversational tone that could hardly be heard above the tumult
when the three oI 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 Ior
applause. Anne Heller, Bob Muchly and I Iound the spectacle so
painIul that we had to walk out."
Toward the end oI his liIe Gillespie Hved at one oI Maxwell
Bodenheim's Village residences Ior a time, an apartment owned
by the Iabled landlord, Stronsky, who was Iavored by Village
artists. One oI his last Village sojourns almost ended in disaster. A
attack, precipitated by alcoholism, caused Gillespie's
collapse and Iriends had to send him back to Philadelphia. It was
shortly aIter this episode that the Gillespie Iamily put the poet in a
North Philadelphia apartment and gave him a nurse. During his
Iinal years Iriends remember that at parties Gillespie would keep
popping cheese and bacon crumbs into his mouth to keep Irom
blacking out and going into a diabetic coma.
It is as an ailing bohemian legend and a show, a local
anachronism Irom the Parisian and Greenwich Village days who
had had it but was still unaccountably around, waiting Ior 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 Iree-lance 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 Irom Greenwich Village or Jasper Deeter would come Irom
Hedgerow` to put on skits Ior 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 Iirst into a legend and then into a curio. George Antheil
A Little Theater located in Moylan, Pa., that was nationally known during the thirties.
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 doubtIul that any oI
Gillespie's social acquaintances during these last years oI his liIe
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 single-minded pursuit oI meaning, resutling in writing
that moved Iar beyond conventional syntax, would not have
Iound empathetic listeners in the social circles he resorted to in
order to combat his growing physical isolation. For these party-
going acquaintances his writing was not the point. They made a
place Ior him in their lives as a living artiIact who in exchange Ior
a Iew drinks and a couch or Iloor to collapse on could Iurnish
good incoherent conversation. Though they are kinder and
somewhat more perceptive, even Antheil and Putnam have this
On October 20, 1949 Gillespie, whose mobility had been
drastically reduced by illness, made one oI his last public
appearances in downtown Philadelphia. Leo Rodgers, an oIIice
manager Ior Paramount Pictures Distributors, and Benson '
Dooling, a book reviewer Ior Philadelphia dailies, had arranged a
special lecture appearance Ior Joseph Ferdinand Gould, author oI
the then unpublished Oral Historv Of Our Time. Gould had ,
worked on theNewYork City FederalWriters'Project during the «
depression years and was one oI Gillespie's close Greenwich j
Village contacts. Rodgers gave Gillespie cab Iare and asked him
to go to Greenwich Village and come back with the Ieatured
speaker in time Ior the lecture, which was scheduled Ior the
Sylvania Hotel in center city. Gillespie perIormed the errand
A.L.Gillcspic, "Portraicts Skulpursune (A) Maurice Evans," Iconograph, No. 4 (Winter
IM6). 12.
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 Ieatured
perIormance. During the course oI the evening the literary
polemics became exacerbated and Gillespie grew mildly dis-
orderly. His remarks were applauded by the young people in the
audience but they probably knew him as a Ilamboyant personality
rather than as a man oI letters.
Eleven months later Gillespie was dead. Since unmistakable
physical decline had been visible Ior a decade his death was not
unexpected but it came abruptly. Early in September 1950 he was
admitted to the University oI Pennsylvania Hospital with a
chronic diabetic condition and on September 10 he went into a
coma. John Gillespie, who signed the death certiIicate and made
the Iuneral 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
oI the city. Following the brieI ceremony Marty Hyman walked
over to the Gillespie Iamily 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 Iriend and conIidant during the
last decade oI Gillespie's liIe, and was among the bohemians who
attended his burial. O'Brien came out oI the old Sinn Fein
movement in Boston during the early part oI the century and used
to sell !"# %&'' !( )#&*(+ 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 Iirst in
Greenwich Village and then in downtown Philadelphia. O'Brien
Iirst 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
Iamily 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 IiIty-Iive and he did that. Line's
Iamily had put him in the University oI Pennsylvania Hospital. A
couple oI days beIore the end I phoned him and he sounded all
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 himselI. It didn't
look like Line; it looked like his cousin. They had cut his stomach
out and it was Ilat. In liIe Line had a pot belly. They buried him in
Dar"by, I believe.
"The Gillespie Iamily 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 interIered with
people. He had no enemies.
"Toward the end oI his liIe his Iamily kept him in the house. They
wouldn't let him out. II he went out they said they would hold up
his legacy. Line never discussed his Iamily much. When his health
declined they had two nurses Ior him but later they transIerred
him to an apartment on North Broad Street where he was Ireer 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. OIten when he was
talking people stood there laughing at him and grinning."
Toward the end oI his liIe 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 KaIka most.
"Line was a Iine gentleman. He was always manuIacturing words
while he was speaking. He never stumbled in his speech. He
would combine words, break them up, re-combine 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 manuIacturing 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, !"!#$
It remained Ior Gillespie's sister, Freda, to think oI a Iitting
evocation. Shortly aIter her brother's death Mrs. Frederic
Douglas* oI 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 Irom some oI Gillespie's
Iriends.`"` The work was Iirst perIormed 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 seven-minute work to Philadelphians and
it was twice perIormed by the Los Angeles Symphony Orchestra
that same year. Since that time there have been at least thirty
additional perIormances oI 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 Iorm a three-part song. I did not Ieel compelled to write a
dirge-like type oI 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.
Norman Dello Joio, personal correspondence, Boston University, Boston, Massa-
chusetts, December 13, 1976.
Marked "To The Memory oI A. Lincoln Gillespie," Epigraph is scored Ior a standard
large orchestra. The three sections are marked slow, fast, slow and are scored Ior two
Ilutes, piccolo, two oboes, bass clarinet, two bassoons, Iour horns, three trumpets, three
trombones, tuba, tympani, percussion, celesta, harp and strings. The work is in the style oI
mainstream American neoclassicism that dominated the thirties and Iorties and reIlects the
inIluence oI Paul Hindemith with whom Dello Joio studied at Yale.