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P B T
THE BLIND MAN
33 WEST 67ih STREET, NEW YORK

B R O Y E U S E DE CHOCOLAT Marcel Duchamp

MAY, 1917 No. 2

 P • B • T
THE BLIND MAN
33 WEST 67th STREET, NEW YORK

B R O Y E U S E DE CHOCOLAT Marcel D u c h a m p

MAY, 1917 No. 2

2 T H E B L I N D M A N

The Blind Man's Ball

E V E R Y reader of this m a g a z i n e is invited to

the B L I N D M A N ' S B A L L , a new-fashioned
h o p , skip, a n d j u m p , to be held on

Friday, May 2 5 t h
at Prehistoric, u l t r a - B o h e m i a n Webster Hall.
T h e Ball is given for T H E B L I N D M A N , a m a g a z i n e
of Vers Art.

Axioms du Bal
T h e d a n c e will n o t e n d till the d a w n . The
Blind M a n must see the sun.
R o m a n t i c rags are requested. T h e r e is a differ-
ence between a t u x e d o a n d a T u r k and guests n o t
in costume must sit in b o u g h t - a n d - p a i d - f o r boxes.

Continuous Syncopations
Tickets, in advance, are $1.50 each; boxes, n o t
i n c l u d i n g admission, $10, a n d may be obtained
O N L Y from

THE BLIND MAN'S BALL

61 Washington Square Telephone, Spring 5827
All tickets at the door, $2

PUBLISHED BY B E A T R I C E WOOD
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' A RESOLUTION MADE AT BRONX TALE BY ERIK SATIE
PARK I had once a marble staircase which was
Robert Carlton Brown so beautiful, so beautiful, that I had it
I'M G O I N G T O G E T stuffed and used only my window for get-
A G R E A T BIG ting in and out.
FEATHER-BED
OF A PELICAN
AND KEEP HIM Elle avait des yeux sans tain
IN T H E H O U S E
TO CATCH T H E
Et pour que ca n'se voie pas
FLIES, MOSQUITOES AND MICE, Elle avait mis par-dessus
L A Y EGGS FOR M E Des lunettes a verres d'écaillé.
T O M A K E O M E L E T T E S OF,
A N D BE M Y D O W N Y C O U C H A T N I G H T . S. T . , E . K .
T H E E X H I B I T R E F U S E D BY T H E INDEPENDENTS
 The Richard
They say any artist paying Now Mr. Mutt's fountain is not
immoral, that is absurd, no more than
six dollars may exhibit. a bath tub is immoral. It is a fixture that
Mr. Richard Mutt sent in a
fountain. JVithout discussion
this article disappeared and
never was exhibited.
IVhat were the grounds for refusing
Mr. Mutt's fomitain :—
1. Some contended it was im-
moral, vulgar.
2. Othersy it was plagiarism, a
plain piece of plumbing.
"Buddha of the Bathroom"
I suppose monkeys hated to lose their
tail. Necessary, useful and an ornament,
monkey imagination could not stretch to a
tailless existence (and f r a n k l y , do you see
the biological beauty of o u r loss of t h e m ? ) ,
yet now that we are used to it, w e get on
pretty well w i t h o u t them. But evolution
is not pleasing to the monkey race; " t h e r e
is a death in every c h a n g e " and we monkeys
do not love death as we should. W e are
like those philosophers w h o m D a n t e placed
in his I n f e r n o with their heads set the
w r o n g way on their shoulders. W e w a l k
f o r w a r d looking b a c k w a r d , each with m o r e
of his predecessors' personality than his
own. O u r eyes are not ours.
T h e ideas that o u r ancestors have joined
together let no man put a s u n d e r ! I n La
Dissociation des Idees, R e m y de G o u r -
mont, quietly analytic, shows how sacred is
the m a r r i a g e of ideas. A t least one c h a r m -
Mutt Case
you see every day in plumbers' show windows.
Whether Mr. Mutt with his own hands
made the fountain or not has no importance.
He CHOSE it. He took an oi'dinary article
of life, placed it so that its useful significance
disappeared under the new title and point of
view—created a new thought for that object.
As for plumbing, that is absurd.
The only works of art America
has given are her plumbing and
her bridges.
ing thing about o u r h u m a n institution is
that although a man m a r r y he can never
be only a husband. Besides being a money-
m a k i n g device and the one m a n that one
w o m a n can sleep w i t h in legal p u r i t y with-
out sin he m a y even be as well some other
w o m a n ' s very personification of h e r ab-
stract idea. Sin, while to his employees he
is nothing but their "Boss," to his children
only their " F a t h e r , " and to himself cer-
tainly something more complex.
But with objects and ideas it is different.
Recently we have had a chance to observe
their meticulous monogomy.
W h e n the jurors of The Society of In-
dependent Artists f a i r l y rushed to remove
the bit of sculpture called the Fountain
sent in by R i c h a r d M u t t , because the object
was irrevocably associated in their atavistic
minds with a certain n a t u r a l function of a
secretive sort. Yet to anv "innocent" eve
h o w pleasant is its chaste s i m p l i c i t y of line
and c o l o r ! S o m e o n e said, " L i k e a lovely
B u d d h a " ; someone said, " L i k e the legs of
the ladies by C e z a n n e " ; b u t h a v e they not,
those ladies, in t h e i r long, r o u n d n u d i t y al-
ways recalled to y o u r m i n d the c a l m curves
of d e c a d e n t p l u m b e r s ' p o r c e l a i n s ?
A t least as a touchstone of A r t h o w v a l u -
able it m i g h t h a v e b e e n ! If it be true, as
G e r t r u d e Stein says, that p i c t u r e s that a r e
r i g h t stay right, consider, please, on one
side of a w o r k of a r t w i t h excellent r e f e r -
ences f r o m the Past, the Fountain, and on
the o t h e r almost anyone of the m a j o r i t y of
p i c t u r e s n o w b l u s h i n g a l o n g the miles of
w a l l in the G r a n d C e n t r a l P a l a c e of A R T .
D o you see w h a t I m e a n ?
L i k e M r . M u t t , m a n y of us h a d q u i t e
an e x h o r b i t a n t notion of the i n d e p e n d e n c e
of the I n d e p e n d e n t s . I t was a sad s u r p r i s e
to learn of a B o a r d of Censors sitting u p o n
the a m b i g u o u s question, W h a t is A R T ?
T o those w h o say that M r . M u t t ' s ex-
h i b i t m a y be A r t , b u t is it the art of M r .
M u t t since a p l u m b e r m a d e it? I r e p l y
s i m p l y t h a t the Fountain was not m a d e by
a p l u m b e r b u t by the f o r c e of an i m a g i n a -
t i o n ; and of i m a g i n a t i o n it has been said,
" A l l m e n are shocked by it and some over-
t h r o w n by it." T h e r e are those of m y in-
t i m a t e a c q u a i n t a n c e w h o p r e t e n d i n g to ad-
mit the i m a g i n a t i v e v i g o r of M r . M u t t and
his porcelain, slyly q u o t e d to m e a story
told by M o n t a i g n e in his Force of the
Imagination of a m a n , w h o s e L a t i n n a m e
I can by no means r e m e m b e r , w h o so
studied the v e r y "essence and m o t i o n of
f o l l y " as to unsettle his initial j u d g m e n t
f o r e v e r m o r e ; so t h a t t h r o u g h o v e r m u c h
w i s d o m he b e c a m e a fool. I t is a p r e t t y
story, b u t in d e f e n s e of M r . M u t t I m u s t in
justice point out t h a t o u r m e r r y M o n t a i g n e
FOR RICHARD MUTT
One must say every thing',—
then no one will know.
To know nothing is to say
a great deal.
So many say that they say
nothing,—but these never really send.
For some there is no stopping.
Most stop or get a style.
is a g a r r u o l u s and g u l l i b l e old m a n , n e i t h e r
safe n o r scientific, w h o on t h e same s u b j e c t
seriously cites by w a y of i l l u s t r a t i o n , h o w
by the s t r e n g t h s i m p l y of h e r i m a g i n a t i o n , a
w h i t e w o m a n g a v e b i r t h to a " b l a c k - a -
m o o r " ! So you see h o w he is good f o r
nothing but quotation, M . Montaigne.
T h e n again, t h e r e a r e those w h o anx-
iously ask, " I s he serious or is he j o k i n g ? "
P e r h a p s he is b o t h ! Is it not possible? I n
this connection I think it w o u l d be w e l l to
r e m e m b e r t h a t t h e sense of t h e r i d i c u l o u s
as well as " t h e sense of the t r a g i c increases
and declines w i t h sensuousness." I t puts it
r a t h e r u p to you. A n d t h e r e is a m o n g us
to-day a s p i r i t of " b l a g u e " a r i s i n g out of
the artist's b i t t e r vision of an over-institu-
t i o n a l i z e d w o r l d of s t a g n a n t statistics and
a n t i q u e axioms. W i t h a f r a n k creed of im-
m u t a b i l i t y the C h i n e s e w o r s h i p p e d t h e i r
ancestors and d i g n i t y took the p l a c e of un-
derstanding; but we w h o worship Progress,
Speed and E f f i c i e n c y a r e like a little d o g
c h a s i n g a f t e r his own w a g g i n g tail t h a t has
dazzled him. O u r a n c e s t o r - w o r s h i p is
w i t h o u t g r a c e and it is because of o u r con-
ceited h y p o c r a c y t h a t o u r artists are some-
times sad, and if t h e r e is a s h a d e of b i t t e r
m o c k e r y in some of t h e m it is only t h e r e
because they k n o w t h a t t h e j o y f u l s p i r i t of
t h e i r w o r k is to this age a h i d d e n t r e a s u r e .
B u t p a r d o n m y p r a i s e f o r , sayeth N i e t z -
sche, " I n p r a i s e t h e r e is m o r e obtrusiveness
than in b l a m e " ; and so as not to seem
officiously sincere or subtly serious, I shall
w r i t e in above, w i t h a p e r v e r s e pen, a
n e u t r a l title t h a t w i l l please n o n e ; and as
d i d R e m y de G o u r m o n t , t h a t gentle cynic
and m o n k e y w i t h o u t a tail, I, too, c o n c l u d e
w i t h the most p r o f o u n d w o r d in l a n g u a g e
and one w h i c h cannot be a r g u e d — a pacific
Perhaps! LOUISE NORTON.
When they stop they make
a convention.
That is their end.
For the going every thing-
has an idea.
The going run right along.
The going just keep going.
C. DEMUTH.
Recharge, please, recharge
avec la chimie de ta salive
l'accumulateur démon coeur
S. T. E. K.
 Axiom
From a determinable horizon
absent
spectacularly from a midnight
which has yet to make public
a midnight
in the first place incompatibly copied
the other
in observance of the necessary end
guarantees
the simultaneous insularity
of a structure
self-contained
a little longer
than the general direction
of goods opposed
tangentically.
WALTER CONRAD ARENSBERG.

Letter from a Mother

I have never been in E u r o p e . I was b o r n
in M i n n e a p o l i s and I a m the m o t h e r of
t h r e e c h i l d r e n , all g i f t e d , two e x h i b i t i n g
in this exhibition.
I have always f e l t nervous a b o u t artists,
but in m y modest w a y I a m a b e l i e v e r in
democracy.
T h e r e f o r e as a w o m a n w h o has d o n e h e r
d u t y t o w a r d s the race and e x p e r i e n c e d life,
I m a k e the plea to all o t h e r m o t h e r s and
w o m e n of constructive c o m p r e h e n s i o n , t h a t
w e keep this e x h i b i t i o n sane and b e a u t i f u l .
I t is only by e l e v a t i n g the soul and keep-
ing the eyes of o u r y o u n g ones filled w i t h
lovely images that w e can expect good re-
sults f r o m the g e n e r a t i o n that will f o l l o w .
People without refinement, cubists,
futurists, are not artists. F o r A r t is noble.
A n d they are distorted.
I n d e p e n d e n c e is needed, but a line must
be d r a w n s o m e w h e r e .
I n sincere f a i t h I h o p e f o r y o u r success.
Sincerely,
A MOTHER.
 Theorem
For purposes of illusion
the actual ascent of two waves
transparent to a basis
which has a disappearance of its own
is timed
at the angle of incidence
to the swing of a suspended
lens
from which the waves wash
the protective coloration.
Through the resultant exposure
to a temporal process
an emotion
ideally distant
assumes on the uneven surface
descending-
as the identity to be demonstrated
the thrfee dimensions
with which it is incommensurate.
WALTER CONRAD ARENSBERG.

CONEY ISLAND J o s e p h Stella

 From a friend.
A p r i l 12, 1917.
D e a r Blind M a n : —
Fine for you!
You are, I hope, to be an i n s t r u m e n t f o r
the a c c o m p l i s h m e n t of an i m p o r t a n t and
m u c h - n e e d e d w o r k in A m e r i c a ; n a m e l y ,
the f o s t e r i n g and e n c o u r a g e m e n t of a t r u l y
native art. A n art w h i c h w i l l be at once
the result of a h i g h l y v i t a l i z e d age, of a rest-
less artistic spirit, and of a s u d d e n r e a l i z a -
tion,—on the p a r t of o u r artists—of A m e r -
ica's h i g h destiny in the f u t u r e of the w o r l d .
Such an art m u s t v e r y closely e m b o d y the
spirit of o u r time, h o w e v e r m o r b i d , h o w -
ever h u r r i e d , h o w e v e r d i s o r g a n i e z d , h o w -
ever n e r v e - r a c k i n g that t i m e m a y be.
A bas,—you should s a y — w i t h any and
every school of art that represents a n o t h e r
day, a n o t h e r spirit, a n o t h e r time. N o a r t
can live t h a t is not an i n t e g r a l p a r t of its
time. P u t Botticelli in a studio on F i f t h
A v e n u e ; p u t C o r o t in a g a r r e t in W a s h i n g -
ton S q u a r e ; p u t F r a g o n a r d in a b a r n in
H a r l e m , and t h e i r w o r k w o u l d be w o r t h -
less, sterile, of no lasting p u r p o s e , or p o w e r
of e v o c a t i o n ; because it w o u l d f a i l abso-
lutely to s y m b o l i z e and synthesize the s p i r i t
of o u r age. T h e i r w o r k w o u l d m e r e l y be
s o m e t h i n g p r o m o t e d , not by o u r life, not
by the v i t a l i z e d forces of o u r time, b u t
s o m e t h i n g p r o m o t e d only by t h e flat, d e a d
and profitless s p i r i t of a b y g o n e time.
So, if you can h e l p to s t i m u l a t e and de-
v e l o p an A m e r i c a n a r t w h i c h shall t r u l y
r e p r e s e n t o u r age, even if the age is one of
telephones, s u b m a r i n e s , a e r o p l a n e s , caba-
rets, cocktails, taxicabs, d i v o r c e courts,
wars, tangos, d o l l a r signs; o r one of des-
p e r a t e strivings a f t e r n e w sensations and
experiences, you w i l l h a v e d o n e w e l l . T h e
f u t u r e d w e l l e r s u p o n e a r t h w i l l then be
able to look b a c k to o u r day, and, w i t h t r u t h
and conviction say: "Yes, they h a d an art,
back in N e w Y o r k , in t h e days f o l l o w i n g
the G r e a t W a r , an a r t t h a t w a s a v i t a l i z e d
p a r t of t h e i r l i f e ; t h a t m i r r o r e d a c c u r a t e l y
t h e i r time, w i t h all of its c o m p l e x i t i e s ,
graces, h o r r o r s , pleasures, agonies, u n c e r -
tainties and blessings."
A d m i r i n g l y yours,
F R A N K CROWNINSHIELD.

MEDUSA
Sinister right—dexter left—superior hypocrecy
Spirits without light and Don Quixotes
Arts starboard, red and green port
without vessel.
Why change men into animal foeti.
My tongue becomes a road of snow
Circles are formed around me
In bath robe
Exterior events
Napoleon >
Modern ideas
Profound artists reunited in canon
who deceive
Artists of speech
Who have only one hole for mouth and anus
I am the lover of the world
The lover of unknown persons
I am looking for a Sun.
F. PICABIA.
April, 1917.
Pas De Commentaires!
Louis M. Eilshemius.
'' S o u l . . . . Soul! Your artists haven't got it;
for them things are just chair, or table, or stables.
Was it Aristotle who said, 'A picture is a silent
poem?'
" B u t you are not seeing my pictures now. ..
What is a minute, an hour? Ruskin, (have you
ever heard of Ruskin?) found it necessary to
look at a picture for a steady week.
" I have two thousand pictures—how long do
yon suppose it would take an ordinary artist to
paint this one?" asked Louis Eilshemius pointing
to 'Maidenhood Confronted By Death'— —.
This is the first time she has seen death; observe
the effect—Horror—! that's quite new—the
stormy sky enforces the idea; see how it bursts,—
death, that's it, a b u r s t ! " We computed that it
would take perhaps three weeks to paint such
a picture—. " W e l l it takes me just two hours! I
always paint on cardboard, that's new! You can't
get such quality on canvas." Wandering round
the bountifully endowed studio we found such
variety of subject and treatment, as to give us
some idea of the scope of this artist's mind. As
Rousseau of the French spirit painted in France,
does Eilshemius of the American spirit paint in
America, with the childlike self-faith of a Blake.
His conceptions are traditional of the simple
soul unhampered by a traditional mode of rep- "SUPPL1CATION"
resentation. Eilshemius paints women dancing,
moonlight and the devil, and it is significant after tures on your hat or your dress, if you like! —
looking him straight in his unspoiled eye, that And I only use five colours, any particular five
his princes of darkness are repeatedly the best colours? Certainly not. I'm not one of your
tempered, most unsophisticated young devils hocus-pocus painters who have to have certain
imaginable, and that his nearest approach to evil colours, certain palettes, certain . I paint
is in the symbol of the horn. with my imagination, look at this! Victis—you
Eilshemius has not evolved, he has just grown know what victory is? Pressing the other fellow
to scatter seeds hap-hazard but at will to blossom down!"
in the amazing variations of his pictures, which, Three fine nudes in an evening sky, each with
outside every academic or unacademic school, a different coloured ribbon; the one on top, is
untouched by theory or " i s m , " survive as the the one 011 top! "See that one there on the right
unique art form that has never been exploited by he's dying; you notice that 011 his face."
a dealer, never been in fashion! Hopefully inspired by the granite simplicity
His is so virginally the way a picture must of the painter's speech I asked him if he ever
be painted by one unsullied by any preconcep- wrote—-"Don't you know who I a m — " he
tion of how pictures are painted, so direct a pre- gasped ?
sentation of his cerebral vision, that between his "Louis M. Eilshemius, M. A. Supreme Protean
idea and the setting forth of his idea, the ques- Marvel of the Ages. The Peer of all who create
tion of method never intrudes. Painting, Literature and Music."
The complicated mechanism that obtains in As 1 am used to do in reading I found by in-
other artists a prolonged psychological engineer- tuition the finest passages while skimming the
ing of a work of art, is waived; his pictures, if volumes handed to me:
one may say so, are instantaneous photographs
of his mind at any given moment of inspiration. "How most are sore misled by pope and priest
" I am very broad-minded," said Eilshemius, To think that God hath arms and feet and eyes—"
" I like everything that is nice, everything,"
smiling benignly, " t h a t is nice you understand. " A n d my weird soul hath felt
I can paint anything, anywhere, beautiful pic- The whiffs that waved from forth my heart."
 IN L I G H T E D SLEEPNESS.

BLIND . ^ y

WAKING WAKING

DISTANT CENTER CENTER #

e * V
S LAOTWE RT AYKEISNTGE RI S C
W LOAN
ND - OCCTE' S
TA A NS ESALSO WS H I F T I N G

TRIANGLE JOYS POINS

INCISOR VISTA Y E L L O W ^ ^

FOUNTAIN V *

W I D E IN ALL

F O R T H OVER BACK U P S U R G I N G FACTS H E A V Y L I G H T N E S S BACK OVER

INSURGING RHYTHM SHOUT EARTH SHOUT ALIVES

ALL H I G H LAY LIE RELAY IN

EVEN OPEN PENE SEPARATE REMARK ENLEVEL LEVEL ALWAYS

TON SILENT TONS OVER DOUBLE TONNAGE DOUBLE T H R U T H R U T O N AND TON

AND TON SHIFT
ALL ALL IN IN T H I S BODY BALANCE A N D RESURGE

LEVEL LEVEL C O O L BIG SAD: IN R U S T G O L D DARK D U S T HAIR:

DISTANCE

SPREAD N O W NOW, N E W FOREST FRAGRANT FOREST HAIR RESURGING REFORTH

PENET UP

FAR, T H R U EYES, AREA

FLOW WATER FEEL DEEP DEEP IN IN FAR FAR FARTHEST

MOUNTAIN MOUNT KATAHDYN FLUX KATAHDYN MOUNTAIN FLUX. ... FLOWER

IN IN, T H R U EYES, SLEEP S L U M B E R HEAVE

Third Dimension;
Portrait Sketch
Charles D u n c a n

" F r e e Verse, why I wrote f r e e verse t w e n t y A n d it t r i e d t o l i f t l o n g p o l e s . "

years a g o " — 1
Yet while Eilsheniius exonerates himself f r o m
e v e r h a v i n g s t u d i e d t h e w o r k s of a n y period
w h a t s o e v e r , t h e r e is a s o m e t h i n g Elizabethian
about him.
I w i l l e n d t h i s r u m m a g e of a g o l d - m i n e w i t h
E i l s h e n i i u s w h e n h e is m o s t h i m s e l f — i n the
the poems " A Country C h i l d " and " M a g g i e the
Geyser G u i d e . "
" I t dwelled, w h e r e I would not to live;
I n a h u t , w i t h c r a c k s a n d holes.
B u t t h e r e it p l a y e d w i t h w i c k e r a n d m u d ;
" H a v e y o u n o f e a r of a l l t h o s e b o i l i n g w a t e r s ? "
" N a y , I was ' h a t c h e d ' r i g h t on this steaming
earth.
The other place cannot be w o r s e ! " she ventured,
A n d in our eyes a t w i n k l e s u d d e n l y h a d birth.
T h u s questioning, she g r e w more sweet to me,
f o r in h e r voice
L a y mellow dreaminess, that made m y heart
rejoice.
A n y h o w , D u c h a m p m e d i t a t i n g t h e l e v e l l i n g of
a l l v a l u e s , w i t n e s s e s t h e e l i m i n a t i o n of S o p h i s -
tication. M I N A LOY.
 MARIE LAURENCIN
She is shortsighted—nevertheless, no detail of life
escapes her.
She is s e n t i m e n t a l — y e t , she has a very acute sense
of irony and of the ridiculous.
She is bourgeoise and respects social conventions
but recognizes no other law than her fantasy.
She seems f r a i l and defenseless, but her egotism,
unceasingly active, makes her unattackable.
She has remained a playful and dangerous child
even if her vision is clear and wise.
She gives herself, reveals herself, opens her life like
a book but remains impregnable.
She loves richesse, elegance and luxury and is fond
of the realities of order and economy.
She has been little influenced. Perhaps some Eng-
lish painters, whose aristocracy she loves, have left
some traces in her w o r k . — S h e does not recognize
esthetic conventions.—She recreates the w o r l d to her
image. She does not know but herself, does not repre-
sent but herself, and even when she copies she does not
express but her own imagination.
In her w o r k , she only loves the accomplished effort,
being contemptuous of its artistic value. T h o u g h she
does not a t t e m p t to go beyond the conventionalist of
representation, her spirit shows all the comprehention
of modern art. She invents according to her fantasy
and makes her selections according to her profound
instinct for harmony and r h y t h m . T o her gift of paint-
ing she adds her l i t e r a r y gift which is a l w a y s felt in
her w o r k . — A d r a w i n g of hers, scarcely sketched often
tells a long story.
She loves her f e m i n i n i t y which she exalts and cul-
tivates, finding in it her best sources for her inventive-
ness.
T h e seventeen drawings and watercolors exhibited
at the Modern Gallery have the charm and subtlety
which she always imparts to her w o r k , but to me, t h r e e
of those drawings especially reveal her personality:
" T h e L i t t l e M u l e " is an astonishing expression of her
l i t e r a r y imagination and of her sense of protection.—
T h e animal has a human expression, the troubled ex-
pression of her own eyes—the delicacy of its lines, the
elegance of its details, preciously reproduced, evoke
the mystical personage of a prince encased in the body
of a beast.
" T h e Lady of the Palms" is an old fashion plate,
its complicated architecture charmed her. H e r fantasy,
her sense of f o r m and harmony transported the old
fashion plate into a landscape of palms.
" T h e two Dancers," by the accuracy and sobriety of
its t r a i t s , by its ensemble and proportions, give the
sensation of a moving r h y t h m .
It would be odd to see M a r i e Laurencin in America.
GABRIELLE BUFFET.

T h e S u p r e m e intense gluttony In the grasp of that i m p e n e t r a b l e

T o Cut my throat. blank wall
T h e utter lust to let I Falling
Red Blood roll d o w n M i g h t lend at last a line
T h e expectant u p t u r n e d breasts T o pure Monotony.
O r w h a t better than H a v e I courage to keep on
T h e smooth security of Beating out my Brains
T i g h t e n i n g rope W h e n Regret should have entered
W h e n mass obeying gravity T h e First Fist?
Forfeits Life? T o die w i t h flowers? T o o soft—
P e r h a p s my head upon the sill T o burn in p e r f u m e d oil?
A window T o o slow—
C o m i n g swiftly down All forces that are not M i n e —
W o u l d link m y consciousness I w ill, I will H o l d my B r e a t h —
W i t h Queens.
A n d Fell asleep
Again a knife A n d D r e a m e d I drowned.
FRANCES SIMPSON STEVENS.

Let us droop our heads over each other like lilies

And our bodies remain long.
ALLEN NORTON
 m
14 T H E B L I N D
0 Marcel - - - otherwise
1 Also Have Been to Louise's
I don't like a lady in evening
dress, salting
From here she has black eye's,
no mouth., some -
Will you "bring a perfection,
well "bring a bottle - - - Two
perfections WELL I want to SEE
it - - - he will know it after-
wards - - - will you bring the
bottle. Really, have I? - - .
Which way? Oh did'I? WHEN?
Too much? You are abusing
myself. No, you would not - - .
Did you ask Demuth about it?
Anything you like, would I?
Ough Naow? of course not? Yes
I do. I used to kill myself
with the syphon - - -. You
don't remember that ball. Well
don't do that because I am per-
fectly sober now - - - - that's
the kid he looks like - . It
will probably cost me very much
I have not got money. Did I
say I wanted the bottle all
right - SEE it! Excuse me,
explain it. You don't need any.
I will give you some paper
Mina and keep silent to give
you a rest. Oh! I will give
you some paper all the same.
Very much. He said to me, we
will toss whether you resign or
I resign - - - a very old
French story about 'the English
man must shoot first.' She has
a pencil in her hair - very
impressionistic. You know you
should have some salt on your
hair it's so nice because?
Nothing - its music. Ah this
M A N
is, this is, this is, is IT.
Do not worry about such things 1
as lighting a match. I give
you my key Clara - HEY - have
some yellow paper. If carried
away If Clara ever returns it.
Well, you did about a week,
after. Here's the salting lady-
I will show her to you - salting
lady. She passed. Do not speak
any more - - - you have to
squeeze it, maid of the - - - .
I used to go every day - -
waitress. I feel ashamed in
front of this girl - she looks
at me from far its wonderful -
its wo - onderEULi
Yes, have a drink lady, teaspoon
by teaspoon. No please take
this - Do I eat? You know why I
have one - I do - I do have it -
I want some tongue I will give
you some - but don't do too much
what? Suck it. Well I don't know
how I will get up early to-
morrow I have a lesson at two -
no not with the "bellemere" You
don't know what a wonderful sen-
sation it is - - - - - I have
some preference for some com-
pany where is our waiter -
where is he it sounds it doesn't
he?
Mina are you short-hand?, I
never knew it. I want tongue
sandwich, anyway it keeps me
awake. You know, she comes rid-
ing school fifty sixth street
you know she comes. Lunch
12 o'clock. Well you know it
was. How do you light a cigar-
ette - how do you light a match week every key she geta she
Did you, well it is not danger- keeps. You speak like Carlo,
ous' at all - Did you got it? well when he wants to imitate -
Are you an American represen- well have a drink! You know
tative -. I am sorry. You are those two girls are crazy about
Pennsylvania I am Boston. Do that man, they mustn't, you must
you want some cigarettes - - Did get him out. I will have a
you put the pronunciation. tongue sandwich - you must suck
Waiter! tongue sandwiches. Do it - - - Censorship! Don't let
you want hot milk. Two perfec- your flag get wet - - is that
tions she doesn't want anything Billy Sunday. One should have
- you got it? She can't write had an additional star Billy
it down anyway - through the Sunday - There's always a sky
flag oh some cigarettes - waiter in heaven! - - - that is too
I want some cigarettes for Mina low. My ancestor is tall
- this is a wonderful tune Ti people. Don't write, he is going
lis li laera Mina I give you to leave you for a minute.
two dollars, it means to me two Sandwiches - Oh I forgot to
dollars - Ti li li laera - - it telephone - what shall I say.
is twice I need to shave now. Ti li li laere - she said - all
Demuth you must "be careful of right!
your key she keeps it aToout a Compiled "by Mina Loy

291 F i f t h Ave., New York the Society would not be playing into the hands
A p r i l 13, 1917. of d e a l e r s a n d c r i t i c s , n o r e v e n i n t o t h e h a n d s of
My dear Blind Man: the artists themselves. F o r t h e l a t t e r a r e influ-
You invite comment, suggestions. As I un- enced b y n a m e s quite as m u c h as a r e public a n d
d e r s t a n d t h e I n d e p e n d e n t Society its chief f u n c - c r i t i c s , n o t t o s p e a k of t h e d e a l e r s w h o a r e o n l y
t i o n is t h e d e s i r e t o s m a s h a n t i q u a t e d academic i n t e r e s t e d i n n a m e s . T h u s e a c h b i t of w o r k w o u l d
ideas. T h i s f i r s t e x h i b i t i o n is a c o n c r e t e move stand on its o w n merits. As a reality. The pub-
in that direction. W o u l d n ' t it be advisable n e x t lic w o u l d b e p u r c h a s i n g its o w n r e a l i t y a n d not
year d u r i n g the exhibition, to withhold the names a commercialized and inflated name. Thus the
of t h e m a k e r s of a l l w o r k s h o w n . The names, Society would be dealing a blow to the academy
if o n t h e c a n v a s e s , o r o n t h e p i e c e s of sculpture, of commercializing names. The public might
etc., exhibited could be readily hidden. The g r a d u a l l y see f o r itself.
c a t a l o g u e s h o u l d c o n t a i n , i n p l a c e of t h e names Furthermore I would suggest that in next
of a r t i s t s , s i m p l y n u m b e r s , w i t h t i t l e s if desired. y e a r ' s c a t a l o g u e a d d r e s s e s of d e a l e r s s h o u l d be
O n t h e l a s t d a y of t h e E x h i b i t i o n t h e n a m e s of confined to the advertising pages. The Indepen-
the exhibitors could be m a d e public. T h a t is e a c h dent Exhibition should be run for one thing-
n u m b e r would be publicly identified. A l i s t of only : T h e i n d e p e n d e n c e of t h e w o r k i t s e l f . The
t h e identified n u m b e r s could also be sent to t h e Society has m a d e a definite move in the right
p u r c h a s e r s of c a t a l o g u e s . T o n o o n e , o u t s i d e of d i r e c t i o n , so w h y n o t f o l l o w i t u p w i t h s t i l l m o r e
the committee itself, should a n y n a m e s be di- definiteness.
vulged d u r i n g the exhibition. Not even to those NO J U R Y — N O P R I Z E S — N O COMMERCIAL
wishing to purchase. In thus freeing the exhi-
TRICKS.
b i t i o n of t h e t r a d i t i o n s a n d s u p e r s t i t i o n s of n a m e s Alfred Stieglitz.
Perhaps—
THE BLIND MAN may become a
Bourgeois Galleries
m o n t h l y — p e r h a p s a quarterly— 668 FIFTH AVENUE
perhaps a yearly—
NEW YORK

All depending on contributions,

literary and financial.

Brave people who like to r u n

risks may s e n d to THe BLIND
MAN five dollars as subscription
Old and Modem
and encouragement. Paintings
33 WEST 67TH STREET

Paintings by American Modern Gallery

Artists of Today: 500 F I F T H AVENUE, NEW YORK

BURLIN MARIN DAUMIER

DEMUTH McFEE CEZANNE
DICKINSON MILLER LAUTREC
FISK MYERS VAN GOGH
GLACKENS NORDFELDT PICASSO
HALPERT PRENDERGAST BRANCUSI
HARTLEY MANRAY PICABIA
KENT SCHUMACHER DERA1N
KUEHNE WALKOWITZ MARIE LAURENCIN
LAWSON WORTMAN MANOLO
LEVER M. ZORACH BURTY
MAGER and VLAMINCK
MANIGAULT W. ZORACH RIVERA
BRAQUE

T h e Daniel Gallery Mexican Pre-Conquest Art

2 West 47th St., New York African Negro Sculpture

•