Overall, I think we had a good discussion today in class. I was fortunate enough to get a rich chapter full of so many events and incidents. It was hard to pick out some of the most important events. One of the topics that we spent more time than I expected on was the topic of why so many people like Gertrude Stein and Alice Toklas so much to the point where they are able to talk to people of authority in a bold manner. Many of us discovered that Stein was very well known as the time and better understood why Stein spoke in the manner she did to these authority figures. It seems as if she is using her popularity to get her way with the people she wanted something from. Also, I liked how we talking about Alice's voice which we never had before. Someone pointed out that one of the reasons why she decides to do this is because we are able to see another side to Stein that we never were able to see before, her emotional stand view. These elements are shown through intimate moments between her and Alice, before the reader never really got a since on any of Steins emotions that she felt. As one person pointed out, Alice in this chapter seemed more humorous and understandable that Gertrude has in the entire book. The final topic I would like to bring up is about when Toklas meets her last genius, Doctor Whitehead, who she fails to mention a lot about. Many of you all came to the conclusion that the reason that Whitehead is not talked about is because Alice and Stein did not have as intimate of a relationship as they did with Picasso. I guess I will have to take it as is, it just really frustrated me. How can you say this person was a genius but knew nothing about him?
We missed those of you there were not in class today because I would have love your input on such an extensive chapter. Thanks the discussion for those of you who were in class!!!
Thursday, June 3, 2010
Are Your Papers in Order?
Alice B. Toklas (left) and Gertrude Stein (right) walking their dog, Basket
I actually find it a bit interesting how Gertrude and Toklas seem far-removed at times from the war – it magnifies how many were made to vacate Paris for the war, which is odd as I seldom think in terms of Paris ever having been directly inflicted by war. This somewhat morose mood of the war is in such stark contrast to that surrounding Gertrude’s festive art parties at 27 rue de Fleurus.
We are able to experience some of the anxiety Gertrude and Toklas feel during the war, seen on page 157, in the incident where Gertrude wakes Toklas, coaxing her downstairs to safety after hearing the alarm. I sense that Gertrude is worried and concerned for Toklas as she ushers her to safety and comforts her with a blanket. Toklas reveals her fear as she writes “I must say I would not have believed it was true that knees knocked together as described in poetry and prose if it had not happened to me” (p 157), which indicates how serious of a situation it was to hear nearby bombing.
I also detect how saddened by the war both Gertrude and Toklas are at times and how it may have impacted their lives based on remarks of how empty and dark Paris is and how long and dreary the winter of 1914-1915 is (p 156), as well as their desire to work for the American Fund for French Wounded. Gertrude is also seemingly greatly inspired by the war, as Toklas comments that most of Gertrude’s writings during this period are war-related.
After reading Chapter 6, I do have questions regarding the banking transactions and passports, etc. For instance, on page 154, Toklas mentions that she and Gertrude must be weighed and measured when they go to pick up the money sent to them by Gertrude’s cousin and Toklas’ father. Why is this? Is it some sort of measure to prevent smuggling of coin or something? I do not understand this (and haven’t researched yet). Also, I realize that times have changed a bit with regard to the regulation of passports; however, why is it they seem to be able to travel to and fro between countries with “…papers…so overpowering that there were no delays…” mentioned on page 155 when speaking of Mrs. Whitehead? Were passports convenient to have, but not necessary as long as one had a stellar letter of reference from the best and most important person?
Looking forward to getting some answers!
(FYI: Found the above photo widely available through Google Images and thought it was interesting!)
We are able to experience some of the anxiety Gertrude and Toklas feel during the war, seen on page 157, in the incident where Gertrude wakes Toklas, coaxing her downstairs to safety after hearing the alarm. I sense that Gertrude is worried and concerned for Toklas as she ushers her to safety and comforts her with a blanket. Toklas reveals her fear as she writes “I must say I would not have believed it was true that knees knocked together as described in poetry and prose if it had not happened to me” (p 157), which indicates how serious of a situation it was to hear nearby bombing.
I also detect how saddened by the war both Gertrude and Toklas are at times and how it may have impacted their lives based on remarks of how empty and dark Paris is and how long and dreary the winter of 1914-1915 is (p 156), as well as their desire to work for the American Fund for French Wounded. Gertrude is also seemingly greatly inspired by the war, as Toklas comments that most of Gertrude’s writings during this period are war-related.
After reading Chapter 6, I do have questions regarding the banking transactions and passports, etc. For instance, on page 154, Toklas mentions that she and Gertrude must be weighed and measured when they go to pick up the money sent to them by Gertrude’s cousin and Toklas’ father. Why is this? Is it some sort of measure to prevent smuggling of coin or something? I do not understand this (and haven’t researched yet). Also, I realize that times have changed a bit with regard to the regulation of passports; however, why is it they seem to be able to travel to and fro between countries with “…papers…so overpowering that there were no delays…” mentioned on page 155 when speaking of Mrs. Whitehead? Were passports convenient to have, but not necessary as long as one had a stellar letter of reference from the best and most important person?
Looking forward to getting some answers!
(FYI: Found the above photo widely available through Google Images and thought it was interesting!)
Spending a few "Ah Ha!" Moments with Gertrude Stein
They seem elusive during the first five chapters, but two similar but separate incidents tied to something Alice says about Stein's driving finally lead to some "Ah Ha!" moments in Chapter Six.
The two similar but separate incidents involved the passports. When Gertrude and Alice try to leave France for Spain, they have to get real passports to replace their temporary ones from London (p161). Although it seems like the American Embassy representative is going to deny them, Stein insists on speaking to a embassy secretary. She then does what she does best - she drops the name of a writer, who has lived in France and was not going back to the U.S. but since he had received a passport, so why are you denying me?
Gertrude 1 - American Embassy 0
On their return from Spain, she has to again deal with the embassy representatives (pp 167-168). I had the feeling she embellished the moment for a bit of comedy, since she showed the counsel and his assistant to be playing a game she sees through. Even though she has to get the approval from the French embassy, she again is able to return to the American embassy with the letter of approval for the visa. We also get to see a rare moment where Stein is vulnerable by finding out if she is asked a question quickly (by the French embassy representative) she could not readily remember the date she was asked for. It shows us a rare moment, but just a moment, of her not being in control.
Gertrude 2 - American Embassy 0
I wonder if she ever renewed her passport or they just went ahead and sent her a new one? Probably the latter.
So, how are these "Ah Ha!" moments? They're tied to Alice commenting on Stein's driving the ford car they used when working with American Fund for French Wounded (p173).
"She goes forward admirably, but does not go backwards successfully."
I think this sentence could be used to summarize Gertrude Stein. We have seen that in the face of rejection of her works at different points, she re-invents herself by taking on a new interest while refining what she already knows and relentlessly continuing to bring her works to the forefront. She rejects any notion of failure and continues to find new and interesting people, like the god-sons they met and find a place of importance for them in the book. I'm sure, knowing what it alludes to, finding these subtle "ah ha" moments going forward might not be so difficult.
Michael
The two similar but separate incidents involved the passports. When Gertrude and Alice try to leave France for Spain, they have to get real passports to replace their temporary ones from London (p161). Although it seems like the American Embassy representative is going to deny them, Stein insists on speaking to a embassy secretary. She then does what she does best - she drops the name of a writer, who has lived in France and was not going back to the U.S. but since he had received a passport, so why are you denying me?
Gertrude 1 - American Embassy 0
On their return from Spain, she has to again deal with the embassy representatives (pp 167-168). I had the feeling she embellished the moment for a bit of comedy, since she showed the counsel and his assistant to be playing a game she sees through. Even though she has to get the approval from the French embassy, she again is able to return to the American embassy with the letter of approval for the visa. We also get to see a rare moment where Stein is vulnerable by finding out if she is asked a question quickly (by the French embassy representative) she could not readily remember the date she was asked for. It shows us a rare moment, but just a moment, of her not being in control.
Gertrude 2 - American Embassy 0
I wonder if she ever renewed her passport or they just went ahead and sent her a new one? Probably the latter.
So, how are these "Ah Ha!" moments? They're tied to Alice commenting on Stein's driving the ford car they used when working with American Fund for French Wounded (p173).
"She goes forward admirably, but does not go backwards successfully."
I think this sentence could be used to summarize Gertrude Stein. We have seen that in the face of rejection of her works at different points, she re-invents herself by taking on a new interest while refining what she already knows and relentlessly continuing to bring her works to the forefront. She rejects any notion of failure and continues to find new and interesting people, like the god-sons they met and find a place of importance for them in the book. I'm sure, knowing what it alludes to, finding these subtle "ah ha" moments going forward might not be so difficult.
Michael
Wednesday, June 2, 2010
Thoughts on chapter six
I'm with pretty much everyone else that has already posted in that I feel pretty clueless as to what on Earth this woman is talking about. I think I get it, but Stein jumps back and forth so much that she's hard to follow. What makes it most difficult is the timeline she uses to describe her various stays in these random places. Rather than providing succinct dates, she uses seasons. For example, on page 164, at the end of the first full paragraph, she says that "Instead of only spending the summer [in Palma] we stayed until the following spring." Thanks, Gertrude.
This brings up a point that I think Ty made it class at one point in regard to the fact that we never find out where Stein got her money from. These two women are making trips all over the place, and even though they seem to be bumming off whoever will let them stay at their house, that still has to be pretty expensive. Also, I've noticed several instances where Stein says that these various hosts requested that they stay longer. I don't know about you all, but that sounds like a crock to me! This lady reminds me of that friend that we all have who talks for the sake of hearing him or herself talk, you know, the one who would totally ask: "Hey, do you mind if I crash on your couch for a couple extra days?"
I don't know, but the timeline, and the references made to her money, are very hard to follow, especially the reference in the second paragraph of page 162 that mentions a time (in the future, I think) when "Gertrude Stein was not able to help any more ... ." Could this be foreshadowing? Is the picture on the front of this book a portrait from the panhandling days that followed her fledgling writing career? In a way, I hope so. That way we can all point our fingers and laugh at her for providing us with this tomfoolery.
In all seriousness, though, there are instances where she's funny and even enjoyable. Unfortunately, for me, those instances are typically about two sentences long, then she rambles for 14 pages about ateliers and some place or something called Marne.
Which leads me to my questions:
a.) What/where is Marne?
b.) The scene where Stein calls Toklas (I'm assuming it was her, anyway) downstairs during that weird and noisy night scene -- what was that all about?
c.) It seems like she keeps talking about how places are empty and how they'll be different later. Is that because the war is there, or because everyone is gone to fight in it?
OK, this is long. I'll save my 459 other questions for tomorrow!
This brings up a point that I think Ty made it class at one point in regard to the fact that we never find out where Stein got her money from. These two women are making trips all over the place, and even though they seem to be bumming off whoever will let them stay at their house, that still has to be pretty expensive. Also, I've noticed several instances where Stein says that these various hosts requested that they stay longer. I don't know about you all, but that sounds like a crock to me! This lady reminds me of that friend that we all have who talks for the sake of hearing him or herself talk, you know, the one who would totally ask: "Hey, do you mind if I crash on your couch for a couple extra days?"
I don't know, but the timeline, and the references made to her money, are very hard to follow, especially the reference in the second paragraph of page 162 that mentions a time (in the future, I think) when "Gertrude Stein was not able to help any more ... ." Could this be foreshadowing? Is the picture on the front of this book a portrait from the panhandling days that followed her fledgling writing career? In a way, I hope so. That way we can all point our fingers and laugh at her for providing us with this tomfoolery.
In all seriousness, though, there are instances where she's funny and even enjoyable. Unfortunately, for me, those instances are typically about two sentences long, then she rambles for 14 pages about ateliers and some place or something called Marne.
Which leads me to my questions:
a.) What/where is Marne?
b.) The scene where Stein calls Toklas (I'm assuming it was her, anyway) downstairs during that weird and noisy night scene -- what was that all about?
c.) It seems like she keeps talking about how places are empty and how they'll be different later. Is that because the war is there, or because everyone is gone to fight in it?
OK, this is long. I'll save my 459 other questions for tomorrow!
The War- Oh My!
I wanted to focus my discussion on Gertrude Stein's sixth chapter where she discusses the war. I was anticipating a sudden and drastic shift in tone; however, I was disappointed and strangely shocked. Chapter six reads like any of her other chapters to me. She is all over the place and can't seem to focus on one topic, or the topic at hand- the war (Before I go any further I would also like to mention that I am only 3/4ths of the way through the chapter, so this is my opinion thus far). She fails to really mention any fear or anxieties about the war really. She does focus on some of the hardships they faced when it came to travelling from place to place or going back to France. However, other then complaining about having to go to other embassies or arguing for the sake of their passports, I saw no real struggles, feelings, or emotions about the war. Their were a couple parts where she mentions that Paris was a little empty, or that things did not seem the same. However, because she jumps back and forth between her trip to England and Spain, it gets confusing as to what is the time period. Furthermore, I saw a constant repeat of the fact that they were very happy when they were in Palma. I was a little shocked by this because I was expecting more details about the war. The details she provides are very few- such as what they hear from their friends in letters. Also, we get one very minor detailed account- when Gertrude wakes Toklas up and brings her downstairs- because from what I understood bombs/gun shots were going off. This was the only experience that they seemed to endure, which barely seemed to effect them. Possibly, their was no real focus on the war because they were not living in France and because they were in places that didn't suffer. However, all I got out of this so far was that they traveled and enjoyed their time with different people like the Whiteheads, that they only endured little effects of the war such as struggling with their travels and passports, criticisms by Stein against the Germans- something we saw in earlier chapters, and that's it. No shift in tone, and she seems to be writing in the same style with more focus on herself than the war. A little dissapointing...then again this book is about something far more important than the war- it's about her..right?
Gertrude Stein
So Chapter 6 seemed to frustrate me more than her other chapters. It seems that in this chapter, Toklas (Stein) was all over the place. Now I know that she is like this in her other chapters but she seems to cover a lot of information. She starts with meeting the Whiteheads and her time living with them. Then she goes on to talk about things such as the her travels during the war, working with the American Fund for French Wounded to her life after the war. It just really frustrated me that she couldn't rant and go off topic on one aspect of her life. I think she could have divided the chapters with a chapter on her life before she became involved with the war, one on her involvements with the war and finally a chapter on her life after the war was over. Also, another frustrating part of this chapter is the fact that she mentions meeting her third genius, Doctor Whitehead yet she never spends anytime talking about him. Instead, she spends more time talking about Mrs. Whitehead and their family. I wonder why Toklas (Stein) does this. She talks extensively about Picasso and Stein in the book because she probably has a more intimate relationship with these two, but she fails to mention what makes Doctor Whitehead a genius in her mind. What makes Whitehead a genius?
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