“Cake” by Gertrude Stein is from Food, part of Tender Buttons.
DALL-E mini is by Boris Dayma and colleagues.
“Cake”
by
Gertrude Stein
Cake cast in went to be and needles wine needles are such.
This is today. A can experiment is that which makes a town, makes a town dirty, it is little please. We came back. Two bore, bore what, a mussed ash, ash when there is tin. This meant cake. It was a sign.
Another time there was extra a hat pin sought long and this dark made a display. The result was yellow. A caution, not a caution to be.
It is no use to cause a foolish number. A blanket stretch a cloud, a shame, all that bakery can tease, all that is beginning and yesterday yesterday we had it met. It means some change. No some day.
A little leaf upon a scene an ocean any where there, a bland and likely in the stream a recollection green land. Why white.
“Sugar”
by
Gertrude Stein
A violent luck and a whole sample and even then quiet.
Water is squeezing, water is almost squeezing on lard. Water, water is a mountain and it is selected and it is so practical that there is no use in money. A mind under is exact and so it is necessary to have a mouth and eye glasses.
A question of sudden rises and more time than awfulness is so easy and shady. There is precisely that noise.
A peck a small piece not privately overseen, not at all not a slice, not at all crestfallen and open, not at all mounting and chaining and evenly surpassing, all the bidding comes to tea.
A separation is not tightly in worsted and sauce, it is so kept well and sectionally.
Put it in the stew, put it to shame. A little slight shadow and a solid fine furnace.
The teasing is tender and trying and thoughtful.
The line which sets sprinkling to be a remedy is beside the best cold.
A puzzle, a monster puzzle, a heavy choking, a neglected Tuesday.
Wet crossing and a likeness, any likeness, a likeness has blisters, it has that and teeth, it has the staggering blindly and a little green, any little green is ordinary.
One, two and one, two, nine, second and five and that.
A blaze, a search in between, a cow, only any wet place, only this tune.
Cut a gas jet uglier and then pierce pierce in between the next and negligence. Choose the rate to pay and pet pet very much. A collection of all around, a signal poison, a lack of languor and more hurts at ease.
A white bird, a colored mine, a mixed orange, a dog.
Cuddling comes in continuing a change.
A piece of separate outstanding rushing is so blind with open delicacy.
A canoe is orderly. A period is solemn. A cow is accepted.
A nice old chain is widening, it is absent, it is laid by.
“A Little Called Pauline”
by
Gertrude Stein
A little called anything shows shudders.
Come and say what prints all day. A whole few watermelon. There is no pope.
No cut in pennies and little dressing and choose wide soles and little spats really little spices.
A little lace makes boils. This is not true.
Gracious of gracious and a stamp a blue green white bow a blue green lean, lean on the top.
If it is absurd then it is leadish and nearly set in where there is a tight head.
A peaceful life to arise her, noon and moon and moon. A letter a cold sleeve a blanket a shaving house and nearly the best and regular window.
Nearer in fairy sea, nearer and farther, show white has lime in sight, show a stitch of ten. Count, count more so that thicker and thicker is leaning.
I hope she has her cow. Bidding a wedding, widening received treading, little leading mention nothing.
Cough out cough out in the leather and really feather it is not for.
Please could, please could, jam it not plus more sit in when.
Blue Nude, 2014 by Hilary Harkness (b. 1971)
“Miss Furr and Miss Skeene”
by
Gertrude Stein
Helen Furr had quite a pleasant home. Mrs. Furr was quite a pleasant woman. Mr. Furr was quite a pleasant man. Helen Furr had quite a pleasant voice a voice quite worth cultivating. She did not mind working. She worked to cultivate her voice. She did not find it gay living in the same place where she had always been living. She went to a place where some were cultivating something, voices and other things needing cultivating. She met Georgine Skeene there who was cultivating her voice which some thought was quite a pleasant one. Helen Furr and Georgine Skeene lived together then. Georgine Skeene liked travelling. Helen Furr did not care about travelling, she liked to stay in one place and be gay there. They were together then and travelled to another place and stayed there and were gay there.
They stayed there and were gay there, not very gay there, just gay there. They were both gay there, they were regularly working there both of them cultivating their voices there, they were both gay there. Georgine Skeene was gay there and she was regular, regular in being gay, regular in not being gay, regular in being a gay one who was one not being gay longer than was needed to be one being quite a gay one. They were both gay then there and both working there then.
They were in a way both gay there where there were many cultivating something. They were both regular in being gay there. Helen Furr was gay there, she was gayer and gayer there and really she was just gay there, she was gayer and gayer there, that is to say she found ways of being gay there that she was using in being gay there. She was gay there, not gayer and gayer, just gay there, that is to say she was not gayer by using the things she found there that were gay things, she was gay there, always she was gay there.
They were quite regularly gay there, Helen Furr and Georgine Skeene, they were regularly gay there where they were gay. They were very regularly gay.
To be regularly gay was to do every day the gay thing that they did every day. To be regularly gay was to end every day at the same time after they had been regularly gay. They were regularly gay. They were gay every day. They ended every day in the same way, at the same time, and they had been every day regularly gay.
The voice Helen Furr was cultivating was quite a pleasant one. The voice Georgine Skeene was cultivating was, some said, a better one. The voice Helen Furr was cultivating she cultivated and it was quite completely a pleasant enough one then, a cultivated enough one then. The voice Georgine Skeene was cultivating she did not cultivate too much. She cultivated it quite some. She cultivated and she would sometime go on cultivating it and it was not then an unpleasant one, it would not be then an unpleasant one, it would be a quite richly enough cultivated one, it would be quite richly enough to be a pleasant enough one.
They were gay where there were many cultivating something. The two were gay there, were regularly gay there. Georgine Skeene would have liked to do more travelling. They did some travelling, not very much travelling, Georgine Skeene would have liked to do more travelling, Helen Furr did not care about doing travelling, she liked to stay in a place and be gay there.
They stayed in a place and were gay there, both of them stayed there, they stayed together there, they were gay there, they were regularly gay there. Continue reading “Read “Miss Furr and Miss Skeene,” a fiction by Gertrude Stein”
“Miss Furr and Miss Keene”
by
Gertrude Stein
from
Helen Furr had quite a pleasant home. Mrs. Furr was quite a pleasant woman. Mr. Furr was quite a pleasant man. Helen Furr had quite a pleasant voice a voice quite worth cultivating. She did not mind working. She worked to cultivate her voice. She did not find it gay living in the same place where she had always been living. She went to a place where some were cultivating something, voices and other things needing cultivating. She met Georgine Skeene there who was cultivating her voice which some thought was quite a pleasant one. Helen Furr and Georgine Skeene lived together then. Georgine Skeene liked travelling. Helen Furr did not care about travelling, she liked to stay in one place and be gay there. They were together then and travelled to another place and stayed there and were gay there.
They stayed there and were gay there, not very gay there, just gay there. They were both gay there, they were regularly working there both of them cultivating their voices there, they were both gay there. Georgine Skeene was gay there and she was regular, regular in being gay, regular in not being gay, regular in being a gay one who was one not being gay longer than was needed to be one being quite a gay one. They were both gay then there and both working there then.
They were in a way both gay there where there were many cultivating something. They were both regular in being gay there. Helen Furr was gay there, she was gayer and gayer there and really she was just gay there, she was gayer and gayer there, that is to say she found ways of being gay there that she was using in being gay there. She was gay there, not gayer and gayer, just gay there, that is to say she was not gayer by using the things she found there that were gay things, she was gay there, always she was gay there.
They were quite regularly gay there, Helen Furr and Georgine Skeene, they were regularly gay there where they were gay. They were very regularly gay. Continue reading “Read Gertrude Stein’s prose poem “Miss Furr and Miss Keene””
Turkey and Bones and Eating and We Liked It
A Play
by
Gertrude Stein
He was very restless. He does not like to stand while he picks flowers. He does not smell flowers. He has a reasonable liking for herbs. He likes their smell. He is not able to see storms. He can see anything running. He has been able to be praised.
SCENE I.
Polybe and seats.
Straw seats which are so well made that they resemble stools. They are all of straw and thick. They are made with two handles.
Genevieve and cotton.
I do not like cotton drawers. I prefer wool or linen. I admit that linen is damp. Wool is warm. I believe I prefer wool.
Minorca and dogs.
I like a dog which is easily understood as I have never had the habit of going out except on Sunday. Now I go out every day.
Anthony and coal.
I believe that coal is better than wood. If coal is good it burns longer. In any case it is very difficult to get here.
Felix and a letter.
I do not wish to reply to a telegram, not because I find it difficult to explain in it that I wished to see you. I did wish to see you.
It gives me great pleasure to meet you. I am feeling well today and I see that you are enjoying the mild weather. It will continue so. I hope you will be pleased. I will present myself to you in saying that I am certain that you are deriving pleasure from your winter. I am certainly eager.
William.
He is too difficult. I mean he is too difficult. I don’t believe you understand me yet. He is too difficult. Continue reading “Turkey and Bones and Eating and We Liked It — A Play by Gertrude Stein”
I, Robot by Isaac Asimov. Hardback. A Doubleday “Book Club Edition.” No clear date of publication, but the jacket design is by Johannes Regn. This book was my father’s. I’ve only kept it because of the cover. I keep it facing out, covering the broken spines of other Asimov novels I’ll never read again.
Look at Me Now and Here I Am: Writings and Lectures 1909-1945 by Gertrude Stein (edited by Patricia Meyerowitz. A Penguin Modern Classics trade paperback edition, printed in 1984 (I think) in Great Britain (I think–the colophon is confusing as hell). The cover features a detail from Picasso’s Woman in an Armchair. I spent 10 minutes flicking through Phil Baines’s Penguin by Design but couldn’t determine the designer. The first page bears two bookstore stamps, one from Russakoff’s Bookstore in Philadelphia, and one from the bookstore where I bought it. This is a book one can just pick up and read and random and be rewarded. I’m always reading bits of it so it’s never shelved.
The Lime Works by Thomas Bernhard. A 2010 first edition trade paperback by Vintage International. The cover design is by Eva Brandstotter, who designed all of these Bernhard editions for Vintage. I was lucky enough to scoop up five TB’s all at once at my favorite used bookstore. I’ve had the urge to read Thomas Bernhard but it’s still too damn hot here in swampy muggy humid Florida to read Thomas Bernhard which I think only makes sense, this sentiment I’ve just expressed, if you’ve actually read Thomas Bernhard.
INCLINE.
Clinch, melody, hurry, spoon, special, dumb, cake, forrester. Fine, cane, carpet, incline, spread, gate, light, labor.
BANKING.
Coffee, cough, glass, spoon, white, singing. Choose, selection, visible, lightning, garden, conversation, ink, spending, light space, morning, celebration, invisible, reception, hour, glass, curving, summons, sparkle, suffering the minisection, sanctioning the widening, less than the wireless, more certain. All the change. Any counselling non consuming and split splendor.
Forward and a rapidity and no resemblance no more utterly. Safe light, more safes no more safe for the separation.
M—N H—.
A cook. A cook can see. Pointedly in uniform, exertion in a medium. A cook can see.
Clark which is awful, clark which is shameful, clark and order.
A pin is a plump point and pecking and combined and more much more is in fine.
Rats is, rats is oaken. Robber. Height, age, miles, plaster, pedal, more order.
Bake, a barn has cause and more late oat-cake specially.
Spend rubber, holder and coal, high, careful, in a pointed collar. A hideous south west is always a climb in aged seldom succeeded flavoring untimely, necessity white, hour in a glaze.
Break, sky blue light, obliquely, in a cut carpet, in the pack. A sound.
COO—GE.
Press in the ink and stare and cheese. Pick in the faint and feather and white. White in the plume.
M—N H—.
No noon back. No noon settler, no sun in the slant and carpet utterly surrounded.
No pressed plaster. None.
No pressing pan and pan cake. Not related exactly. Not related.
Matter in the center of single sand and slide in the hut.
No account of gibberish. No sky lark utterly.
Perfect lemon and cutting a central black. Not such clouding. A sugar, a lame sugar, certainly. No sobriety no silver ash tray. Continue reading ““IIIIIIIIII.” — Gertrude Stein”
You do remember Chaucer, even if you have not read him you do remember not how it looks but how it sounds, how simply it sounds as it sounds. That is as I say because the words were there. They had not yet to be chosen, they had only has yet to be there just there.
That makes a sound that gently sings that gently sounds but sounds as sounds. It sounds as sounds of course as words but it sounds as sounds. It sounds as sounds that is to say as birds as well as words. And that is because the words are there, they are not chosen as words, they are already there. That is the way Chaucer sounds.
From Gertrude Stein’s lecture “What Is English Literature” (no question mark); collected in Look at Me Now and Here I Am.
SUGAR.
by Gertrude Stein
A violent luck and a whole sample and even then quiet.
Water is squeezing, water is almost squeezing on lard. Water, water is a mountain and it is selected and it is so practical that there is no use in money. A mind under is exact and so it is necessary to have a mouth and eye glasses.
A question of sudden rises and more time than awfulness is so easy and shady. There is precisely that noise.
A peck a small piece not privately overseen, not at all not a slice, not at all crestfallen and open, not at all mounting and chaining and evenly surpassing, all the bidding comes to tea.
A separation is not tightly in worsted and sauce, it is so kept well and sectionally.
Put it in the stew, put it to shame. A little slight shadow and a solid fine furnace.
The teasing is tender and trying and thoughtful.
The line which sets sprinkling to be a remedy is beside the best cold.
A puzzle, a monster puzzle, a heavy choking, a neglected Tuesday.
Wet crossing and a likeness, any likeness, a likeness has blisters, it has that and teeth, it has the staggering blindly and a little green, any little green is ordinary.
One, two and one, two, nine, second and five and that.
A blaze, a search in between, a cow, only any wet place, only this tune.
Cut a gas jet uglier and then pierce pierce in between the next and negligence. Choose the rate to pay and pet pet very much. A collection of all around, a signal poison, a lack of languor and more hurts at ease.
A white bird, a colored mine, a mixed orange, a dog.
Cuddling comes in continuing a change.
A piece of separate outstanding rushing is so blind with open delicacy.
A canoe is orderly. A period is solemn. A cow is accepted.
A nice old chain is widening, it is absent, it is laid by.
“A Sweet Tail (Gypsies)”
by
Gertrude Stein
Curves.
Hold in the coat. Hold back ladders and a creation and nearly sudden extra coppery ages with colors and a clean voice gyp hoarse. Hold in that curl with a good man. Hold in cheese. Hold in cheese. Hold in cheese.
A cool brake, a cool brake not a success not a re-sound a re-sound and a little pan with a yell oh yes so yet change, famous, a green a green colored oak, a handsome excursion, a really handsome log, a regulation to exchange oars, a regulation or more press more precise cold pieces, more yet in the teeth within the teeth. This is the sun in. This is the lamb of the lantern with chalk. With chalk a shadow shall be a sneeze in a tooth in a tin tooth, a turned past, a turned little corset, a little tuck in a pink look and with a pin in, a pin in.
Win lake, eat splashes dig salt change benches.
Win lake eat splashes dig salt change benches.
Can in.
Come a little cheese. Come a little cheese and same same tall sun with a little thing to team, team now and a bass a whole some gurgle, little tin, little tin soak, soak why Sunday, supreme measure. Continue reading ““A Sweet Tail (Gypsies)” — Gertrude Stein”
WHITE WINES
THREE ACTS
by
Gertrude Stein
All together.
Witnesses.
House to house.
(5 women)
All together.
Cunning very cunning and cheap, at that rate a sale is a place to use type writing. Shall we go home.
Cunning, cunning, quite cunning, a block a strange block is filled with choking.
Not too cunning, not cunning enough for wit and a stroke and careless laughter, not cunning enough.
A pet, a winter pet and a summer pet and any kind of a pet, a whole waste of pets and no more hardly more than ever.
A touching spoon a real touching spoon is golden and show in that color. A really touching spoon is splendid, is splendid, and dark and is so nearly just right that there is no excuse.
The best way is to wave an arm, the best way is to show more used to it than could be expected.
Comfort a sudden way to go home, comfort that and the best way is known.
All together.
Hold hard in a decision about eyes. Hold the tongue in a sober value as to bunches. See the indication in all kinds of rigorous landscapes. Spell out what is to be expected.
Show much blame in order and all in there, show much blame when there is a breath in a flannel. Show the tongue strongly in eating. Puzzle anybody.
Violet and the ink and the old ulster, shut in trembling and a whole departure, flood the sunshine, terrorize the grown didy, mingle sweetness with communion.
All together.
Change the sucking with a little sucking.
Modify the brave gallant pin wheel. Show the shout, worry with wounds, love out what is a pendant and a choke and a dress in together.
Punish the grasshopper with needles and pins are plenty. Show the old chink.
All together.
Put the putty in before the door put the oil glass in with what is green. Put the mellow choice with all the test, rust with night and language in the waist. Praise the cat and show the twine the door, mention every scrap of linen carpet, see the eagle and behold the west, win the day light with the hat unpressed, show it in a shudder and a limp, make a best container with no speed, and a jacket and a choice and beets, beets are what there are when bets are less. Bets are less in summer.
Single Witnesses
(I). A spread out case is so personal it is a mountain of change and any little piece is personal, any one of them is an exchange. No forethought is removed. Nothing, hindrances, butter, a safe smooth, a safe why is a tongue a season, why is a loin large by way of spoiling. There is no cake in front. A choking is an example.
More witnesses.
It is true, it certainly is true and a coat any coat, any dress, all dress, a hat, many hats, all colors, every kind of coloring, all this makes shadows longer and birds, makes birds, just makes birds.
Not much limping is in the back, not much limping is in the front, not much limping is circular, a bosom, a candle, an elegant foot fall, all this makes daylight.
Single Witnesses.
(2). A blunder in a charger is blue. A high pocket not higher than the wrist and the elbow, the pocket is not added.
A clutch, a real clutch is merry and a joke and a baby, a real clutch is such a happy way. A real clutch is so soon worried so easily made the same, so soon made so.
A real white and blue, blue and blue, blue is raised by being so and more much more is ready. At last a person is safe.
More witnesses.
Pile in the windows, freeze with the doors, paint with the ceiling, shut in the floors, paint with the ceiling, paint with the doors, shut in the ceiling, shut out the doors, shut in the doors, shut in the floors, shut in the floors, shut in the doors.
More Witnesses.
Put the patient goat away, put the patient boat away, put away the boat and put it, the boat, put it, put away that boat. Put away the boat.
Single Witnesses.
(3). An army of invincible and ever ready mustaches and all the same mind and a way of winding and no more repertoire, not any more noise, this did increase every day.
A moon, a moon, a darkness and the stars and little bits of eels and a special sauce, not a very special sauce, not only that.
A wide pair that are not slippers, not a wide pair of slippers, not pressed to be any of that in that particular but surely, surely, surely a loan, surely every kind of a capital.
More Witnesses.
A splendid little charles louis philip, a splendid spout of little cups and colds, a splendid big stir, a splendid glass, a splendid little splinter, a splendid cluster.
Single Witnesses.
(4). Why should wet be that and cut, cut with the grass, why should wet be that and clut with the purse, why should wet be wet and the wet that wet. Why should wet be the time to class. Why should there be solemn cuppings.
The lean bark, that is the round and intense and common stop and in shouting, the left bark and the right bark and a belt, in that belt, in no belt and a corset, in a belt and chores, in a belt and single stitches, in more boys than enough, in all thin beer and in all such eggs, in all the pile and in all the bread, in the bread, in the bread, in the condition of pretty nearly saying that yesterday is today, and tomorrow, tomorrow is yesterday. The whole swindle is in short cake and choice cake is white cake and white cake is sponge cake and sponge cake is butter.
House to house.
(1). A habit that is not left by always screaming, a habit that is similar to the one that made quiet quite quiet and made the whole plain show dust and white birds and little plaintive drops of water, a habit which brightened the returning butter fly and the yellow weed and even tumbling, the habit which made a well choose the bottom and refuses all chances to change, the habit that cut in two whatever was for the use of the same number, the habit which credited a long touch with raising the table and the hour glass and even eye glasses and plenty of milk, the habit which made a little piece of cheese wholesome and darkness bitter and clanging a simple way to be solemn, a habit which has the best situation and nearly all the day break and the darkness a habit that is cautious and serious and strange and violent and even a little disturbed, a habit which is better than almost anything, a habit that is so little irritating, so wondering and so unlikely is not more difficult than every other.
(2). A change a real change is made by a piece, by any piece by a whole mixture of words and likenesses and whole outlines and ranges, a change is a butt and a wagon and an institution, a change is a sweetness and a leaning and a bundle, a change is no touch and buzzing and cruelty, a change is no darkness and swinging and highness, a change is no season and winter and leaving, a change is no stage and blister and column, a change is no black and silver and copper, a change is no jelly and anything proper, a change is not place, a change is not church, a change is not more clad, a change is not more in between when there is that and the change is the kind and the king is the king and the king is the king and the king is the king.
(3). Could there be the best almost could there be almost the most, could there be almost almost, could there be the most almost. Could there be the most almost, could there be the most almost, could there be almost almost. Could there be almost, almost.
Can the stretch have any choice, can the choice have every chunk, can the choice have all the choice, can the stretch have in the choice. Can there be water, can there be water and water. Can there be water. Can there be.
(4). A cousin to cooning, a cousin to that and mixed labor and a strange orange and a height and a piece of holy phone and a catching hat glass and a bit of undertaking. All this makes willows and even then there is no use in dusting not in really redusting, not in really taking everything away. The best excuse for shadows is in the time when white is starched and hair is released and all the old clothes are in the best bag.
House to house.
A wet hurt and a yellow stain and a high wind and a color stone, a place in and the whole real set all this and each one has a chin. This is not a claim it is a reorganization and a balance and a return.
Biblioklept 