extremity courage and good humorous
subversiveness
splendorous
Yes you do.
For Your Beauteous
Language is a rose, a woman, constantly in the process of
opening
thank you
your freedoms. Released at last from the prisons of syntax.
Story.
For your—
Choose wonder.
Choose Wonder
Apples and figs burn.
They burn.
She had wished windows and she had wished.
A novel of thank you and not about it chapter one.
Rose, rose, rose.
Rose whispered, prayed over the child love love. Please please sweet sweet sweet
Chapter
Susie Asado
Sweet sweet sweet sweet sweet tea
written for a particularly irresistible flamenco dancer
Please be please be get, please get wet, wet naturally, naturally in weather.
Chapter Alice
To not emerge already constructed, already decided, preordained.
Thank you
The difference is spreading.
very much
The permission.
I like the feeling of words doing as they want to do and as they have to do
I like the feeling.
very much
The main intention of the novel was to say thank you.
A novel of thank you. In chapters and saints.
And it is easily understood that they have permission.
Without telling what happened…to make the play the essence of what happened.
A thing you all know is that in the three novels written in this generation that are important things written in this generation, there is, in none of them a story. There is none in Proust in The Making of Americans or in Ulysses.
Once upon a time they came every day and did we miss them we did. And did they once upon a time did they come every day. Once upon a time they did not come every day they never had they never did they did not come every day any day.
A novel of thank you and not about it.
A story of arrangements
When it is repeated or Bernadine’s revenge. When it is repeated is another subject. How it is repeated is another subject. If it is repeated is another subject. If it is repeated or the revenge of Bernadine is another subject.
inner thought, silent fancies
There is one thing that is certain, and nobody realized it in the 1914–19 war, they talked about it but they did not realize it but now everybody knows it everybody that the one thing that everybody wants is to be free, to talk to eat to drink to walk to think, to please, to wish, and to do it now if now is what they want, and everybody knows it they know it anybody knows it…1943
…not to be managed, threatened, directed, restrained, obliged, fearful, administered
multiplicity and freedom unfettered ecstatic
thank you
To begin to allow. To allow it.
I had to recapture the value of the individual word, find out what it meant and act within it.
Imagine a door.
To free oneself from convention again and again and again. Thank you for suggesting once again. And again and again that story is elsewhere, that story must have been, been elsewhere. In every kind of other place. Thank you. Again and again. In every possible way.
Once upon a time they came every day and did we miss them we did. And did they once upon a time did they come every day. Once upon a time they did not come every day…
Chapters in the middle
So then out loud.
Everyone.
And so forth.
All and one and so forth.
By and one and so forth.
Grammar will. Grammar. Obliged.
Grammar is not grown.
Grammar means that it has to be prepared and cooked. Forget about grammar and think about potatoes.
Or gnocchi. We are touring Italy. Tuscany and Umbria a little.
Cypress cypress cypress cypress cypress pine.
Grammar is not grown.
Susan Howe, My Emily Dickinson: To restore the original clarity of each word-skeleton both women [Gertrude Stein and Emily Dickinson] lifted the load of European literary custom. Adopting old strategies, they revived and reinvented them…
Emily Dickinson and Gertrude Stein also conducted a skillful and ironic investigation of patriarchal authority over literary history. Who polices questions of grammar, parts of speech, connection and connotation? Whose order is shut inside the structure of their sentence? What inner articulation releases the coils and complications of Saying’s assertion? In very different ways the counter-movement of these two women’s work penetrates to the indefinite limits of written communication.
No one can know the difference between why I did and why I did not.
Not that kind of novel then.
And in my own very gradual real move toward a more abstract fiction who have been the models? Woolf, Woolf, Beckett, Beckett, Woolf, Woolf, Woolf, then Stein, Stein, now Stein. Stein now for some time very much. I’ve been loving you following you Chapter Gratitude. Yes for some time, time now so what about it say for example John Reed?
John Reed: She (Stein) lives and dies alone, a unique example of a strange art.
And where have you gotten your chronology from for your master narratives? And what has it cost you?
And what have you taken for legibility? And what has it cost finally?
Be nice. Try to be.
Thank you for the strangeness and the beauty. Reality is remote say it.
Imagine a door a room plenty of ice and snow also as often as they came in they went out.
And so forth…
They finally did not continue to interest themselves in description.
Chapter Derision just the other day one of The Famous Postmodern Novelists says when asked about The Great American Writers: Oh not Gertrude Stein, no, no not Stein.
Joyce
Picasso on Joyce: He is an obscure writer all the world can understand.
Stein drains the text of psychological and mythical overtones thank you very much. She cannot be solved and thank you.
Leave me leave something to confusion.
And I thank you.
The central theme of the novel is that they were glad to see each other.
Susan Howe: In the college library I use there are two writers whose work refuses to conform to the Anglo-American literary traditions these institutions perpetuate. Emily Dickinson and Gertrude Stein are clearly among the most innovative precursors of modernist poetry and prose, yet to this day canonical criticism from Harold Bloom to Hugh Kenner persists in dropping their names and ignoring their work. Why these two pathfinders were women, why American — are questions too often lost in the penchant for biographical detail that “lovingly” muffles their voices.
A novel of thank you and not about it.
It is a much more impressive thing to anyone to anyone standing, that is not in action than acting or doing anything doing anything being a successive thing but being something existing. That is then the difference between narrative as it has been and narrative as it is now. And this has come to be a natural thing in a perfectly natural way that the narrative of today is not a narrative of succession as all writing for a good many hundreds of years has been.
A space of time filled with moving.
To want everything at once. To write everything at once.
Susan Howe: Writing was the world of each woman. In a world of exaltation of his imagination, feminine inscription seems single and sudden.
Chapter Alice, Chapter Jane, Chapter Karen, Chapter Gina. Chapters in the middle
Notes to myself: The plays conceived as painting. To be apprehended all at once. Meditations inviting dreaming, dalliance. Yet filled with internal movement. Living in itself. Intensity and calm. Mystery and joy. Surprise, delight. Robert Wilson’s Four Saints last summer. Bliss. Joyous. Well fish.