the structure of scientific revolutions

“To believe in progress and in science you had to know what science was and what progress might be. Having been born in the nineteenth century it was natural enough to know what science was. Darwin was still alive and Huxley and Agassiz and after all they all made the difference of before and after. And now in 1943 none of it means more than it did. Not so much more as not more. Not more at all.

And I began with evolution. Most pleasant and exciting and decisive. It justified peace and justified war. It also justified life and it also justified death and it also justified life. Evolution did all that. And now. Evolution is no longer interesting. It is historical now and no longer actual. Not even pleasant or exciting, not at all. To those of us who were interested in science then it had to do tremendously with the history of the world, the history of all animals, the history of death and life, and all that had to do with the round world. Evolution was as exciting as the discovery of America, by Columbus quite as exciting, and quite as much an opening up and a limiting, quite as much. By that I mean that discovering America, by reasoning and then finding, opened up a new world and at the same time closed the circle, there was no longer any beyond. Evolution did the same thing, it opened up the history of all animals vegetables and minerals, and man, and at the same time it made them all confined, confined within a circle, no excitement of creation any more. It is funny all this and this was my childhood and youth and beginning of existence. War oh yes was but logical and incessant war, and peace of yes, peace because if war is completely understood then peace was the ideal. It was just like that.”

(Gertrude Stein, Wars I Have Seen, p. 61.)

against gardening

“But one does get so tired of seeing everybody planting and growing vegetables you think how nice it will be to have those happy days come back when vegetables grew not in the ground but in tins. A vegetable garden in the beginning looks so promising and then after all little by little it grows nothing but vegetables, nothing but vegetables.”

(Gertrude Stein, Wars I Have Seen, p. 39.)

the war continues

“Of course there are a good many times when there is no war just as there are a good many times when there is a war. To be sure when there is a war the years are longer that is to say the days are longer the months are longer the years are much longer but the weeks are shorter that is what makes a war. And when there is no war, well just now I cannot remember just how it is when there is no war.”

(Gertrude Stein, Wars I Have Seen, p. 5.)

condescension

“Gertrude Stein proved in her Autobiography of Alice B. Toklas that, when she want to, she can write straightforward English that any average high-school student can understand. Wars I Have Seen, with a few very minor aberrations, is another such book. The first half, in fact, which conveys an impression that the author was more concerned with foraging food for her dogs than with the fate of democracy, struck this publisher as all too comprehensible.”

(Bennett Cerf, front jacket copy for Random House’s 1945 edition of Wars I Have Seen.)

kings or messengers

“Once, when there was a choice of being kings or messengers, we, being children, chose to be messengers, arms and legs flying as we romped from castle to castle. We got the messages wrong as like as not, or forgot them, or fell asleep in the forest while kings died of anxiety.”

(Guy Davenport, “The Messengers”, p. 2 in The Cardiff Team.)

debasing the currency

“Harnett had to earn his living, in nineteenth-century New York, by painting such trompe-l’œil compositions to decorate public bars, and it appears that he never sold a single picture, in his lifetime, to any of the important American art collectors of his day. He did manage, however, to become a celebrity, for a while, among the Broadway journalists who frequented the bars where his paintings were exhibited. One of these happened to represent a still-life arrangement of various objects that included a dollar-bill which looked as if it could be literally lifted out of the picture and taken away in one’s pocket, so that a legend, probably apocryphal, soon began to circulate about this picture. One newspaper of the period even states that the United States Government sued Harnett for counterfeiting the national currency, but that the artist then won his case in court by pointing out that his dollar-bill was painted on a board too big to fit in a man’s pocket and too thick to be mistakenly accepted in lieu of paper money. I have tried to find records of this strange case in American legal literature, but without any successs.”

(Edouard Roditi, in an interview with Giorgio Morandi, p. 148 in Karen Wilkins’s Giorgio Morandi: works, writings and interviews.)

it smells of destruction

“Schwob told us further:

‘Baudelaire, in a beer tavern, declared: “There’s a smell of destruction here.” “Why, no,” he was told, “There’s a smell of sauerkraut, and of slightly warm woman.” But Baudelaire repeated with violence: “I tell you it smells of destruction!” ‘ “

(Jules Renard, January 1892, p. 45 in The Journals of Jules Renard, ed. & trans. Louise Bogan & Elizabeth Roget.)

renard / finishing things

“A thought written down is dead. It was alive. It lives no longer. It was a flower. Writing it down has made it artificial, that is to say, immutable.”

(Jules Renard, November 1888, p. 21 in The Journals of Jules Renard, ed. & trans. Louise Bogan & Elizabeth Roget.)