On Gertrude Stein’s birthday, revisit Janet Malcolm on the author’s relationship to her Jewishness and how her “autobiographies” slyly mock the immortality that biography seeks to bestow on its subjects.
: Never. We never had any feeling of any minority. We weren’t the minority. We represented America.
“I marvel at the extent to which I got involved,” Conrad wrote. “I truly took fait et cause for someone I did not really know and, probably, did not really like.” Stein disliked Allan but still felt impelled to make him her heir. As it turned out, he died before Toklas did, and next in line were his three children, Daniel, from his first marriage, and Michael and Gabrielle, from his second. The first wife, Yvonne, plays no role in Toklas’s biography; the second, Roubina , plays a large one. Stein’s collection of modernist paintings—acquired for not much money in the first decades of the twentieth century—had become valuable.
The minor characters of biography, like their counterparts in fiction, are less tenderly treated than major characters. The writer uses them to advance his narrative and carelessly drops them when they have performed their function. Look at how I have used poor Roubina! Unlike the flat characters of fiction , who have no existence outside the novel they were invented to ornament, the flat characters of biography are actual, three-dimensional people.
After Stein’s death, Toklas pursued the protection and perpetuation of Stein’s legend with matchless zeal and devotion. At the same time, and without any slackening of her literary widow’s efforts, she came into her own as a personality. She no longer sat with the wives of geniuses. She began to have young men—if not young geniuses—of her own.
What Toklas “won’t go into” and what Gertrude “wouldn’t ever let me mention” is the looting of bibelots, linens, and utensils from the apartment on Rue Christine during the pair’s wartime absence. The painting collection remained in place. There was a moment of danger in July, 1944, when four Gestapo men broke into the apartment and threatened to cut up and burn the Picassos, which they saw as.
“I know,” I said. I knew it, not only by inference from the book [“A Moveable Feast”], I also knew something we had never discussed, that the relation between Gertrude Stein and Hemingway was more than literary comradeship at one time or even than maternal and filial affection. I had heard that Hemingway had not infrequently said in conversation and once at least in a letter that he had always wanted to lay her.
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