Lorine's cabin water lily

Resource information


Author: Ernest Hemingway
Title: A moveable feast
Publisher: Cape
Year of Publication: 1964
Type of document: Book

Notes: Illegible signature on first page, possibly ending with "Millen," plus date: 3rd July 1969.

Article about meeting Hemingway in Paris pasted on to the front end paper.

p. 9: Marked: "... and I kept away from it because of the smell of dirty bodies and the sour smell of drunkenness."

p. 11: Marked: "I was writing about up in Michigan and since it was a wild, cold, blowing day it was that sort of day in the story."

p. 12: Marked: "The story was writing itself and I was having a hard time keeping up with it." And: "... I entered far into the story and was lost in it. I was writing it now and it was not writing itself and I did not look up...."

p. 13: Marked: "I read the last paragraph and then I looked up and looked for the girl and she had gone." "Half-carafe" is marked at the hyphen, with "demi" in the margin. Marked: "leaving on the sea taste and the succulent texture, and as I drank their cold liquid...."

p. 14: Marked: "I did not know it was too early for that because I did not know Paris well enough." And: "'Maybe it will be find and clear when we come back. It can be very fine when it is clear and cold.'"

p. 15: Marked: "Because of the change in altitude I did not notice the grade of the hills except with pleasure, and the climb up to the top floor of the hotel where I worked, in a room that looked across all the roofs and the chimneys of the high hill of the quarter, was a pleasure."

p. 16: The sentences beginning as follows are marked in margin: "Up in the room I had a bottle,..." "I always worked until I had something done,..." and "It was easy then because there was always one true sentence...."

p. 17: The sentences beginning as follows are marked in margin: "I was trying to do this all the time I was writing,..." "Going down the stairs when I had worked well,..." and "I went there nearly every day...."

p. 18: This passage in a description of Gertrude Stein is marked: "... her lovely thick, alive, immigrant hair which she wore put up in the same way she had probably worn it in college. She talked all the time and at first it was about people and places."

p. 19: The sentences beginning as follows are marked in margin: "Afterwards she explained to me,...." and "They seemed to like us too and treated us...."

p. 20: Four passages on page have been marked, more than half the page.

p. 21: Passages that start as follows are marked in margin: "I know that I was walking,..." "...gave me the natural eau-de-vie,..." and "...about modern pictures and about painters...."

p. 22: About half the page has been marked in the margin. Question mark in margin re. "unbelievably" in "the unbelievably long book call The Making of Americans."

p. 23: The sentences beginning as follows are marked in margin: "For publication in the review,..." Miss Stein thought that I was too uneducated about sex,..." and "Under question I tried to tell Miss Stein that when you were a boy...."

p. 24: The sentence beginning as follows is marked in margin: "But I was always careful of my language...."

p. 25: In margin near second line on page is: "Cocteau?" as an attempt to identify which writer is being spoken of.

p. 26: Three pages are marked, constituting nearly half the page.

p. 27: The sentences beginning as follows are marked in margin: "She wanted to know the gay part,..." and " "The other things I did not talk of...."

p. 28: The sentence is marked in margin: "I could no see, then, that he was a dead man and I said that his books amused me and kept me from thinking."

p. 29: Marks in margin, "I tried to read his novels. He's impossible. He's pathetic and preposterous. He writes like a sick man.", "I like Sons and Lovers and The White Peacock' I said. 'Maybe that not so well. I couldn't read Women in Love.'", "I never found anything as good for that empty time of day or night until the first fine Simenon books came out.'", and "Janet Flanner gave me the first two Simenon I ever read. She loved to read French and she had read Simenon when he was a crime reporter." This last with note, "Genet"

p. 30: Marks in margin, "I cannot remember Gertrude Stein ever speaking well of any writer who had not written favourably about her work or done something to advance her career except for Ronald Firbank, and later, Scott Fitzgerald.", "Miss Stein did not want to talk about his stories but always about him as a person.", "If you brought up Joyce twice, you would not be invited back."

p. 31: Passages marked in margin, "When he wrote a novel finally called Dark Laughter, so terribly bad, silly and affected that I could not keep from criticizing it in a parody, Miss Stein was very angry.", "She was angry at Ezra Pound because he had sat down too quickly on a small, fragile and, doubtless, uncomfortable chair, that it is quite possible he had given on purpose, and had either cracked or broken it. That he was a great poet and a gentle and generous man and could have accommodated himself in a normal-size chair was not considered. The reasons for her dislike of Ezra, skillfully and maliciously put, were invented years later."

p. 32: Two paragraphs are marked in margin, "'Really?' I said."/'you are,' she insisted. 'You have no respect for anything. You drink yourselves to death...'"

p. 33: The sentences are marked in margin: "I thought of Miss Stein and Sherwood Anderson adn egotism and mental laziness versus discipline and I thought who is calling who a lost generation?" and "...in his delirium, thinking they were crying against him, and I thought, I will do my best to serve her and see she gets justice for the good work she had done as long as I can, so help me God and Mike Ney. But the hell with her lost-generation talk and all the dirty, easy labels."

p. 35: The sentences marked in margin: "The photographs all looked like snapshots and even the dead writers looked as though they had really been alive." and "She had pretty legs and she was kind, cheerful and interested, and loved to make jokes and gossip. No one that I ever knew was nicer to me."

p. 36: Two paragraphs are marked in margin: "'When does Joyce come in?' I asked./'If he comes in, it's usually very late in the afternoon,' she said. ‘Haven't you ever seen him?'"

p. 37: Two paragraphs are marked in the margin, "'Larbaud lived there,' she said. ‘He liked it very much except for that.'/'The nearest good cheap place to eat is over by the Pantheon.'"

p. 38: The sentences are marked in margin: "And we'll never love anyone else but each other.'/'No. Never.'" and "'We're always lucky,' I said, and like a fool I did not knock on wood. There was wood everywhere in that apartment to knock on, too."

p. 40: Three passages are marked on the page, "She had no confidence in books written in English, paid almost nothing for them, and sold them for a small and quick profit.", "‘No. I can't save them. You don't pass regularly. You stay away too long at a time. I have to see them as soon as I can. No one can tell if they are worthless. If they turn out to be worthless, I would never sell them.'", "If a book is good, the owner will have it bound properly. All books in English are bound, but bound badly. There is no was of judging them."

p. 41: Check mark in margin near the line: "... and there was a small park at the water's edge...."

p. 42: Three passages are marked on the page, "They always caught some fish, and often they made excellent catches of the dace-like fish that were called goujon. They were delicious fried whole and I could eat a plateful. They were plump and sweet-fleshed with a finer flavour than fresh sardines even, and were not at all oily, and we ate them bones and all.", "I would buy a litre of wine and a piece of bread and some sausage and sit in the sun and read one of the books I had bought and watch the fishing."

p. 43: The sentence beginning as follows is marked in the margin: "I did not fish because I did not have the tackle and I preferred to save my money to fish in Spain." Check mark by line, "With so many trees in the city, you could see the spring coming each day until a night of warm wind would bring it suddenly in one morning."

p. 44: This passage is marked in margin: "... it was as though a young person had died for no reason."

p. 46: Sentence "'No. We'll just figure to spend what we take. Is there something else you'd rather spend it for?'" is marked in margin.

p. 47: Three passages are marked in margin, "The one who is doing his work and getting satisfaction from it is not the one the poverty bothers.", "My wife had never complained once about these things any more than she cried about Chevre d'Or when he fell. She had cried for the horse, I remembered, but not for the money.", "It was all part of the fight against poverty that you never win except by not spending. " "(cheaply?)" is written in margin near sentence: "We ate well and cheaply and drank well and cheaply and slept well and warm together and loved each other."

p. 49: Marked in margin, "We saved half of the money and put it away and bet the other half on the second horse who broke ahead, led all the way over the hurdles and on the flat just lasted to the finish line with the favourite gaiining on him with every jump and the two whips flailing.", "‘The cote was eighteen to one. But they may have bet him at the last.'/The horses came by, ours wet, with his nostril working wide to breathe, the jockey patting him." "That meant he paid eighty-five francs for ten.'/'They must have put a lot of money on at the end,' I said.", and "I kept the racing capital secret apart from all other capital."

p. 51: "not describe" is underlined in the passage: "... always talking about how to make things true, writing them, and put them rightly and not describe." Last four lines on page are marked in margin, "When you and Chink talked I was included. It wasn't like being a wife at miss Stein's.'/'I wish I could remember the story about the wistaria vine.'"

p. 53: Last paragraph on page is marked in margin.

p. 54. Two passages are marked in margin, "‘I didn't mean about the racing. You're such a literal boy. I mean lucky other ways.'", "‘Of course. You do, don't you?'

p. 55: Two passages are marked in margin, "and after we had gone to bed and made love in the dark, it was there. When I woke with the windows open and the moonlight on the roofs of the tall houses, it was there.", "But Paris was a very old city and we were young and nothing was simple there, not even poverty, nor sudden money, nor the moonlight, nor right and wrong, nor the breathing of someone who lay beside you in the moonlight."

p. 56: Four passages are marked in margin, "It was not really racing either. It was gambling on horses. But we called it racing.", "Racing never came between us, only people could do that;", "I, the one who was so righteous about people and their destructiveness, tolerated this friend that was the falsest, most beautiful, most exciting, vicious, and demanding because she could be profitable.", and, "there was only one racing story that I survived, because it was out in the mails."

p. 57: Two passages are marked in margin, "He always might be beaten when he tried; but you should know by then what his chances were.", and "I stopped finally because it took too much time,". Underlines, "honest", "principle", and "emptiness"

p. 58: Two passages are marked in margin, "If it was good you could only fill it by finding something better. I put the racing capital back into the general funds and I felt relaxed and good.", "‘I don't know,' Mike said. ‘Yes. Sure I do. Anything you have to bet on to get a kick isn't worth seeing.'"

p. 59: One passage is marked in margin, "It came to be a big part of our lives later when the first part of Paris was broken up." Underlines, "bet"

p. 67: Two passages are marked in margin, "What had made me so confident was Edward O'Brien's taking the My Old Man story for the Best Short Stories book and then dedicating the book for that year to me.", and "It was one of two stories I had left when everything I had written was stolen in Hadley's suitcase that time at the Gare de Lyon when she was bring the manuscripts down to me to Lausanne as a surprise, so I could work on them on our holidays in the mountains."

p. 68: Two passages are marked in margin, "I had never seen anyone hurt by a thing other than death or unbearable suffering except Hadley when she told me about the things being gone. She had cried and cried and could not tell me.", and "It was true all right, and I remember what I did in the night after I let myself into the flat and found it was true. That was over now and Chink had taught me never to discuss casualties; so I told O'Brien not to feel bad."

p. 69: Four passages are marked in margin, "It was a very simple story called Out of Season and I had omitted the real end of it which was that the old man hanged himself. This was omitted on my new theory that you could omit anything if you knew that you omitted, and the omitted part would strengthen the story and make people feel something more than they understood.", "And as long as they do not understand it you are ahead of them.", and "But it seemed an impossible thing to do when I had been trying with great difficulty to write paragraphs that would be the distillation of what made a novel."

p. 70: One passage is marked in margin, "By this time I had paid the check and gone out and turned to the right and crossed the rue de Rennes so that I would not go to the Deux Magots for coffee and was walking up the rue Bonaparte on the shortest way home."

p. 72. Three passages are marked in margin: "The Closerie des Lilas was the nearest good cafe when we lived in the flat over the sawmill at 113 rue Notre-Dame-des-Champs, and it was one of the best cafes in Paris.", "People from the Dome and the Rotonde never came to the Lilas.", and "poets met more or less regularly and the last principle poet had been Paul Fort whom I had never read. But the only poet I ever saw there was Blaise Cendrars, with his broken boxer's face and his pinned-up empty sleeve"

p. 73: One passage is marked in margin, "at that time, when he was lying, he was more interesting than many men telling a story truly. But he was the only poet who came to the Lilas then and I only saw him there once."

p. 74: Two passages are marked in margin, "...we respected these clients more than we did the savants or the professors, although the latter might well have done their military service too without experiencing mutilation."

p. 75: Two passages are marked in margin, "‘I'm quite sure.'/'Very odd. I've never told anyone in my life.'/'Will you have a drink?'" and "I have always avoided looking at Ford when I could and I always held my breath when I was near him in a closed room, but this was the open air and the fallen leaves blew along the sidewalks…" In margin near the second, this note: "of WCW's poem (reeking of garlic)."

p. 76: Two passages are marked in margin, "‘It's under seventy-four rue du Cardinal Lemoine,' I said. ‘I lived on the third floor.'/'There's no number,' Ford said. ‘But you'll be able to find it if you can find the place Contrescarpe.'/I took another long drink. The waiter had brought Ford's drink and Ford was correcting him.", and "‘It's all right, Jean,' I said. ‘I'll take the fine. Bring Monsieur what he orders now.'/'What I ordered,' corrected Ford."

p. 77: Three passages are marked in margin, "He was thoroughly and completely happy. I had never seen Belloc and I did not believe he had seen us. He looked like a man who had been thinking of something…", "I felt badly that Ford had been rude to him, as, being a young man who was commencing his education, I had a high regard for him as an older writer.", and "I tried hard to think of these things but the heavy, wheezing, ignoble presence of Ford himself, only touching-distance away, made it difficult. But I tried."

p. 78: One passage is marked in margin, "‘What is a cad?' I asked. ‘Isn't he someone that one has to thrash within an inch of his life?'/'Not necessarily,' Ford said./'Is Ezra a gentleman?' I asked./'Of course not,' Ford said. ‘He's an American.'/'Can't an American be a gentleman?'/'Perhaps John Quinn,' Ford explained. ‘Certain of your ambassadors.'"

p. 79: Two passages are marked in margin, "‘Very nearly.'/'Are you a gentleman?'/'Naturally. I have held his Majesty's commission.'", and "‘I'm drinking with you as a promising young writer. As a fellow writer, in fact.'/'Good of you,' I said./'You might be considered a gentleman in Italy,'Ford said magnanimously./'But I'm not a cad?'"

p. 80: One long passage is marked in margin, "His glance drifted towards the table and then away./'That's Hilaire Belloc,' I said to my friend. ‘Ford was here this afternoon and cut him dead.'/'Don't be a silly ass,' my friend said. ‘That's Aleister Crowley, the diabolist. He's supposed to be the wickedest man in the world.'/'Sorry,' I said."

p. 82: Marks passage, "If you could keep your temper it would be better but I was not good at keeping mine then and said, ‘You rotten son of a bitch, what are you doing in here off your filthy beat?'/'Don't be insulting just because you want to act like an eccentric.'/'Take your dirty camping mouth out of here.'/'It's a public cafe. I've just as much right here as you have.'" In margin: "but EH knew damn well that he was working where interruption was only too likely."

p. 83: One passage is marked in the margin, "I had heard complaining all my life. I found I could go on writing and that it was no worse than other noises, certainly better than Ezra learning to play the bassoon."

p. 85: Two passages are marked in margin, "‘You shouldn't write if you can't write. What do you have to cry about it for? Go home. Get a job. Hang yourself. Only don't talk about it. You could never write.'" and "‘You're just cruel,' he said. ‘Everybody always said you were cruel and heartless and conceited. I always defended you. But not any more.'/'Good.'/'How can you be so cruel to a fellow human being?'/'I don't know,' I said. ‘Look, if you can't write why don't you learn to write criticism?'"

p. 86: One passage is marked in the margin, "He was a critic already, so I asked him if he would have a drink and he accepted./'Hem,' he said, and I knew he was a critic now since, in conversation, they put your name at the beginning of a sentence rather than at the end, ‘I have to tell you I find your work just a little too stark.'"

p. 89: Two passages are marked in margin, "In the three principal cafes I saw people that I knew by sight and others that I knew to speak to. But there were always much nicer-looking people that I did not know…", and, "The people that I liked and had not met went to the big cafes because they were lost in them and no one noticed them and they could be alone in them and be together."

p. 90: Two passages are marked in margin, "...is not the way for a young man supporting a wife and child to get ahead in the full-time job of learning to write prose." and "When you are twenty-five and are a natural heavyweight, missing a meal makes you very hungry."

p. 92: Two passages are marked in margin., "‘If you really liked beer, you'd be at Lipp's. I suppose you've been working.'/'Yes.'/'It goes?'/'I hope so.'", and "The dark girl was restless and she sat on display, turning her profile and letting the light strike the concave planes of her face and showing me her breasts under the hold of the black sweater. Her hair was cropped short and was sleek and dark as an oriental's." "Ca va?" in margin near the first of them.

p. 93: Three passages are marked in margin, "‘You look like a Javanese toy,' he said./'Not the eyes,' she said. ‘It's more complicated than that.'/'You look like a poor perverted little poupee.'/'Perhaps,' she said. ‘But alive. That's more than you.'", "‘You were just excited about your work. He's in love with canvases,' she said to me. ‘There's always some kind of dirtiness.'/'You want me to paint you and and pay you and bang you to keep my head clear, and be in love with you too,'", and "‘Everyone is the same size in bed.'/'It's not true,' her sister said. ‘And I'm tired of this talk.'"

p. 94: Two passages are marked in margin, "‘No. I go to eat with my legitime.' That was what they said then. Now they say ‘my reguliere'." and, "‘After Chez Les Vikings?' He grinned with his hat on the back of his head. He looked more like a Broadway character of the ‘nineties than the lovely painter that he was, and afterwards, when he had hanged himself, I like to remember him as he was that night at the Dome. They say the seeds of what we will do are in all of us, but it always seemed to me that in those who make jokes in life the seeds are covered with better soil and with a higher grade of manure." "But EH said it" in margin near the first.

p. 95: Question mark in margin near underlining of "Japanese artists that Ezra knew." "Cf . [illegible names]" is also in margin. The sentence "Dorothy's paintings I liked very much and I thought Dorothy was very beautiful and built wonderfully." is marked in margin.

p. 96: Three passages are marked in margin, "We never argued about these things because I kept my mouth shut about things I did not like.", "Ezra was kinder and more Christian about people than I was.", and "He was also irascible, but so perhaps have been many saints."

p. 97: Two passages are marked in margin, "...he was waiting, hoping to see Ezra hurt. Nothing happened. I never countered but kept Ezra moving after me", and "Some people show evil as a great racehorse shows breeding. They have the dignity of a hard chancre. Lewis did not show evil; he just looked nasty."

p. 98: "unsuccessful rapist" and "explained them" are underlined.

p. 99: Marks in margin, "Ezra founded something called Bel Esprit with Mis Natalie Barney who was a rich American woman and a patroness of the arts. Miss Barney had been a friend of Remy de Gourmont who was before my time and she had a salon at her house on regular dates and a small Greek temple in her garden.". "Natalie Barney" is underlined in this passage. "Were these the US women I met in Paris?" is written in margin.

p. 100: "pretending" is underlined in first line on page. Passage marked in margin, "I think it had something to do with the publication of The Waste Land which won the Major the Dial award, and not long after a lady of title backed a review for Eliot called The Criterion and Ezra and I did not have to worry about him any more."

p. 101: Two passages are marked in margin, "because the money that I had earmarked for getting the Major out of the bank I took out to Enghien and bet on jumping horses that raced under the influence of stimulants. At two meetings the stimulated horses that I was backing out-raced the unstimulated..", and "Caught up and remounted, he started the race and figured honourably, as the French racing phrase has it, but he was out of the money."

p. 102: Two passages are marked in margin, "and we were getting to be better friends than I could ever wish to be.", and "... there is usually even less future with truly ambitious women writers."

p. 103: Two passages are marked in margin, "Naturally you say nothing about this, but you can still hope to go and then it is impossible. I knew a little about the system of not visiting people. I had to learn it. Much later Picasso told me that he always promised the rich to come when they asked him because it made them so happy…", and " ...I heard someone speaking to Miss Stein as I had never heard one person speak to another; never, anywhere, ever./Then Miss Stein's voice came pleading and begging, saying, ‘Don't, pussy. Don't. Don't, please don't…"

p. 104: Three passages are marked in margin, "‘I have to go,' I said, and tried not to hear any more as I left, but it was still going on and the only way I could not hear it was to be gone. It was bad to hear and the answers were worse.", "...brought people that were asked for and waited dismissal with most of the other men friends when that epoch came and the new friends moved in. It was sad to see new worthless pictures hung in with the great pictures…", and "She quarrelled with nearly all of us that were fond of her except Juan Gris, and she couldn't quarrel with him because he was dead."

p. 105: Two passages are marked in margin, "But Picasso had painted her, and I could remember her when she looked like a woman from Friuli.", and "But I could never make friends again truly, neither in my heart nor in my head. When you cannot make friends any more in your head is the worst. But it was more complicated than that."

p. 108: Two passages are marked in margin, "This was a huge sum for any straight writer to receive in those days, in addition to the prestige and the award had gone to various people, all deserving, naturally." and "...and well in Europe on five dollars a day and could travel."

p. 109: Three passages are marked in margin, "...the most expensive in the boulevard St-Michel quarter, and after the oysters, expensive flait faintly coppery marennes, not the familiar, deep, inexpensive portugaises, and a bottle of Pouilly-Fuisse, began to lead up to it delicately.", "He appeared to be conning me as he had conned the shills from the boat--if they were shills and if he had conned them, of course…", and "...always wished to swallow semen as a sovereign remedy against the con; but I did not ask him."

p. 110: Two passages are marked in margin, "‘Noble,' Walsh said. ‘Truly noble.' WE ate and drank in silence as a tribute to Ezra's nobility. I missed Ezra and wished he were there. He could not afford marennes either.", "‘Great,' I said. ‘And a good friend.' We had become friends in his wonderful period after the finishing of Ulysses and before starting what was called for a long time ‘Work in Progress'. I thought of Joyce and remembered many things."

p. 111: Three passages are marked in margin, "‘There is no use beating around the bush,' he said. ‘You know you're to get the award, don't you?'/'Am I?' I said. ‘Why?'/'You're to get it,' he said…", "I looked at him and his marked-for-death look and I thought, you con man conning me with your con. I've seen a battalion in the dust on the road, a third of them for death or worse and no special marks on them…", and "‘Besides, Ernest, it would not be ethical Ernest.'"

p. 112: One passage is marked in margin, "I had seen one of the haemorrhages, it was very legitimate, and I knew that he would die all right, and it pleased me at that time, which was a difficult time in my life, to be extremely nice to him, as it pleased me to call him Ernest." Illegible names in margin nearby - possibly "Jane Heap?" and "Niki?"

p. 114: Three passages are marked in margin, "....even a great short-story writer, but trying to read her after Chekhov was like hearing the carefully artificial tales of a young old-maid compared to those of an articulate and knowing physician who was a good and simple writer.", "...but some so true they changed you as you read them;", and "Tolstoy made the writing of Stephen Crane on the Civil War seem like the brilliant imagining of a sick boy who had never seen war but had only read the battles…"

p. 115: Final seven lines on the page are marked in the margin.

p. 116: One passage is marked in margin.

p. 117: In passage about Evan Shipman, the words "fine poet" are underlined.

p. 118: One passage is marked in margin.

p. 119: One passage is marked in the margin. "[C]an't be" is underlined in passage "'It can't be the translation," with "but to a large extent it is" in margin. Question marked in margin next to "you can't read Dostoevsky over and over."

p. 120: One passage is marked in margin, "‘I won't. I'm trying to do it so it will make it without you knowing it, and so the more you read it, the more there will be.'"

p. 121: Three passages are marked in margin, "‘There is no chance,' he said, softly to us. ‘There is much confusion. Many are leaving. Entendu, Messieurs,' he said aloud. He went into the cafe and came out carrying the bottle of whisky, two large glasses, two ten-franc gold-rimmed saucers and a seltzer bottle.", "‘It was a good thing Dostoevsky didn't know Jean,' Evan said. ‘He might have died of drink.'/'What are we going to do with these?'", "Andre served me a Bovril, which is a cup of beef extract and water. He was short and blond and where his stubby moustache had been, his lip was as bare as a priest's."

p. 122: One passage is marked in margin, "‘Tell him I asked for him.'/'Of course,' Andre said. ‘I hope it will not take him too long to reconcile himself.'/'Please give him Mr Shipman's greeting too.'/'Mr Shipman is with him,' Andre said. ‘They are gardening together.'"

p. 123: Three passages are marked in margin, "‘Hem, I want you to keep this jar of opium and give it to Dunning only when he needs it.'/It was a large cold-cream jar and when I unscrewed the top the content was dark and sticky and it had the smell of very raw opium.", "I thought it must have come from the old Hole in the Wall bar which was a hang-out for deserters and for dope-peddlers during and after the first war.", "Dunning was Ralph Cheever Dunning, a poet who smoked opium and forgot to eat. When he was smoking too much he could only drink milk, and wrote in terza rima which endeared him to Ezra who also found fine qualities in his poetry."

p. 124: One passage is marked in margin, "‘Monsieur Dunning est monte sur le toit et refuse categoriquement de descendre.'"

p. 125: Two passages are marked in margin, "‘Monsieur Pound thinks of everything,' she said. 'He is kindness personified.'/'He is indeed,' I said. ‘And I miss him every day.'/'Let us hope that Monsieur Dunning will be reasonable.", and "‘Ezra asked me to bring you this,' I said and handed him the jar. ‘He said that you would know what it was.'/He took the jar and looked at it. Then he threw it at me. It struck me on the chest or the shoulder and rolled down the stairs.

p. 126: Four passages are marked in the margin, with some underlining, "I do not know why Dunning threw the milk bottles at me unless he remembered my lack of credulity the night of his first dying, or whether it was only an innate dislike of my personality. But I remember the happiness that the phrase ‘Monsieur Dunning est monte sur le toit et refuse categoriquement de descendre' gave to Evan Shipman. He believed there was something symbolic about it.", "...I always hoped Dunning was as fine a poet as Ezra believed him to be. For a poet he threw a very accurate milk bottle. But Ezra, who was a very great poet, played a good game of tennis too."

p. 127: One passage is marked in the margin, "‘The completely unambitious writer and the really good unpublished poem are the things we lack most at this time. There is, of course, the problem of sustenance.'"

p. 128: One passage is marked in the margin, "Scott was a man then who looked like a boy with a face between handsome and pretty. He had very wavy hair, a high forehead, excited and friendly eyes and a delicate long-lipped Irish mouth that, on a girl, would have been the mouth of beauty."

p. 129: Two passages are marked in margin, "The mouth worried you until you knew him and then it worried it more.", and "Scott did not stop talking and since I was embarrassed by what he said--it was all about my writing and how great it was--I kept on looking at him closely and noticed instead of listening."

p. 130: One passage is marked in margin, "Scott, I was to find, believed that the novelist could find out what he needed to know by direct questioning of his friends and acquaintances. The interrogation was direct."

p. 131: One passage is marked in the margin, "‘I don't remember.'/'But how can you not remember something of such importance?'/'I don't know,' I said. ‘It is odd, isn't it?'/'It's worse than odd,' Scott said. ‘You must be able to remember.'/'I'm sorry. it's a pity, isn't it?'"

p. 132: One passage is marked in margin, "‘No. He's all right.'/'He looks like he is dying.'/'No. That's the way it takes him.'/We got him into a taxi and I was very worried but Dunc said he was all right and not to worry about him."

p. 133: Four passages are marked in margin, "I remembered who they were. They had been there all night./'Yes,' I said. "Of course.'/'That girl with the phony title who was so rude and that silly drunk with her. THey said they were friends of yours.'", "‘Why should they have been rude about my tie? I was wearing a plain black knitted tie with a white polo shirt.'/I gave up then and he asked me why I liked this cafe and I told him about it in the old days…", "....and he was cynical and funny and very jolly and charming and endearing, even if you were careful about anyone becoming endearing." and "...I knew his new book must be very good for him to speak, without bitterness, of the faults of past books."

p. 134: Two passages are marked in margin, "...except that he had the shyness about it that all non-conceited writers have when they have done something very fine, and I hoped he would get the book quickly so that I might read it.", and "...he showed me a review by Gilbert Seldes that could not have been better. It could only have been better if Gilbert Seldes had been better."

p. 135: Two passages are marked in margin, with some underlining, "and in the time we would have to talk in the car I would certainly learn much that it would be useful to know.", and "...but I never thought of him as a serious writer."

p. 136: Four passages are marked in margin, "...and then changed them for submission, knowing exactly how he must make the twists that made them into saleable magazine stories.", "he made his money from the magazines to have money ahead to write decent books. I said that I did not believe anyone could write any way except the very best he could write without destroying his talent.", "Since I had started to break down all my writing and get rid of all facility and try to make instead of describe, writing had been wonderful to do.", and "Her idea of a good writer was Henry James."

p. 138: Two passages are marked in margin., "In those days I had a very bad, quick temper, but by the time we were through Montereau it had quieted down and I was not too angry to watch and enjoy the countryside…", and "But now I did not know whether Fitzgerald would even show up. While I had been angry I had demoted him from Scott to Fitzgerald."

p. 139: One passage is marked in margin, "We ate very cheaply in an Algerian restaurant and I like d the food and the Algerian wine. THe fire-eater was a nice man and it was interesting to see him eat, as he could chew with his gums as well as most people can with their teeth. He asked me what I did to make a living and I told him that I was starting in as a writer. He asked what sort of writing and I told him stories."

p. 140: One passage is marked in margin, "For years I had heard about the wonderful chicken in the restaurants there, but we had eaten mutton instead. The mutton had been excellent."

p. 141: One passage is marked in margin, "‘It would be quicker in a cafe.'/'But we're sure to get a good breakfast here.'/'All right.'/ It was a big American breakfast with ham and eggs and it was very good. But by the time we had ordered it, waited for it, eaten it, and waited to pay for it, close to an hour had been lost."

p. 142: Four passages are marked in margin, "So the hotel made us a lunch that could not have cost us very much more than four or five times what it would have cost us if we had bought it ourselves.", "He told me he was not a morning drinker and asked if I was.", "So we had a whisky and Perrier in the bar while we waited for the lunch and both felt much better.", and "I found I felt much better the more things I could pay for. I was using up the money we had saved for Spain, but I knew I had good credit with Sylvia Beach and could borrow and repay whatever I was wasting now."

p. 144: "my father" is underlined.

p. 145: Two passages are marked in margin, ".. he would have known an entirely different gamut of diseases. He had used the word gamut.", and, "This held him for a while and I urged him to take another drink of Macon, since a good white wine, moderately full-bodied but with a low alcoholic content, was almost a specific against the disease."

p. 146: Two passages are marked in margin, "Scott then asked me if I were afraid to die and I said more at some times than at others.", and, "...since I was having a healthily rough time looking after my wife Hadley and young son Bumby, but I said I would do my best and Scott thanked me. I must see that Zelda did not drink and that Scotty had an English governess."

p. 147: Two passages are marked in margin, "‘You haven't any temperature. how the hell are you going to have congestion of the lungs without a temperature?'/'Don't swear at me,' Scott said. "How do you know I haven't a temperature?'/'Your pulse is normal and you haven't any fever to the touch.'", and, "I was getting tired of the literary life, if this was the literary life that I was leading, and already I missed not working and I felt the death lonliness that comes at the end of every day that is wasted in your life."Check mark in margin near passage "... I felt the death loneliness that comes at the end of every day...."

p. 148: Three passages are marked in margin, "You could not be angry with Scott any more than you could be angry with someone who was crazy, but I was getting angry with myself for having become involved in the whole silliness.", "But it was hard to accept him as a drunkard, since he was affected by such small quantities of alcohol.", and "Drinking wine was not a snobbism nor a sign of sophistication nor a cult; it was as natural as eating and to me as necessary, and I would not have thought of eating a meal without drinking either wine or cider or beer."

p. 149: Two check marks in margin by, "white Macon could cause chemical changes in Scott that would turn him into a fool.", and "There are always some splendid crimes in the newspapers that you follow from day to day, when you live in France." One underlining, "then"

p. 150: One passage is marked in margin, "At that time Scott hated the French, and since almost the only French he met with regularly were waiters whom he did not understand…", and "

p. 151: Two passages are marked in margin, "At that time Scott hated the French, and since almost the only French he met with regularly were waiters whom he did not understand…", and "He hated the Italians even more than the French and could not talk about them calmly even when he was sober. The English he often hated, but he sometimes tolerated them and occasionally looked up to them."

p. 152: One passage is marked in margin, "I have never seen a man who lost the blood from his face so fast and I wondered where it went./'It is the only one in the hotel,' the waiter said and handed me the thermometer."

p. 154: Two passages are marked in margin, It did not matter, for the thermometer, unaffected, was steady at thirty./Scott was a little suspicious so I asked if he wanted me to make another test./'No,' he said. ‘We can be happy it cleared up so quickly. I've always had great recuperative power.'/'You're fine,' I said. ‘But i think it would be just as well if you stayed in bed and had a light supper, and then we can start early in the morning.'" and "‘This is the first night I have ever slept away from her since we were married and I have to talk to her. You can see what it means to us both, can't you?'/I could, but I could not see how he and Zelda could have slept together on the night just past; but it was nothing to argue about."

p. 155: Three passages are marked in margin, "I was worried now he might catch cold and I could see by now that if he ever had anything as definitely bad as a cold he would probably have to be hospitalized. But the drink made him feel wonderful for a while and he was happy with the tragic implications of this being Zelda's and his first night of separation since their marriage.", "...then something tragic that had happened to them at St-Raphael about a year ago. THis first version that he told me of Zelda and a French naval aviator falling in love was a truly sad story and I believe it was a true story.", and "They were better told each time; but they never hurt you the same way the first one did."

p. 156: Two passages are marked in margin, with question mark near the first, "...and you did not have the feeling of reading an illiterate that his letters gave you before they had been corrected." and, "I could not ask the question that was in my mind, how, if this story was true and it had all happened, could Scott have slept each night in the same bed with Zelda? But maybe that was what had made it sadder than any story anyone had ever told me then, and, too, maybe he did not remember, as he did not remember last night."

p. 157: One passage is marked in margin, "He passed out at the table with his head on his hands. It was natural and there was no theatre about it, and it even looked as though he were careful not to spill nor break things."

p. 159: One passage is marked in margin, "‘Never to go on trips with anyone you do not love.'/'Isn't that fine?'/'Yes. And we're going to Spain.'/'Yes. Now it's less than six weeks before we go. And this year we won't let anyone spoil it, will we?'"

p. 160: "Already?" is in margin near this sentence: "It looked the book-jacket for a book of bad science fiction." One other passage on page is marked in margin, "If he could write a book as fine as The Great Gatsby I was sure he could write an even better one. I did not know Zelda yet, and so I did not know the terrible odds that were against him. But we were to find them out soon enough."

p. 161: Two passages are marked in margin, "...Scott's first books bound in light-blue leather with the titles in gold.", and "Scott was nervous and hospitable and he showed us his accounts of his earnings as though they had been the view. THere was no view./Zelda had a very bad hangover. They had been up on Montmartre the night before and had quarrelled because Scott did not want to get drunk. He had decided, he told me, to work hard and not to drink…"

p. 163: One passage is marked in margin, "I learned to know that smile very well. It meant she knew Scott would not be able to write."

p. 164: Marked in margin, and with question mark: "He laid the failure to Paris, the town best organized for a writer to write in that there is...."

p. 164: One passage is marked in margin, "‘You've written a fine novel now,' I told him. ‘And you mustn't write slop.'/'The novel isn't selling,' he said. ‘I must write stories and they have to be stories that will sell.'/'Write the best story that you can and write it as straight as you can.'/'I'm going to,' he said."

p. 166: One passage is marked in margin, "He had not done any sobering up on the Riviera and he was drunk now in the day-time as well as the nights. It did not make any difference any more to him that anyone was working and he would come to 113 rue Notre-Dame-des-Champs any time he was drunk either in the day-time or at night. He had begun to be very rude to his inferiors or anyone he considered his inferior."

p. 167: Three passages are marked in margin, "...but when he was sober he was always pleasant and he still made jokes and sometimes he would still make jokes about himself. But when he was drunk he would usually come to find me and drunk, he took almost as much pleasure interfering with my work as Zelda did interfering with his. This continued for years but, for years too, I had no more loyal friend than Scott when he was sober.", "That fall of 1925 he was upset because I would not show him the manuscript of the first draft of The Sun Also Rises. I explained to him that it would mean nothing until I had gone over it and rewritten it and that I did not want to discuss it or show it to anyone first. We were going down to Schruns in the Vararlberg in Austria as soon as the first snowfall there.", and "I remembered joking with him about it and him being worried and anxious to help, as always once a thing was done. But I did not want his help while I was rewriting."

p. 169: Two passages are marked in margin, "There was going to be everything that a man needed to write except to be alone.", and "But hawks do not share. Scott did not write anything more that was good until after he knew that she was insane."

p. 170: One passage is marked in margin, "When he would ask me to tell him something absolutely truly, which is very difficult to do, and I would try it, what I said would make him angry, often not when I said it but afterwards, and sometimes long afterwards when he had brooded on it. My words would become something that would have to be destroyed and sometimes, if possible, me with them."

p. 171: Two passages are marked in margin, "Finally when we were eating the cherry tart and had a last carafe of wine he said, ‘You know I never slept with anyone except Zelda.'/'No, I didn't.'/'I thought I had told you.'/'No. You told me a lot of things but not that.'", "‘Zelda said that the way I was built I could never make any woman happy and that was what upset her originally. She said it was a matter of measurements. I have never felt the same since she said that and I have to know truly.'"

p. 172: Two passages are marked in margin, "‘To put you out of business. THat's the oldest way in the world of putting people out of business. Scott, you asked me to tell you the truth and I can tell you a lot more but this is the absolute truth and all you need. You could have gone to see a doctor." and, "‘It is not basically a question of the size in repose.' I said. ‘It is the size that it becomes. It is also a question of angle.' I explained to him about using a pillow and a few other things that might be useful for him to know./'There is one girl,' he said, ‘who has been very nice to me. But after what Zelda said--'/'Forget what Zelda said,' I told him. ‘Zelda is crazy. There's nothing wrong with you. Just have confidence and do what the girl wants. Zelda just wants to destroy you.'/'You don't know anything about Zelda.'"

p. 173: One passage is marked in margin, "‘He was an American writer of the early ‘twenties and later who lived some time in Paris and abroad.'/'But why would I not remember him? Was he a good writer?'/'He wrote two very good books and one which was not completed which those who know his writing best say would have been very good. He also wrote some good short stories.'/'Did he frequent the bar much?'/'I believe so.'/'But you did not come to the bar in the early ‘twenties. I know that you were poor then and lived in a different quarter.'"

p. 174: Two passages are marked in margin, with an illegible name near the first of them, "‘His first wife wrote very beautifully,' I said. ‘She wrote perhaps the best books about Africa that I ever read. Except Sir Samuel Baker's book on The Nile Tributaries of Abyssinia. Put that in your memoirs. Since you are interested in writers now.'", and "‘Out of Africa,' I said. ‘Blickie was always very proud of his first wife's writing. But we knew each other long before she had written that book.'"

p. 179: One passage is marked in margin, "Skiing was not the way it is now, the spiral fracture had not become common then, and no one could afford a broken leg. There were no ski patrols. Anything you ran down from, you had to climb up. That gave you legs that were fit to run down with."

p. 182: One passage is marked in margin, "We drank together and we all sang mountain songs."

p. 184: One passage is marked in margin, "... Herr Lent had wired the Berliners not to come. But it was their vacation time and they were ignorant and had no fear of avalanches. They arrived at Lech and Herr Lent refused to take them out."

p. 188: One passage is marked in margin, "It was that year that the rich showed up./The rich have a sort of pilot fish who goes ahead of them, sometimes a little deaf, sometimes a little blind, but always smelling affable and hesitant ahead of them."

p. 189: Three passages are marked in margin, "...people are drawn to them as surely as migrating birds are drawn at night to a powerful beacon. If the two people were as solidly constructed as the beacon there would be little damage except to the birds.", "Those who attract people by their happiness and their performance are usually inexperienced. They do not know how not to be overrun and how to go away.", and "...when they have passed and taken the nourishment they needed, leave everything deader than the roots of any grass Attila's horses' hooves have ever scoured."

p. 190: Three passages are marked in margin, "Under the charm of the rich I was as trusting and as stupid as a bird dog who wants to go out with any man with a gun, or a trained pig in a circus who has finally found someone who loves and appreciates him for himself alone. That every day should be a fiesta seemed to me a marvellous discovery. I even read aloud the part of the novel that I had rewritten, which is about as low as a writer can get and much more dangerous for him as a writer than glacier skiing unroped before the full winter snowfall has set over the crevices.", and "That was what I thought I would think if I had been functioning as a professional although, if I had been functioning as a professional, I would never have read it to them."

p. 191: Four passages are marked in margin, "It is that an unmarried young woman becomes the temporary best friend of another young woman who is married, goes to live with the husband and wife and then unknowingly, innocently and unrelentingly sets out to marry the husband.", "The husband has two attractive girls around when he has finished work. One is new and strange and if he has bad luck he gets to love them both.", "All things truly wicked start from an innocence.", and, "But the girl I was in love with was in Paris then, and I did not take the first train, or the second or the third."

p. 192: Two passages are marked in margin, "When I saw my wife again standing by the tracks as the train came in by the piled logs at the station, I wished I had died before I loved anyone but her.", and "But this is how Paris was in the early days when we were very poor and very happy."

Date last updated: 12/08/15

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