and be alone together. It was all as it could have been.
I do not think I told all this to Seabrook that evening but that was what I was telling him.
Then we were less together and then when I decided not to pass my last examination and not to do anything with medicine he who had given up biology and history decided to begin painting and I went to Paris to join him.
Just why he began to paint I cannot remember. Of course there is always a reason or at least a combination that makes anybody do anything. But I do not remember why my brother began painting anyway he was going to a regular atelier and he was painting by the time I joined him.
It is funny about anything, we do not remember how Picasso happened to begin to paint my portrait and I do not rememberhow my brother happened to begin painting, he must have told me if he knew only perhaps by that time well yes he must have told me and he must have known by that time. Well anyway he was painting, he had taken the pavillion and atelier on the rue de Fleurus although he was not painting there, he was painting at the school and drawing from the model at the afternoon drawing class as a matter of fact he never did paint at the rue de Fleurus atelier. I joined him and I sat down in there and pretty soon I was writing, and then he took a studio elsewhere and we lived together there until nineteen fourteen.
The war had nothing to do with that of course not. Wars never do, they only make anybody know what has already happened it has happened already the war only makes it public makes those who like illustrations of anything see that it has been happening.
That is why periods after the war are really so dull and do not really make sense. The French have a word for that the fin de serie when they advertise a sale, the end of a series, and that is what everything after a war is.
Everything has been done before the war and then the war makes everybody know it and then everybody acts as if they were doing something but really they are only carried on by momentum, everybody has finally to get quiet again and begin again, think of the civil war think of any war and anybody will know that thing.
Well anyway now really this is to what Seabrook was listening what I am now telling, I have told it so often, often with a great deal of feeling often with a great deal less feeling often with no feeling often well not really forgetting but now I have forgotten but still I can tell it again even if it is nothing.
We were settled in Paris together and we were always together and I was writing. Everybody began to come in and my brother was talking, and this is what is interesting, what makes one of the things that used to make me say something. I did not care for anyone being intelligent because if they are intelligent they talk as if they were preparing to change something.
It is like it was during the war the most actively war-like nation the Germans always could convince the pacifists to become pro-German. That is because pacifists were such intelligent beings that they could follow what any one is saying.
If you can follow what any one is saying then if you are a pacifist you are pro-German. That follows if any one understands what any one is saying. Therefore understanding is a very dull occupation.
I always remember Maurice Grosser. He was a friend of Virgil Thomson and he had a way of knowing how it was possible to play the plays that I have written.
He used to be at the house a good deal and one day we were talking about liberals that is intellectuals, the kind of people that believe in progress and understanding and he said yes I have known a lot of them and they always have had something they always feel that they have had an unhappy childhood. Lots of them have told me a lot about that thing about the unhappy childhood they had had as children.
Well Blum the present French premier he is such a one, certainly he had had a childhood that was like the kind that kind had, that is
I do not think I told all this to Seabrook that evening but that was what I was telling him.
Then we were less together and then when I decided not to pass my last examination and not to do anything with medicine he who had given up biology and history decided to begin painting and I went to Paris to join him.
Just why he began to paint I cannot remember. Of course there is always a reason or at least a combination that makes anybody do anything. But I do not remember why my brother began painting anyway he was going to a regular atelier and he was painting by the time I joined him.
It is funny about anything, we do not remember how Picasso happened to begin to paint my portrait and I do not rememberhow my brother happened to begin painting, he must have told me if he knew only perhaps by that time well yes he must have told me and he must have known by that time. Well anyway he was painting, he had taken the pavillion and atelier on the rue de Fleurus although he was not painting there, he was painting at the school and drawing from the model at the afternoon drawing class as a matter of fact he never did paint at the rue de Fleurus atelier. I joined him and I sat down in there and pretty soon I was writing, and then he took a studio elsewhere and we lived together there until nineteen fourteen.
The war had nothing to do with that of course not. Wars never do, they only make anybody know what has already happened it has happened already the war only makes it public makes those who like illustrations of anything see that it has been happening.
That is why periods after the war are really so dull and do not really make sense. The French have a word for that the fin de serie when they advertise a sale, the end of a series, and that is what everything after a war is.
Everything has been done before the war and then the war makes everybody know it and then everybody acts as if they were doing something but really they are only carried on by momentum, everybody has finally to get quiet again and begin again, think of the civil war think of any war and anybody will know that thing.
Well anyway now really this is to what Seabrook was listening what I am now telling, I have told it so often, often with a great deal of feeling often with a great deal less feeling often with no feeling often well not really forgetting but now I have forgotten but still I can tell it again even if it is nothing.
We were settled in Paris together and we were always together and I was writing. Everybody began to come in and my brother was talking, and this is what is interesting, what makes one of the things that used to make me say something. I did not care for anyone being intelligent because if they are intelligent they talk as if they were preparing to change something.
It is like it was during the war the most actively war-like nation the Germans always could convince the pacifists to become pro-German. That is because pacifists were such intelligent beings that they could follow what any one is saying.
If you can follow what any one is saying then if you are a pacifist you are pro-German. That follows if any one understands what any one is saying. Therefore understanding is a very dull occupation.
I always remember Maurice Grosser. He was a friend of Virgil Thomson and he had a way of knowing how it was possible to play the plays that I have written.
He used to be at the house a good deal and one day we were talking about liberals that is intellectuals, the kind of people that believe in progress and understanding and he said yes I have known a lot of them and they always have had something they always feel that they have had an unhappy childhood. Lots of them have told me a lot about that thing about the unhappy childhood they had had as children.
Well Blum the present French premier he is such a one, certainly he had had a childhood that was like the kind that kind had, that is
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