Read Online Narration by Thornton Wilder, Gertrude Stein, Liesl M. Olson - Free Book Online Page B
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and yet every one does, does not prepare it. And all this has so much to do with writing a narrative of anything that I can almost cry about it.
I will try to be as simple as I can.
I had a funny experience once, this was a long time after I had been writing anything and everything as you all more or less have come to know it, it was about five years ago and I said I would translate the poems of a young french poet.
I did this not because of the poetry but because of the poet he had been very nice to me and I was grateful for it and so I wanted to make him happy and the way to show it was to translate the poetry of the young french poet.
So I began to translate and before I knew it a very strange thing had happened.
Hitherto I had always been writing, with a concentration of recognitionof the thing that was to be existing as my writing as it was being written. And now, the recognition was prepared beforehand there it was it was already recognition a thing I could recognize because it had been recognized before I began my writing, and a very queer thing was happening.
The words as they came out had a different relation than any words I had hitherto been writing, as they came out they had a certain smoothness they went one into the other in a different kind of fashion than any words ever had done before any words that I had ever written and I was perplexed at what was happening and I finished the whole thing not translating but carrying out an idea which was already existing and then suddenly I realized something I realized that words come out differently if there is no recognition as the words are forming because recognition had already taken place.
I concluded then that Shakespeare’s sonnets were not written to express his own emotion I concluded that he put down what some one told him to do as their feeling which they definitely each time for each sonnet as their feeling and that is the reason that the words in the sonnets come out with a smooth feeling with no vibration in them such as the words in all his plays have as they come out from them.
Now anybody really ought to know this now really anybody should and anybody can know how this has to do with what every one always wants to know what has anybody’s hearing anything have to do with their being an audience to anything, and what has being an audience or having an audience or having been an audience have to do with anything that is to say what has it all to do with telling anything.
Everybody always says do you write for an audience well do you and what is an audience and is it almost impossible or is it possible to make an audienceof yourself and is it almost impossible or is it possible to rid yourself of yourself as an audience. And anyhow what has an audience to do with it. Well in a way everything and of course what they really mean by an audience when they say audience well perhaps really nothing nothing at all and yet perhaps everything.
As I say I have been very bothered about everything and I will tell about something else. When you are talking is it the same as when you are writing and when you are writing is it the same as when you are lecturing and when you are lecturing is it the same as knowing what history is and is knowing what history is is it the same as writing autobiography, and is it all alike because after all if you know what you are doing are you always doing it in the same way and then there is letter writing. I must only I have forgotten to do it write a whole long history of this thing that is what letter writing is because now I know.
There is one thing undoubted talking, writing and listening are not the same thing, and I will tell you why. When you talk you talk that is to say what you say has no importance mostly to any audience because any audience has no feeling that they are an audience not while everybody is just talking and this of course includes yourself and since any audience
I will try to be as simple as I can.
I had a funny experience once, this was a long time after I had been writing anything and everything as you all more or less have come to know it, it was about five years ago and I said I would translate the poems of a young french poet.
I did this not because of the poetry but because of the poet he had been very nice to me and I was grateful for it and so I wanted to make him happy and the way to show it was to translate the poetry of the young french poet.
So I began to translate and before I knew it a very strange thing had happened.
Hitherto I had always been writing, with a concentration of recognitionof the thing that was to be existing as my writing as it was being written. And now, the recognition was prepared beforehand there it was it was already recognition a thing I could recognize because it had been recognized before I began my writing, and a very queer thing was happening.
The words as they came out had a different relation than any words I had hitherto been writing, as they came out they had a certain smoothness they went one into the other in a different kind of fashion than any words ever had done before any words that I had ever written and I was perplexed at what was happening and I finished the whole thing not translating but carrying out an idea which was already existing and then suddenly I realized something I realized that words come out differently if there is no recognition as the words are forming because recognition had already taken place.
I concluded then that Shakespeare’s sonnets were not written to express his own emotion I concluded that he put down what some one told him to do as their feeling which they definitely each time for each sonnet as their feeling and that is the reason that the words in the sonnets come out with a smooth feeling with no vibration in them such as the words in all his plays have as they come out from them.
Now anybody really ought to know this now really anybody should and anybody can know how this has to do with what every one always wants to know what has anybody’s hearing anything have to do with their being an audience to anything, and what has being an audience or having an audience or having been an audience have to do with anything that is to say what has it all to do with telling anything.
Everybody always says do you write for an audience well do you and what is an audience and is it almost impossible or is it possible to make an audienceof yourself and is it almost impossible or is it possible to rid yourself of yourself as an audience. And anyhow what has an audience to do with it. Well in a way everything and of course what they really mean by an audience when they say audience well perhaps really nothing nothing at all and yet perhaps everything.
As I say I have been very bothered about everything and I will tell about something else. When you are talking is it the same as when you are writing and when you are writing is it the same as when you are lecturing and when you are lecturing is it the same as knowing what history is and is knowing what history is is it the same as writing autobiography, and is it all alike because after all if you know what you are doing are you always doing it in the same way and then there is letter writing. I must only I have forgotten to do it write a whole long history of this thing that is what letter writing is because now I know.
There is one thing undoubted talking, writing and listening are not the same thing, and I will tell you why. When you talk you talk that is to say what you say has no importance mostly to any audience because any audience has no feeling that they are an audience not while everybody is just talking and this of course includes yourself and since any audience
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