Context

Who was Gertrude Stein and why have there been so few writers like her? We were going to tell you something about her instead of nothing because all the somethings that you’ve heard about her are mostly nothing or like enough to nothing, as one might say, so much like nothing in fact that it’s almost as if one hadn’t said anything at all. Actually, it is impossible to say anything about Gertrude Stein because saying something about someone has nothing to do with being that someone, especially Gertrude Stein. Ask Alice.

I was almost going to talk this lecture and not write and read it because all the lectures that I have written and read in America have been printed and although possibly for you they might even being read be as if they had not been printed still there is something about what has been written having been printed which makes it no longer the property of the one who wrote it and therefore there is no more reason why the writer should say it out loud than anybody else and therefore one does not.

Therefore I was going to talk to you but actually it is impossible to talk about master-pieces and what they are because talking essentially has nothing to do with creation. I talk a lot I like to talk and I talk even more than that I may say I talk most of the time and I listen a fair amount too and as I have said the essence of being a genius is to be able to talk and listen to listen while talking and talk while listening but and this is very important very important indeed talking has nothing to do with creation. What are master-pieces and why after all are there so few of them. You may say after all there are a good many of them but in any kind of proportion with everything that anybody who does anything is doing there are really very few of them. All this summer I meditated and wrote about this subject and it finally came to be a discussion of the relation of human nature and the human mind and identity. The thing one gradually comes to find out is that one has no identity that is when one is in the act of doing anything. Identity is recognition, you know who you are because you and others remember anything about yourself but essentially you are not that when you are doing anything. I am I because my little dog knows me but, creatively speaking the little dog knowing that you are you and your recognizing that he knows, that is what destroys creation. That is what makes school. Picasso once remarked I do not care who it is that has or does influence me as long as it is not myself.

It is very difficult so difficult that it always has been difficult but even more difficult now to know what is the relation of human nature to the human mind because one has to know what is the relation of the act of creation to the subject the creator uses to create that thing. There is a great deal of nonsense talked about the subject of anything. After all there is always the same subject there are the things you see and there are human beings and animal beings and everybody you might say since the beginning of time knows practically commencing at the beginning and going to the end everything about these things. After all any woman in any village or men either if you like or even children know as much of human psychology as any writer that ever lived. After all there are things you do know each one in his or her way knows all of them and it is not this knowledge that makes master-pieces. Not at all not at all at all. Those who recognize master-pieces say that is the reason but it is not. It is not the way Hamlet reacts to his father’s ghost that makes the master-piece, he might have reacted according to Shakespeare in a dozen other ways and everybody would have been as much impressed by the psychology of it. But there is no psychology in it, that is not probably the way any young man would react to the ghost of his father and there is no particular reason why they should. If it were the way a young man could react to the ghost of his father then that would be something anybody in any village would know they could talk about it talk about it endlessly but that would not make a master-piece and that brings us once more back to the subject of identity. At any moment when you are you you are you without the memory of yourself because if you remember yourself while you are you you are not for purposes of creating you. This is so important because it has so much to do with the question of a writer to his audience. One of the things that I discovered in lecturing was that gradually one ceased to hear what one said one heard what the audience hears one say, that is the reason that oratory is practically never a master-piece very rarely and very rarely history, because history deals with people who are orators who hear not what they are not what they say but what their audience hears them say. It is very interesting that letter writing has the same difficulty, the letter writes what the other person is to hear and so entity does not exist there are two present instead of one and so once again creation breaks down. I once wrote in writing The Making of Americans I write for myself and strangers but that was merely a literary formalism for if I did write for myself and strangers if I did I would not really be writing because already then identity would take the place of entity. It is awfully difficult, action is direct and effective but after all action is necessary and anything that is necessary has to do with human nature and not with the human mind. Therefore a master-piece has essentially not to be necessary, it has to be that is it has to exist but it does not have to be necessary it is not in response to necessity as action is because the minute it is necessary it has in it no possibility of going on.

To come back to what a master-piece has as its subject. In writing about painting I said that a picture exists for and in itself and the painter has to use objects landscapes and people as a way the only way that he is able to get the picture to exist. That is every one’s trouble and particularly the trouble just now when every one who writes or paints has gotten to be abnormally conscious of the things he uses that is the events the people the objects and the landscapes and fundamentally the minute one is conscious deeply conscious of these things as a subject the interest in them does not exist.

You can tell that so well in the difficulty of writing novels or poetry these days. The tradition has always been that you may more or less describe the things that happen you imagine them of course but you more or less describe the things that happen but nowadays everybody all day long knows what is happening and so what is happening is not really interesting, one knows it by radios cinemas newspapers biographies autobiographies until what is happening does not really thrill any one, it excites them a little but it does not really thrill them. The painter can no longer say that what he does is as the world looks to him because he cannot look at the world any more, it has been photographed too much and he has to say that he does something else. In former times a painter said he painted what he saw of course he didn’t but anyway he could say it, now he does not want to say it because seeing it is not interesting. This has something to do with master-pieces and why there are so few of them but not everything.

So you see why talking has nothing to do with creation, talking is really human nature as it is and human nature has nothing to do with master-pieces. It is very curious but the detective story which is you might say the only really modern novel form that has come into existence gets rid of human nature by having the man dead to begin with the hero is dead to begin with and so you have so to speak got rid of the event before the book begins. There is another very curious thing about detective stories. In real life people are interested in the crime more than they are in detection, it is the crime that is the thing the shock the thrill the horror but in the story it is the detection that holds the interest and that is natural enough because the necessity as far as action is concerned is the dead man, it is another function that has very little to do with human nature that makes the detection interesting. And so always it is true that the master-piece has nothing to do with human nature or with identity, it has to do with the human mind and the entity that is with a thing in itself and not in relation. The moment it is in relation it is common knowledge and anybody can feel and know it and it is not a master-piece. At the same time every one in a curious way sooner or later does feel the reality of a master-piece. The thing in itself of which the human nature is only its clothing does hold the attention. I have meditated a great deal about that. Another curious thing about master-pieces is, nobody when it is created there is in the thing that we call the human mind something that makes it hold itself just the same. The manner and habits of Bible times or Greek or Chinese have nothing to do with ours today but the master-pieces exist just the same and they do not exist because of their identity, that is what any one remembering then remembered then, they do not exist by human nature because everybody always knows everything there is to know about human nature, they exist because they came to be as something that is an end in itself and in that respect it is opposed to the business of living which is relation and necessity. That is what a master-piece is not although it may easily be what a master-piece talks about. It is another one of the curious difficulties a master-piece has that is to begin and end, because actually a master-piece does not do that it does not begin and end if it did it would be of necessity and in relation and that is just what a master-piece is not. Everybody worries about that just now everybody that is what makes them talk about abstract and worry about punctuation and capitals and small letters and what a history is. Everybody worries about that not because everybody knows what a master-piece is but because a certain number have found out what a master-piece is not. Even the very master-pieces have always been very bothered about beginning and ending because essentially that is what a master-piece is not. And yet after all like the subject of human nature master-pieces have to use beginning and ending to become existing. Well anyway anybody who is trying to do anything today is desperately not having a beginning and an ending but nevertheless in some way one does have to stop. I stop.

I do not know whether I have made any of this very clear, it is clear, but unfortunately I have written it all down all summer and in spite of everything I am now remembering and when you remember it is never clear. This is what makes secondary writing, it is remembering, it is very curious you begin to write something and suddenly you remember something and if you continue to remember your writing gets very confused. If you do not remember while you are writing, it may seem confused to others but actually it is clear and eventually that clarity will be clear, that is what a master-piece is, but if you remember while you are writing it will seem clear at the time to any one but the clarity will go out of it that is what a master-piece is not.

All this sounds awfully complicated but it is not complicated at all, it is just what happens. Any of you when you write you try to remember what you are about to write and you will see immediately how lifeless the writing becomes that is why expository writing is so dull because it is all remembered, that is why illustration is so dull because you remember what somebody looked like and you make your illustration look like it. The minute your memory functions while you are doing anything it may be very popular but actually it is dull. And that is what a master-piece is not, it may be unwelcome but it is never dull.

And so then why are there so few of them. There are so few of them because mostly people live in identity and memory that is when they think. They know they are they because their little dog knows them, and so they are not an entity but an identity. And being so memory is necessary to make them exist and so they cannot create master-pieces. It has been said of geniuses that they are eternally young. I once said what is the use of being a boy if you are going to grow up to be a man, the boy and the man have nothing to do with each other, except in respect to memory and identity, and if they have anything to do with each other in respect to memory and identity then they will never produce a master-piece. Do you do you understand well it really does not make much difference because after all master-pieces are what they are and the reason why is that there are very few of them. The reason why is any of you try it just not to be you are you because your little dog knows you. The second you are you because your little dog knows you you cannot make a master-piece and that is all of that.

It is not extremely difficult not to have identity but it is extremely difficult the knowing not having identity. One might say it is impossible but that it is not impossible is proved by the existence of master-pieces which are just that. They are knowing that there is no identity and producing while identity is not.

That is what a master-piece is.

CONTEXT is a triquarterly publication intended to create an international and historical context in which to read modern and contemporary literature. Its goal is to encourage the development of a literary community.

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