This monumental collection of correspondence between Gertrude Stein and critic, novelist, and photographer Carl Van Vechten provides crucial insight into Stein's life, art, and artistic milieu as well as Van Vechten's support of major cultural projects, such as the Harlem Renaissance. From their first meeting in 1913, Stein and Van Vechten formed a unique and powerful relationship, and Van Vechten worked vigorously to publish and promote Stein's work. Existing biographies of Stein-including her own autobiographical writings-omit a great deal about her experiences and thought. They lack the ordinary detail of what Stein called "daily everyday living": the immediate concerns, objects, people, and places that were the grist for her writing. These letters not only vividly represent those details but also showcase Stein and Van Vechten's private selves as writers. Edward Burns's extensive annotations include detailed cross-referencing of source materials.

Firecrackers: A Realistic Novel (1925) is a novel by Carl Van Vechten. Published in the same year as F. Scott Fitzgerald's The Great Gatsby and Anita Loos' Gentlemen Prefer Blondes, Van Vechten's novel has been recognized as an important document of the Jazz Age, a decade of bohemian excess and artistic experimentation that changed the shape of American and European culture. "You must think of a group of people in terms of a packet of firecrackers. You ignite the first cracker and the flash fires the fuse of the second, and so on, until, after a series of crackling detonations, the whole bunch has exploded, and nothing survives but a few torn and scattered bits of paper, blackened with powder." In Van Vechten's novel, an explosive group of friends welcomes a handsome young man into their midst. Gunnar O'Grady, an athlete and a jack of all trades, soon becomes an object of obsession for men and women alike. As he tries to satisfy their needs and desires while working to support himself, he begins to question the meaning of friendship itself. Firecrackers: A Realistic Novel, Van Vechten's fourth novel, is a fascinating work of fiction from a man who was always one step ahead of the rest. With a beautifully designed cover and professionally typeset manuscript, this edition of Carl Van Vechten's Firecrackers: A Realistic Novel is a classic of American literature reimagined for modern readers.

Peter Whiffle (1922) is a novel by Carl Van Vechten. Framing himself as his character's literary executor, Van Vechten provides a satirical self portrait of his unusual life in the arts through the lens of a man whose sole gift is to identify and move with the avant-garde. Peter Whiffle is a writer who never writes. Throughout his travels, he claims to be researching for an important work of literature but mostly provides humorous portraits of some of the greatest artists, dancers, and writers of his time. In this way, he proves himself much more of a mirror than a window-like Van Vechten likely sensed of his own writing, Whiffle is a man who reflects the success and genius of others much more than he offers his own. Travelling between New York City and Europe, Whiffle becomes a figure who defines his generation through keen wit and tongue-in-cheek wisdom, a tour guide to a vast land of cultural creation and bohemian excess. Peter Whiffle, Van Vechten's debut novel, is a fascinating work of fiction from a man who was always one step ahead of the rest. With a beautifully designed cover and professionally typeset manuscript, this edition of Carl Van Vechten's Peter Whiffle is a classic of American literature reimagined for modern readers.

Firecrackers: A Realistic Novel (1925) is a novel by Carl Van Vechten. Published in the same year as F. Scott Fitzgerald's The Great Gatsby and Anita Loos' Gentlemen Prefer Blondes, Van Vechten's novel has been recognized as an important document of the Jazz Age, a decade of bohemian excess and artistic experimentation that changed the shape of American and European culture. "You must think of a group of people in terms of a packet of firecrackers. You ignite the first cracker and the flash fires the fuse of the second, and so on, until, after a series of crackling detonations, the whole bunch has exploded, and nothing survives but a few torn and scattered bits of paper, blackened with powder." In Van Vechten's novel, an explosive group of friends welcomes a handsome young man into their midst. Gunnar O'Grady, an athlete and a jack of all trades, soon becomes an object of obsession for men and women alike. As he tries to satisfy their needs and desires while working to support himself, he begins to question the meaning of friendship itself. Firecrackers: A Realistic Novel, Van Vechten's fourth novel, is a fascinating work of fiction from a man who was always one step ahead of the rest. With a beautifully designed cover and professionally typeset manuscript, this edition of Carl Van Vechten's Firecrackers: A Realistic Novel is a classic of American literature reimagined for modern readers.

Peter Whiffle (1922) is a novel by Carl Van Vechten. Framing himself as his character's literary executor, Van Vechten provides a satirical self portrait of his unusual life in the arts through the lens of a man whose sole gift is to identify and move with the avant-garde. Peter Whiffle is a writer who never writes. Throughout his travels, he claims to be researching for an important work of literature but mostly provides humorous portraits of some of the greatest artists, dancers, and writers of his time. In this way, he proves himself much more of a mirror than a window-like Van Vechten likely sensed of his own writing, Whiffle is a man who reflects the success and genius of others much more than he offers his own. Travelling between New York City and Europe, Whiffle becomes a figure who defines his generation through keen wit and tongue-in-cheek wisdom, a tour guide to a vast land of cultural creation and bohemian excess. Peter Whiffle, Van Vechten's debut novel, is a fascinating work of fiction from a man who was always one step ahead of the rest. With a beautifully designed cover and professionally typeset manuscript, this edition of Carl Van Vechten's Peter Whiffle is a classic of American literature reimagined for modern readers.

COPYRIGHT r9M, BY Alt r ignis resefved PRINTED Itf THK UNITED SXATSfl OF AMERICA To my Father Contents PAGE Music AND BAD MANNERS 11 Music FOR THE MOVIES 4 SPAIN AND Music t SHALL WE REALIZE WAGNERS IDEALS 165 THE BRIDGE BURNERS 169 A NEW PRINCIPLE IN Music 217 LEO ORNSTEIN Music and Bad Manners Music and Bad Manners SINGERS, musicians of all kinds, are notori ously bad mannered. The storms of the Titan, Beethoven, the petty malevolences of Richard Wagner, the weak sulkiness of Chopin Chopin in displeasure was appalling, writes George Sand, and as with me he always con trolled himself it was as if he might die of suffoca tion have all been recalled in their proper places in biographies and in fiction but no attempt has been made heretofore, so far as I am aware, to lump similar anecdotes together under the some what castigating title I have chosen to head this article. Nor is it alone the performer who gives exhibitions of bad manners. As a matter of fact, once an artist reaches the platform he is on his mettle, at his best. At home he or she may be ruthless in his passionate display of floods of temperament, I have seen a soprano throw a pork roast on the floor at dinner, the day before a performance of Wagners consecra tional festival play, with the shrill explanation, Pork before Parsifal On the street he may shatter the clouds with his lightnings as, indeed, Beethoven is said to have done but on the stage he becomes, as a rule, a superhuman being, an in Music and Bad Manners terpreter, a mere virtuoso. Of course, there are exceptions. Audiences, as well, may be relied upon to behave badly on occasion. An auditor is not necessarily at his best in the concert hall. He may have had abad dinner, or quarrelled with his wife before arriving. At any rate he has paid his money and it might be expected that he would make some demonstration of disapproval when he was displeased. The extraordinary thing is that he does not do so oftener. On the whole it must be admitted that audiences remain unduly calm at concerts, that they are unreasonably polite, in deed, to offensively inadequate or downright bad interpretations. I have sat through perform ances, for example, of the Russian Symphony So ciety in New York when I wondered how my fel low-sufferers could display such fortitude and patience. When Prince Igor was first performed at the Metropolitan Opera House the ballet, danced in defiance of all laws of common sense or beauty, almost compelled me to throw the first stone. The parable saved me. Still one doesnt need to be without sin to sling pebbles in an opera house. And it is a pleasure to remember that there have been occasions when audiences did speak up In those immeasurably sad pages in which 12