Matisse Picasso and Gertrude Stein: With Two Shorter StoriesStein, Gertrude
General
Matisse Picasso and Gertrude Stein: With Two Shorter Stories
Stein, Gertrude
Experimental fiction, American
A top is on the tidy road no more than it was and what is more lasting.
Everything is most lasting.
A parlor, what is a parlor, a parlor is a cook. What is a cook a cook is
a cross between odor and perfume. What is an odor and what is perfume.
An odor is a singular glance and milk and lightning, a perfume is an
article and an expected space and even an authority. What is a singular
glance if it is that and wider, what is milk and there is that
altogether, what is lightning and there are no widows who are cleaner,
what is an article when there are regular festoons and what is an
expected space and what is more than the same which is actually to be
splendid. These are the signs that make reaching so necessary, they are
also the signs of an exceedingly pronounced tendency. Supposing no one
sees clearly that the end has not come. Supposing no one sees more
clearly ever. Does that mean that there is no regret, does that even
mean that the loudest resemblance is stolen by shoving. No more is
necessarily used in an individual recitation.
The pretext of a sack of no more than three yearly is not a sudden
resolution, it is not carried away by pay. Paying sweetly and paying
neatly is so like lounging and suspecting everybody where there is no
habit of black and lace.
What is the wonderful example of a discovery what is it. Is it in a pea
and clover, is it in the sighing of a house and the pleasant escape of a
sash. Is it more in the heavy notes and in the love of a hook, is it
really more in the dark and in patch work. Is it more in the hurry of a
sudden falling of a particular cat, what is it more in than in the rest
of renouncement, in what is it more. It is more in the water, it is more
in the tree, it is more in the house, it is more in the court and in the
hall and in the trifling heap of stones crossed early by anything
waiting.
Wait for the pound and a half of sauce, wait for the best oil and no
scarcity, wait for the paper spread to dry, wait for anything that is
not burning heavily. Wait and do not diminish a ribbon yard, wait and
select the same before, wait and see the best and love it through and
love it with a widening dainty door. Wait and mingle nothing sweet, wait
and beg the time to stay, wait and go and go away, and wait when all is
simpler.
Bet so heavily with a wife that sooner the wedding will be early yet,
bet and shadow the least flower there so that growing is ingrowing
longer and shorter. Growing longer is growing everywhere. Growing
shorter is growing and growing more there. Growing longer and growing
shorter and growing is not an established result of a weight in the leg
that is altogether.
Why when the purpose is in stretching should not stretching mingle with
stretching in the ending, why should it not and what is the hurry when
any strange stick is in all the best window.
Public-domain text, read in full here on John Shaqi.
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