Dorothy’s paintings I liked very much and I thought Dorothy was very beautiful and built wonderfully. I also liked the head of Ezra by Gaudier-Brzeska and I liked all of the photographs of this sculptor’s work that Ezra showed me and that were in Ezra’s book about him. Ezra also liked Picabia’s painting but I thought then that it was worthless.
I also disliked Wyndham Lewis’s painting which Ezra liked very much. He liked the works of his friends, which is beautiful as loyalty but can be disastrous as judgment. We never argued about these things because I kept my mouth shut about things I did not like. If a man liked his friends’ painting or writing, I thought it was probably like those people who like their families, and it was not polite to criticize them.
Sometimes you can go quite a long time before you criticize families, your own or those by marriage, but it is easier with bad painters because they do not do terrible things and make intimate harm as families can do. With bad painters all you need to do is not look at them. But even when you have learned not to look at families nor listen to them and have learned not to answer letters, families have many ways of being dangerous.
Ezra was kinder and more Christian about people than I was. His own writing, when he would hit it right, was so perfect, and he was so sincere in his mistakes and so enamored of his errors, and so kind to people that I always thought of him as a sort of saint. He was also irascible but so perhaps have been many saints.
Ezra wanted me to teach him to box and it was while we were sparring late one afternoon in his studio that I first met Wyndham Lewis. Ezra had not been boxing very long and I was embarrassed at having him work in front of anyone he knew, and I tried to make him look as good as possible.
But it was not very good because he knew how to fence and I was still working to make his left into his boxing hand and move his left foot forward always and bring his right foot up parallel with it. It was just basic moves. I was never able to teach him to throw a left hook and to teach him to shorten his right was something for the future.
Wyndham Lewis wore a wide black hat, like a character in the quarter, and was dressed like someone out of La Bohème. He had a face that reminded me of a frog, not a bullfrog but just any frog, and Paris was too big a puddle for him. At that time we believed that any writer or painter could wear any clothes he owned and there was no official uniform for the artist; but Lewis wore the uniform of a prewar artist. It was embarrassing to see him and he watched superciliously while I slipped Ezra’s left leads or blocked them with an open right glove.
I wanted us to stop but Lewis insisted we go on, and I could see that, knowing nothing about what was going on, he was waiting, hoping to see Ezra hurt. Nothing happened. I never countered but kept Ezra moving after me sticking out his left hand and throwing a few right hands and then said we were through and washed down with a pitcher of water and toweled off and put on my sweatshirt.
We had a drink of something and I listened while Ezra and Lewis talked about people in London and Paris. I watched Lewis carefully without seeming to look at him, as you do when you are boxing, and I do not think I had ever seen a nastier-looking man. Some people show evil as a great race horse shows breeding. They have the dignity of a hard chancre. Lewis did not show evil; he just looked nasty.
Walking home I tried to think what he reminded me of and there were various things. They were all medical except toe-jam and that was a slang word. I tried to break his face down and describe it but I could only get the eyes. Under the black hat, when I had first seen them, the eyes had been those of an unsuccessful rapist.
“I met the nastiest man I’ve ever seen today,” I told my wife.
“Tatie, don’t tell me about him,” she said. “Please don’t tell me about him. We’re just going to have dinner.”
About a week afterwards I met Miss Stein and told her I’d met Wyndham Lewis and asked her if she had ever met him.
“I call him ‘the Measuring Worm,’ ” she said. “He comes over from London and he sees a good picture and takes a pencil out of his pocket and you watch him measuring it on the pencil with his thumb. Sighting on it and measuring it and seeing exactly how it is done. Then he goes back to London and does it and it doesn’t come out right. He’s missed what it’s all about.”
So I thought of him as the Measuring Worm. It was a kinder and more Christian term than what I had thought about him myself. Later I tried to like him and to be friends with him as I did with nearly all of Ezra’s friends when he explained them to me. But this was how he seemed to me on the first day I ever met him in Ezra’s studio.
Ezra was the most generous writer I have ever known and the most disinterested. He helped poets, painters, sculptors and prose writers that he believed in and he would help anyone whether he believed in them or not if they were in trouble. He worried about everyone and in the time when I first knew him he was most worried about T. S. Eliot who, Ezra told me, had to work in a bank in London and so had insufficient time and bad hours to function as a poet.
Ezra founded something called Bel Esprit with Miss Natalie Barney who was a rich American woman and a patroness of the arts. Miss Barney had been a friend of Rémy de Gourmont who was before my time and she had a salon at her house on regular dates and a small Greek temple in her garden. Many American and French women with money enough had salons and I figured very early that they were excellent places for me to stay away from, but Miss Barney, I believe, was the only one that had a small Greek temple in her garden.
Ezra showed me the brochure for Bel Esprit and Miss Barney had allowed him to use the small Greek temple on the brochure. The idea of Bel Esprit was that we would all contribute a part of whatever we earned to provide a fund to get Mr. Eliot out of the bank so he would have money to write poetry. This seemed like a good idea to me and after we had got Mr. Eliot out of the bank Ezra figured we would go right straight along and fix up everybody.
I mixed things up a little by always referring to Eliot as Major Eliot pretending to confuse him with Major Douglas an economist about whose ideas Ezra was very enthusiastic. But Ezra understood that my heart was in the right place and that I was full of Bel Esprit even though it would annoy Ezra when I would solicit funds from my friends to get Major Eliot out of the bank and someone would say what was a Major doing in a bank anyway and if he had been axed by the military establishment did he not have a pension or at least some gratuity?
In such cases I would explain to my friends that this was all beside the point. Either you had Bel Esprit or you did not have it. If you had it you would subscribe to get the Major out of the bank. If you didn’t it was too bad. Didn’t they understand the significance of the small Greek temple? No? I thought so. Too bad, Mac. Keep your money. We wouldn’t touch it.
As a member of Bel Esprit I campaigned energetically and my happiest dreams in those days were of seeing the Major stride out of the bank a free man. I cannot remember how Bel Esprit finally cracked up but I think it had something to do with the publication of The Waste Land which won the Major the Dial award and not long after a lady of title backed a review for Eliot called The Criterion and Ezra and I did not have to worry about him any more.
The small Greek temple is, I believe, still in the garden. It was always a disappointment to me that we had not been able to get the Major out of the bank by Bel Esprit alone, as in my dreams I had pictured him as coming,
