It was a glorious early summer, all blossom and cuckoos. Lynne served herself gin and cider and sternly pronounced that she was not, in future, to be crossed. Neither of us attributed her condition to alcohol.

I was almost fifteen. I was working at my first real job at a place called the Spudnut Shop, a doughnut store, in Union Gap, Washington, June of 1955. This very good looking young man walked in with

(ticket to St. Louis and return in a first class room for two people who is the third that walks beside you?) After a parenthesis of more than 40 years I met my old neighbor. Rives Skinker Mathews, in Tangier. I was born 4664 Berlin Avenue changed it to Pershing during the war. The Mathews family lived next door at 4660—red brick three-story houses separated by a gangway large back yard where I could generally see a rat one time or another from my bedroom window on the top floor. Well we get to talking St. Louis and “what happened to so and so” sets in and Rives Mathews really knows what happened to any so and so in St. Louis.

XXX. THE MOST, THE BEST, WE CAN DO, WE
BELIEVE (WANTING TO GIVE EVIDENCE OF 
LOVE), IS TO GET OUT OF THE WAY, LEAVE

What follows are the authors’ discussions on the first stirrings, the germination of a poem, or a work of fiction. Any number of headings would be appropriate: Beginnings, The Starting Point, etc. Inspiration would be as good as any.

In 1980, the year before Elias Canetti was awarded the Nobel Prize for literature, Susan Sontag wrote that the notebook was the perfect form for a writer like him—a man who was a student of everything rather than of anything in particular—for “it allows entries of all lengths and shapes and degrees of impatience and roughness.” Canetti's published works are as various in their shapes as the entries in his notebooks. He originally intended his 1936 Auto-da-Fé to be the first in a series of eight novels, each examining a monomaniac whose madness typified a facet of the modern era.

The portraits that follow are from a large number of photographs recently recovered from sealed archives in Moscow, some—rumor has it—from a cache in the bottom of an elevator shaft. Five of those that follow, Akhmatova, Chekhov (with dog), Nabokov, Pasternak (with book), and Tolstoy (on horseback) are from a volume entitled The Russian Century, published early last year by Random House. Seven photographs from that research, which were not incorporated in The Russian Century, are published here for the first time: Bulgakov, Bunin , Eisenstein (in a group with Pasternak and Mayakovski), Gorki, Mayakovski, Nabokov (with mother and sister), Tolstoy (with Chekhov), and Yesenin. The photographs of Andreyev, Babel, and Kharms were supplied by the writers who did the texts on them. The photograph of Dostoyevsky is from the Bettmann archives. Writers who were thought to have an especial affinity with particular Russian authors were asked to provide the accompanying texts. We are immensely in their debt for their cooperation.

It was the warmest Oct. day out that I ever saw today, so we skipped practice (Tony and Yogi and I) and we decided to take a little ride down to the ferry and over to Staten Island. After polishing off a hero at LUCY’S we hopped on the back fender of the 2nd Ave. bus and rode down to the ferry basin.