davidaulloa/AmericanStories huggingface dataset:
Imperial Valley press., 1913-04-02
Scutari Is Burning
TRY UNITED PRESS ASSOCIATIONSl

CETTINJE. April 2.-Scutari is
burning, according TO war Office
announcement. The government has
announced that the MOntenegrins have
captured the three forts of TaraboSch.
The Servian troops began terrific
bomhardment Of Scutari Independent of
the Monteneg grins. Reports that Scniari
is burning are confirmed. Its fall is
pXnrctpd hourly
Imperial Valley press., 1913-04-02
GREATEST FLOOD SINCE 1915
IMPENDING IN MISSISSIPPI

MAY break and blot Joliet from the
map. a committee Of ten was appointed
ny that city's council to 90 to Spring
field for aid The canal level two miles
from Joliet is forty feet above city
streets and twenty feet above sur
rounding territory
Imperial Valley press., 1913-04-02
Fool for a Client"
Y UNITED PRESS ASSOCIATIONS)

IB1 UNIIED FHESS ASSOOIAI IVINoJ
LONDON, April 2.-At Mrs. Pank
hurst's trial in Old Bailey court today,
charged with melting to violence. in
attempting to dynamite Lloyd-George' )
home. she pleaded not guilty and an +
nounced that she would act as her
own attorney.
Mrs Pankhur>t was released on bail
on "a promise of good behavior pending
tltr outcome Of the trial.
Imperial Valley press., 1913-04-02
Funeral Of King George
(BY UNITED PRESS ASSOCIATION

ATHENS. April 2.-Marked by the
! rites of the Greek Church.
the funeral of King George, assassinat
ed at Salonika, began at 10 this morn
ing
Imperial Valley press., 1913-04-02

corn this summer to make good the
shortage next fall.
In previous years when the valley
has been confronted by a possible
shortage from other causes corn has
been grown with great profit, and the
farmers are alert to the possibilities
i'll this line
Imperial Valley press., 1913-04-02
Piano Instruction

Mrs Frances d. Shafer, former pu-
Pill of Herr Prof. Barth, Berlin, Ger
many, will take few pupils in piano
instruction. Residence, $50 Brighton
Imperial Valley press., 1913-04-02

The Pioneer Transfer Co. is prepared
to handle your baggage or any kind OF
dray work at reasonable prices. Or
street. Phone Msin 1.-Adverusemeat
Imperial Valley press., 1913-04-02

I wish to announce myself as a car
didate for grammar school trustee Il
the election April 4.
PERRY L. HEDRICK
Imperial Valley press., 1913-04-02

I hereby announce myself as a can
didate for grammar school trustee at
the coming election.
E. A. PERKISS
Imperial Valley press., 1913-04-02

1 wish to announce myself as &
candidate for high school trustee at
the coming election.
r. w. CAMPBELL.
Imperial Valley press., 1913-04-02
SCHOOL TRUSTEE CANDIDATES.

advertisements
| wish to announce myself as q
candidate for high school trustee at
the coming election.
F. w. WAITE
Imperial Valley press., 1913-04-02
Don't FORGET

To go to "I'ntangling Tony" Oper
House, April Advertisement. %
Imperial Valley press., 1913-04-02
ORDERED LENEE CIT

CAIRO, April 2.-The icvec has been
ordered cut at ShawneetoWn to save
life and property and divert the llood
waters above Cairo. The order for
cutting the levee WAS issued by the
state military officials in charge of af-
fairs here.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06

80. 70 IS the ycry handsome face OF
simple. sincere artist. without much
sense OF humor. perhaps. but with conyic-
ton and strength
How he can ever paint such ugly ng-
ures as be- does when he has only TO
look iu mirror. copy what he sees. and
turn out something worth the trouble.
can't understand.
His clothes were SIN another con,radic-
ton. They were well built and quite
American Don cut--that IS. they were sort
Of loose and baggy and square in the
shoulders
He wore a sack coat suit OF warm
brown. that golden brown tint the leaves
take on In autumn. a black cravat most
carefully tied. and quite irreproachabIe
collar
Not touch Of the bohemian here.
Those clothes might have just come from
the Stock Exchange or an afternoon at
the Country club.
/ gazed from this nice, neat, little man
TO those conceptions OF his brain and
works Of his hands which hung all around
me, and | couldn't make things III at all
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
FRANK AND YET BATTLING,

He seems interested in all things, and
there is an inquirng note in his voice and
a sympathy in his glance which make
you want 10 tell him much. Then back
Of all the childlike directness and frank.
ness there is tantalizing shade OF some.
thing you do not reach, hint Of ideas be
cannot or will not express, desire to 70
on alone, to keep the door Of the inner.
most chamber closed. All that piques
your curiosity TO excess. and you long to
search deeper, but Of course, II you are
on your honor you can't.
The Hostess felt she bad left US alone
long enough, so she came up and CON-
menced talking books, and behold Please
knew H. c. Wells and several other Eng
llsh writer's, and for a Spaniard and
painter that is remarkable. ! assure you
the average Frenchman you meet could
rot give you a name in English Literature
OF to-day. but as tell you, Please Is
thinker and an inquirer.
Life is of interest TO him. There is
nothing faded in his point OF view, and
the only thing which 1t rather bores him
10 discuss Is art.
Possibly he pretends Il bores him to
protect himself. am not sure about that
but should think he is rot subtle enough
TO keep up the subterfuge.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06

tie" volunteered the Hostess. They
won't dare. They'll be afraid Of saying
the wrong thing. Of criticising adversely,
lest they prove behind the times"
"Ah." said Picasso, and the conviction
reached me that he doesn't really care
a bit what We say.
IL don't agree with you" I chImed in
quickly. turning TO the Hostess. Amer
lea dares express opinions Tor herself. She
is not like England. who never discovers.
but waits TO be told what she must like
and dislike. England was really funny
during her first attack OF Post-Impres-
slonism.
Yes" smiled the Hostess. Il remem-
Der that. and / remember one daring soul
wanted TO know why you had put a vio-
lin In the portrait or Kubelik."
Picasso smiled with evident enjoyment
OF this Joke. and he showed two rows OF
strong even. white teeth.
How did you find England funnyY'
he asked. turning his head toward me
and fixing me with those steadfast eyes
lie IL exactly like a straightforward
schoolboy when he asks question.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
A THRILLING MISTAKE.

What a lovely dog!' | gushed. for a
beginning. what kind Is hep
lie put me right at once.
Il don't really know what kind" he
responded but he happens TO he a
female"
Just "Oh." from Katie.
Then another heavy pause fell between
us. and | furtively sazed at the pictures
and then at him.
Dared T.
My dears. he has the soul Of "A wizard.
that man. He read my thoughts like an
open book and he Strengthened up and
frowned coldly upon me as he tossed back
the Grant lock of hair
Then up came the Hostess in the nick
Of time. gracious and smiling.
I'VE seen the report of the exhibition
i'm New York" she informed him.
"Ahr' murmurcd Picasso In bored ac-
cents. exactly as IL he hadn't anything In
the show at all. and you know he has
Eyes" she continued. but II was a
very short one. and there was no men,
ton OF you"
"Abr said Picasso. and the subject
threatened to dro:.
81 wonder what America will say 10 the
pictures?" | queried. vivaciously. OF no
one In particular
"Oh. l think people VIII say very lit
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
THINKS SPAIN HAS NONE.

"Oh. yes, we have votes there" and
he seemed shocked at my lack of knowl-
edge OF sunny Spain; but l think there
are no suffragettes. and l think | am
glad"
We'll there are places where women
have the vote I'm America, you know" /
told him.
Yes. yes" he nodded California and
Sydney. anyhow"
sydney, Why. sydney isn't In Amer
lea" said I, much more shocked at his
lack OF knowledge Of my country than he
had been at mine.
"Ah." came through a thick haze OF
smoke.
NO. certainly not" I said almost Sc
yerely; Sydney is in Australia"
"Well. Reno is in America" he re-
marked. giving me a conciliating smile.
And. tell me. do you know this English
sufrragette family, this mother and her
three daughters. Christabel and Chrysalis
and Chrysonym?"
lie laughed at this little joke on Pank-
hurst nomenclature.
told him did. and painted them in
Post-Impressionist style for him. because
| saw that the woman OF to-day is as
great a mystery 10 his Spanish male mind
as his pictures are to the world.
"You have one of the Pankhursts I'm
Paris now" | said. "Chrstabel. Why
don't you do a portrait of herr
lie took this quite seriously.
81 do not even know her" he replied
and he seemed TO be considering how to
remedy this: so II you ever see Christabel
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
KATE CARFW CAFES HER ECSTAT1C FILL ON A POSlCUBSl
The Youthful, Attractive Spanard Proves Shy and Re
firing, but Prolific Of "Ohs!" and irritable Only
When His Pictures Are Discussed-Hs Wis
itor Proves Lucky in Guessing Mean
ing Of Certain Paintings

IA "a Post-Impressionlste you will know
who first mothered the idea.
"A Frenchwoman, Madame Severi,.
wanted to be President of France" con.
tinued Picasso. with his delicious solsr.
nifty and the pipe clutched in one hand
NO not Madame Severine." corrected
him kindly. "A certain Madame Dcriss
something or other. but she did not "a.
ceive much encouragement"
"Ah," murmured Picasso.
Have you ever been to Englandy' I
asked him.
NO"
would you like to go%'
II don't know; there is everything in
Paris"
Note the simplicity of that
Why go anywhere II you have every.
thing at home?
1t is so direct and easy. and that is just
the way with Picasso himself. / shall
never believe that he is anything but sin.
cere. He has an idea. He works toward
il. He cannot help IL If people do no,
follow him. he says; he must pursue his
course, and he does.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
OF HIS EARLIER STYLE.

Il was an effective little study of three
figures and was full of grace and SIKH
and he stood looking at IT moment WIN
a sort of amused tolerance.
1t belonged TO remote period IN the
history Of his development.
Personally. | think IT is pity-but' Oh
course. as | said. this Is not an art
criticism.
couldn't pursue the subject further
without straining a point OF honor, so we
went back to our chairs. / sat down. out
he stood leaning over the tall back OF his
chair and pulled away at his pipe. wniie
the dog, taking it as signal, rose, shook
herself, waited a moment, then settled
down on the floor again.
| don't know whether Picasso was see
ing me I'm cubes and squares. but he was
certainly placing me as a type.
What part OF America is your homer
he asked suddenly.
New York"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
WATCHING THEIR NEIGHBORS

"Oh. ! mean the English didn't like 20
commit themselves by criticism. They
walked round and round the rooms In
stolid silence. stealing furtive glances at
their neighbors to see how they were al
fected."
And you think Americans are differ
entY' pursued Picasso.
YES. very. / think you can count upon
them To give their opinions"
"Ah," said Picasso.
lie had finished with the subject and
with me FOR the present. so he dismissed
us and leaned toward the Hostess. ad-
dressing her In his low. deep voice:
II didn't get any tickets for the fight
next week." he said. "They were too
dear. | will get some another time. when
there Is less expensive fight going on"
1 stared In surprise. One doesn't think
OF artists regularly attending prize.
fights
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
THAT SUFFRAGE "HIkE.'

Some OF your women are walking "
Washington to ask for vote ne III
formed me, solemnly. For me l hno tha'
rather ridiculous. How many hours VIII
It take them to get to Washington!
Hours" 1 exclaimed. Why II VIII
take them days. l don't know no" many
but several. certainly
"Ah," and he pulled away at ms pipe.
Perhaps you also are sunragette'
he suggested.
Il am" acknowledged, with prlde' Vi
rather, | am a suffragist.'
And the difference" he queried Ike
puzzled boy
, / explained II to the best OF my aosilty'
You do not break windows then. en-
he questioned. gravely
Not many" / assured him cheeriui'S
Have you any suffragettes IN SPAIN U
don't you have any votes there anyho"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
The American Studies Sublime Elementalisn" in the
Presence of No Less Lofty Post-Impressionist than
Please, Follower Of Matisse, Forerunner Of
Heaven Alone Knows What in the
Field of Advanced Art"

"Oh, no." .." said i'm chorus. nothing
like that: but it initiates him."
Now does that seem a natural trait?
1t doesn't irritate me bit to have you
talk to me or write me about my pict-
ures. You can always g~T just what you
like or don't like.
But. Of course. crossed my heart and
swore three times that | would be on
my best mountaineering behavior.
would have simple chat with the ,imld.
nervous one and, like the warus. l would
talk of many things. but never Picasso
painting.
Ia merely study the type of man who
paints Buffalo iii in blocks which look
like slate roofs or any old odds and ends
and puts Kubelik in isoscles triangles or
whatever it pleases you to call them.
Ia only seek for the soul of him anu
see whether he is spoofing us. or whethe:
he really expects us to find something
inspiring in his picture puzzles
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06

rious way and in his Spanish-trench'
which is very sbilant and therefore III
tie difficult for me to follow.
"Ah, no; | always wanted 10 oe
painter"
He put one OF those prematurely ageo
little hands into the pocket OF his coat
and procured long. slender pipe with
small, round bowl
MAY II" he said. giving 1t gracelu'
wave.
"Of course"
He proceeded to fill It and light II WIN
great elaboration.
Did you begin to paint when you "e'e
very young?" | pursued. ruthlessly.
"Oh. yes. and always l was aiho"e
painters. My father was one. and was
connected with the Beauy-Arts IN BARGE
lora. as we'll"
Then he took me over and showed INC
a picture. He didn't really ask me 10 30
He got up and I followed him ana he
pointed out a small painting with 'hc
stem of his pipe and explained that he
did it when he was sixteen or seVentee"
years of age
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
A BETRAYAL OF CONFIDENCE.

consider that Post-Impresslonis,s
ought to live up to their pictures. II Is
not fair that they should go around look
Ing quite normal and natural when they
are trying TO make us see things In alb
normal fashion.
Oh, how / wanted to tell him all this
and here was on my word OF honor and
my best behavior!
The dog walked right along with mis-
master. and when the artist ensconccd
himself I'm a hsh-back chair and tucked
his feet up on one of the rungs. dosgie
stretched out I'm front and gazed up at
him I'm canine alteration.
VIII he ever have the heart to paint
that faithful dog soul In cubes and
squares?
didn't find Picasso an easy man TO en-
gage I'm conversation-pOssibly because |
was so limited ia what | was TO be al
lowed to say 10 him. ! suppose | stared
rather hard at him for n few seconds.
but he didn't seem to mind "A bit. he just
returned the look with "A direct glance
from his bright. brown eyes.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
HER DESIRE EXPLAINED.

The Hostess explained
81 want Monsieur Picasso to take me
to a fight" she said II have wished TO
see a real one ever since | saw the
cinema pictures of the big Johnson fight"
Picasso nodded solemnly.
They were very pretty those cinema
pictures.
! looked at him.
lie meant it, but. OF course. you must
remember the french often use the word
pretty In the sense that we use nice.
They were good. agreed the Hostess.
"Oh, well. another time we'l surel, ar
range to GO"
An. yes said Picasso.
! glanced at the picture above US. 1t
was OF man. evidently an athlete or a
hghter. He was clad In trunks and had
huge protrudng muscles.
should like to have said a word about
this IN connection with fighting. but
there was my honor at stake: so
simply inquired discreetly whether the
artist liked boxing.
"Ah. yes"
He never dilates OH any subject you
may notice
DID you ever have any ambition to be
professional boxer when you were a
small boyY' | continued as animatedly as
possible. considering the little encourage
ment | received.
lie raised his eyebrows as IL he won
aered what possible interest TINS could
nave Tor me. but he answered III MS Sc
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
PICAssO AND HIS CoMRADE.

A short, stocky. boyish figure with one
hand on the head Of huge snow white
dog.
Amid a chorus OF welcome he came fur
Their into the room, nodded amlably to
every one and was presented to me. the
only outsider
He looks very young. lie is thirty-one.
really, but he does not seem anywhere
near that. lie is built like an athlete.
with his unusually broad shoulders and
masculine frame. and his hands and feet
are a contradiction as they are very small
and dellcately formed. His hands look
older than his face. for they are veined
and knotted like the hands OF the aged !:
yet they are artistic with long. pointed
fingers and sensitive, delicate finger tips
His face is another contradiction.
1t IS the face Of a Spanish troubadour.
You instinctively long TO see him with
n sombrero and cloak and red rose
between his lips twanging a guitar.
lie has a smooth. olive skin guiltless OF
hair on cheek or chin or mouth Ills
features are perfect. A Grecian nose
beautifully formed mouth. eyes set rather
wide apart under we'll arched brows. ana
thick, black hair cut short except tor
one lock which will come struggling
down over his forehead.
II isn't the face of fanatic or "A
dreamer
IL isn't the face of a practical business
man who sees possible sales in sensa-
tionalism.
1t isn't the face of humorist who
would enjoy spoofng a guileless public.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
GET 1T ON ALL SIDES.

Nulgarly speaking, we lap it up every
where. We talk of 1t in the salons we
laugh at it on the boulevards and we
quarrel over it in the cafes.
Yes. it's everywhere; in everything
It's insidious. It's stealthy!
1t is influencing ideas. clothes, liter
ature and house decoration. If 1t con-
tinues we'll all be talking in words OF one
syllable. and goodness knows what we VIII
look like. Certainly, brand new ideals Oh
beauty will come into vogue.
II has Weakened the "Boule Niche 10
n conversational era. like TO that historic
time when Verlaine and his followers used
TO hold frequenters of the cafes spelloound
with their wild ideas and wilder talk OF
them.
Now It is eager-eyed young men who
have their favorite tables. and who hold
forth for and against the New Movement
in Art
They are awfully emphatic, awfully in
earnest and crazy to fling out ~ords.
words. words!
In fact, 1 don't see how they have time
for anything else in the way of painting
or writing. for they're so busy chatting
and Grating.
I've studied the Post-Impressionists, the
Cubists and the Futurists. I've been as
painstaking as an eager child in cropping
for points of view, but I'm still in 'he
dark. l can't get into the spirit of II.
Maybe I'm old-fashioned. behind the
times and all that. but there 1t is fou
know the worst
And yet ! am not quite so hopelessly
vague about it all as i was. for I've met
a Post-Impressionist, one of the leadins
ones, and from casual study OF him l
have advanced a step or two-in knowl-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
POST-IMPRESSlONlST STUDIO.

Our meeting. so pregnant with posslolll-
ties was i'm a studio. post-impressionist
studio. owned by an American who buys
post-inpressonist paintings for sheer ioVe
of them.
1t was a great. long. low room. with
windows high up toward the ceiling de-
lightful bits Of shabby. old-fashioned FUR
niture carved chests with handmade
locks. odd little tables and quaint high
backed chairs.
And the walls were given over to Pr
casso pictures.
No. that IS an exaggerauon.
There were several Of Matisses efforts
as WELL and there was Cezanne and
really, so rapidly has the movement
hopped along. the CeZanne. a nude, mis-
shapen woman. looked quite simple and
old-fashioned affair among these later
works.
got there early. and the Picasso had
not yet come. 80 l had a chance to satu-
rate myself again in his style.
There were some earlier things OF his
TO be seen-a pretty. slender little girl
i'm the altogether, bearing a small buncn
of flowers, and a woman lying on a couch.
There were one or two portraits and
some studies
Then commenced the cubic period.
cannot dwell on those. for | don't
know how to describe them. but one hugo
canvas fascinated me. On it were two
enormous red figures all divided into sec.
tons
! should so like 10 know what they
meant to him. but ! never shall. for
wasn't allowed to ask Picasso. and |
don't think anybody else could explain
it at all.
Tell me-" said to the Hostess. DO
YOU understand them .u- . save
comprehensive wave OF my hand
"Oh. yes"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
PAINTING SOUL OF TANGIER.

yearned TO encounter Matisse. but that
was out of the question, for he has left
Paris and is down in Tangier. painting
the soul of it in red and yellow. l expect.
The next was Picasso.
Picasso, who paints in cubes from choice
who sees souls in cubes, who used to pct
ure normal men and women and then sud
denly took to the cubic system as a
means Of expression.
7icasso the follower Of Matisse, the
forerunner Of heaven only knows ". :
IN art.
Picasso could be seen, sai' those VINO
knew him. but it was difficult He was
shy. retiring and mute, esro"'ally on the
subject of mis- pictures. "Oon1 tasy
led. don't speak Of his pic:~,--' what
ever else you say!'
why, what will happen? Will he s.m-
ply turn and tear me limb from limb, or
will he fee my baleful presence? l asked
a perfectly natural curiosity.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06

Then do give me the Key" pleaded
I've got an open mind. like ne"
movements. I believe they all make fo'
progress. l may become a disciple OF
the school if only can get an idea what
il all means"
But she simply said sweetly. and with
slight superiority. methought:
MY dear girl one can't explain these
things. You must simply find them for
yourself"
But don't you sometimes have to ask
him for the first inklipg as to what he Is
striving after in his work." l pursued
feeling so ignorant and uncouth.
NO" she replied, dear me. no! al
ways understand, Of course"
1 was out in the cold. That was all
there was TO II, and me with such an
eager, inquiring, young mind. too!
/ looked at the biggest Matisse.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-06
A POSSIBLE SOLUTION.

l should be more inclined 10 suppose
that it enthralls him 70 paint his weird
imaginings and tires him TO discuss them.
II was getting late in the evening and
the room was thick with smoke. Please
shook back the lock of hair, knocked the
ashes out OF his pipe on the hearthstone
in nice, neat fashion and murmured 10
the Hostess:
1T Is now time 7 went home TO bed.
am not a noctambula'-whlchm means an
all-nighter.
The dog rose solemnly and stood by her
master. following him to the chair where
he laid his hat
Picasso wrapped a scarf around bis
throat, put on a heavy coat and was
ready to face the elements.
II am glad you are careful" said the
Hostess. You have been III 50 much this
winter"
"Ah. yes" agreed Picasso. That 10
true-but now / am to be much better.
Good night. madame: good night. mees. -
and ne held out his hand to me.
Good night" and I patted that great
beautiful dog on the head. but she had
no eyes or instinct for me or for any
body there. only for the rel! loved
master.
And the little painter and his big dog
vanished into the night.