Chapter thirty-three: living in the past

“I work and see few people”: ST to AB, February 22, 1968, SSF.

She told him to invite Aldo: ST’s datebook for 1968 is full of doodles on newspaper want ads and includes meetings with the realtor Alice Mason; YCAL, Box 3.

When he heard that the eleventh (and top) floor: The lease ran from April 19, 1968, to August 31, 1975. His application to use the premises for a residence in conjunction with an artist’s studio was approved on November 4, 1968; YCAL, Box 22. Also, ST to AB, December 8, 1968, SSF.

“Isn’t it sumptuous?”: Eli Waldron, 1973 essay, YCAL, Box 32.

He got as far as making a list: His work was exhibited in 1968 at the Museo de Bellas Artes, Caracas; Hamburger Kunsthalle, Germany; Louisiana Museum, Humleback, Denmark; Moderna Museet, Stockholm; and Irving Galleries, Milwaukee, and was also part of a traveling exhibition that featured the Neuberger Collection, “An American Collection: Paintings, Drawings, and Sculpture,” which began at the Rhode Island School of Design and ended at the Smithsonian Institution.

“the little house”: In a datebook diary, YCAL, Box 108, SS wrote that they moved the little house on May 27, 1968.

“We’re going through a nice period”: ST to AB, December 8, 1968, SSF.

“Romanian winter”: ST to AB, March 11, 1969, SSF.

“I function poorly these days”: ST to AB, September 16, 1969, SSF.

They met for the first time: The first meeting took place on September 12, 1965, according to ST’s 1965 datebook, YCAL, Box 3. Information pertaining to van Dalen is from an interview with him, October 5, 2007.

Steinberg asked van Dalen to walk: “Steinberg would move through subject matter. Something would come up that fascinated him and he would work it through, follow it through. I just started at the east end [of Canal Street] and walked west and photographed everything I saw. I always wondered if he had a woman who lived down there because he was so fascinated with it”; Anton van Dalen, interview, October 5, 2007.

“The true artist”: Mimi Gross, interview, March 9, 2010.

She kept up with the literature: HS, interview, October 7, 2007.

The dunning letters: These and copies of many other overdue bills are in YCAL, Box 8.

Money became a concern again: ST, Week At A Glance, 1969, YCAL, Box 3.

He invested a good part of everything: As of 1970, $20,978.35; see TNY annual report of participation trust from Morgan Guaranty Trust Company, YCAL, Box 8.

“July 24: S. hits me”: Information that follows is from SS, diary, 1969, YCAL, Box 108.

“such an extreme and extravagant change”: SS to ST, December 6, 1969, YCAL, Box 112.

“hate and disgust”: SS to ST, January 1, 1970, YCAL, Box 112.

Steinberg had wanted to return to Africa: Information in this paragraph is from ST to AB, March 28, 1970.

“crocodile man”: From what appears to be the earliest transcript of the conversations with Grace Glueck that became the article “The Artist Speaks,” Arts in America, November–December 1970, pp. 110–17.

He was speaking of Alistair Graham: Alistair Graham, Eyelids of Morning: The Mingled Destinies of Crocodiles and Men (San Francisco: Chronicle, 1973–76; reissued 1990). Graham’s correspondence with Steinberg is in YCAL, Box 8.

Graham urged Steinberg to go: Steinberg never visited Lake Rudolph. He sent a thank-you letter to Graham, who replied that ST’s description of Murchison Falls “confirms my suspicion that your taste in Africa is as good as it is in wit”; Alistair Graham to ST, April 25 [1970], YCAL, Box 8.

On his first day in Nairobi: Bellow claimed they were both wearing American baseball hats, but this detail, like many others he allegedly recalled, is in dispute. See also “Saul Steinberg,” The Republic of Letters, no. 7, November 1999; Saul Steinberg, “Saul Bellow in Uganda,” Saul Bellow Journal 4, no. 2 (1985): 24–25.

In an article Bellow wrote: Bellow, “Saul Steinberg,” p. 29.

it is highly unlikely: However, ST did tell Grace Glueck that he and Angelini “had a ball going around on donkeys and mules in cowboy hats, smoking hashish and seeing these—well, more than the churches.”

Steinberg observed how the biologist: Information that follows is from Glueck, unedited transcripts of interviews, copies at SSF.

He had accepted an extremely lucrative commission: Harry Abrams prepared a portfolio of six lithographs with collage that guaranteed ST income in the range of $32,000 (if sold by dealers) to $40,000 (if sold directly by the publisher); YCAL, Box 8.

“enter into investigative discussions”: These are among the many requests in YCAL, Box 8. ST did eventually send the paintings, which were exhibited in the fall at the Carnegie International Exhibition of Painting and Sculpture, Pittsburgh.

Van Dalen also had to take care of: Palm Springs Desert Museum donation, September 24, 1970; $100 to East Hampton Guild Hall, August 4, 1970; Guild Hall poster earned $500. All in YCAL, Box 8.

Steinberg was against the war: Lica Roman to ST, n.d., YCAL, Box 8.

He did, however, contribute: Manifesto, April 1970; Dolci invitation, n.d. Both in YCAL, Box 8.

“closed up … into my shell”: ST to AB, November 8, 1970.

Despite his silence, she sent: The message read, “I wish I were there with you”; SS to ST, n.d., YCAL, Box 8.

“less lonely here alone”: SS to ST, May 9, 1970, YCAL, Box 112.

Gross and Grooms were so concerned: Mimi Gross, interview, March 9, 2010.

“It has been coming for a long time”: SS to ST, n.d. but internal evidence suggests fall 1970, YCAL, Box 8.

“pretend the problem does not exist”: ST to AB, November 8, 1970.

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