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JL I learned a lot of things--

EM No slang, though, no American slang.

JL No, no.

EM You really liked him very much, didn't you? 

JL Yes, when I met him, I liked him. We were speaking about poetry, and he knew a lot of it. It was French, of course, because about English poetry I didn't know too much. I was speaking with him about Gertrude Stein, whom I knew very well. 

EM Did you talk about painting?

JL Yes, yes, he was a great admirer of Ryder, and of course Cezanne, that was our mutual admiration. 

EM The funny thing is that I don't remember in the notes--I have forty-eight notebooks full of material on Hartley at home--but I don't remember his saying very much about sculpture. 

JL No, we were not speaking--you see, personally I don't see any difference between painting and sculpture. I would say it is the music which they are playing that interests me. You see, what kind of instruments they are using, is it a piano? Is it a fiddle? that's our own business, you know. We prefer fiddles, so we play a fiddle. We prefer a piano; we play a piano. And of course every instrument has its technique, like every medium, sculpture has its technique, painting its own. But the important thing was what we were doing with it, and in this field or in this direction, I found in him very interesting companionship. 

EM Of course, you knew him at the end of his life when he really began to develop a completely personal style. 

JL Yes, he was complaining that he had a very hard life as an artist. And while he was posing for me (Paul) Rosenberg (said) that I