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By Gertrude Stein

This feature of Gertrude Stein's paintings is taken from the interval among 1905 and 1936, while the long-lasting modernist poet used to be engaged in an fabulous variety of still-surprising literary experiments, whose strategies proceed to persuade the entire arts. Editor Joan Retallack has selected whole texts or decisions that lend themselves to a clarified imaginative and prescient of Stein's oeuvre. In her very good creation, Retallack presents the ancient and biographical context for Stein's lifelong venture of composing a "continuous present," an attempt which parallels a few of the most crucial technological and medical advancements of her era—from relocating photographs to Einstein's revision of our realizing of area and time. Retallack additionally addresses power questions about Stein's paintings and the way to learn it in our modern second. In suggesting a performative "reading poesis" for those works, Retallack follows Stein's dictum by means of arguing that to actively adventure the paintings is to get pleasure from it, and to get pleasure from it really is to appreciate it.

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Extra resources for Gertrude Stein: Selections (Poets for the Millennium)

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Were these comparatively innocent gestures of lyrical “color” that simply fell victim to retrospective misfortune? Following the Civil War, a still active Abolitionist community, along with the black self-determination and New Negro movements (particularly active in Harlem), contested degrading images of blacks I N T R O D U C T I O N / 4 9 and offered positive alternatives. How aware of this was Stein? ) the degree to which she was perpetuating racist clichés, particularly in what she termed her “negro novella,” Melanctha?

Something similar happens in the third and fourth lines of the first stanza of Wallace Stevens’s “Anecdote of the Jar,” after which he restores the opening metrics for the rest of the poem. For Stein, it’s impossible to be “present perfectly” in regular iambs. Stanzas is Stein’s longest poem. ) It explores an enormous rhythmic range and is perhaps her most complete realization of a context-free forest of Arden. It is another work of love and dailiness (written, astonishingly, the same year as The Autobiography of Alice B.

Of course you all do know that when I speak of naming anything, I include emotions as well as things. (LIA, 236–37) How can one not think of “the love that dare not speak its name” in relation to this statement? D. with a quotation from As You Like It in which the verbal play on switched gender identities is underscored in a repetitive round. D. 45 It’s written in a British prose style attenuated by regular uses of “rather” and “quite”—and is “quite” witty. , its rhythms and inflections, present—quod erat demonstrandum—a relationship and a prose style from which Stein would have to depart.

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