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Gertrude Stein was at heart an artist's writer. She became well-known to the literary mainstream with "The Autobiography of Alice B. Toklas," and was at her most accessible with her speech and autobiographical writing of her later years. It is with collections such as "Geography and Plays," however, that Stein showcased the possibilities of the English language to transcend beyond literature into the realm of modern art. The page was her canvas, and as the Cubist painters of her time treated their subjects, Stein re-assembled words in an abstracted form to present them in a greater context, a context un-tethered by a singular viewpoint. This modern edition contains a massive collection of over 50 different works by Gertrude Stein. In addition to the daring and cheeky "Miss Furr and Miss Skeene," this revitalized edition contains many of her most radical and influential works. There is "Ada," one of Stein's many word portraits of famous personages, this one written of Alice B. Toklas. There is "Every Afternoon: A Dialogue," a conversation between two unnamed people highlighting the writer's playful, often humorous style. Also included is "Sacred Emily," in which the reader finds Stein's most often quoted line, "Rose is a rose is a rose is a rose," a line that employs her trademark use of repetitive language to express that things are what they are, but at the same time, so much more. In Stein's view, the simple naming of a thing already invokes the imagery and emotions associated with it-the writer does not need to manipulate the word any further.
Tender Buttons is a 1914 book by American writer Gertrude Stein consisting of three sections titled "Objects", "Food", and "Rooms". While the short book consists of multiple poems covering the everyday mundane, Stein's experimental use of language renders the poems unorthodox and their subjects unfamiliar.Stein began composition of the book in 1912 with multiple short prose poems in an effort to "create a word relationship between the word and the things seen" using a "realist" perspective. She then published it in three sections as her second book in 1914
The Autobiography of Alice B. Toklas was written in 1933 by Gertrude Stein in the guise of an autobiography authored by Alice B. Toklas, who was her lover. It is a fascinating insight into the art scene in Paris as the couple were friends with Paul Cezanne, Henri Matisse and Pablo Picasso. They begin the war years in England but return to France, volunteering for the American Fund for the French Wounded, driving around France, helping the wounded and homeless. After the war Gertrude has an argument with T. S. Eliot after he finds one of her writings inappropriate. They become friends with Sherwood Anderson and Ernest Hemingway. It was written to make money and was indeed a commercial success. However, it attracted criticism, especially from those who appeared in the book and didn't like the way they were depicted.
This book is a cultural history of Stein’s rise to fame and the function of literary celebrity in America from 1910 to 1935. By examining not the ways that Stein portrayed the popular in her work, but the ways the popular portrayed her, this study shows that there was an intimate relationship between literary modernism and mainstream culture and that modernist writers and texts were much more well-known than has been previously acknowledged. Specifically, Leick reveals through the case study of Stein that the relationship between mass culture and modernism in America was less antagonistic, more productive and integrated than previous studies have suggested.
This book traces the presence of the theater, both as an abstract concept and a literal space, in the plays and poetry of Gertrude Stein and Wallace Stevens as it attempts to explain the parallel depictions of consciousness that are found in both authors' work. Literary modernists inherited a self that was fallible, a self that was seen as an ultimately failed gesture of expression, and throughout much modern literature is a sense of disillusionment with more traditional notions of selfhood. As more conventional ways of thinking about consciousness became untenable, so too did conventional models of artistic expression.This book shows how Stein and Stevens provide powerful examples of this modern attempt to stage the new subject.
Fragmentary, unabashed, erotic―“Lifting Belly” is a singular lesbian love poem from modernist Gertrude Stein (1874–1946) which lays bare desire and easy intimacy—now in a beautifully packaged edition. What is it when it’s upset. It isn’t in the room. Moonlight and darkness. Sleep and not sleep. We sleep every night. What was it. I said lifting belly. You didn’t say it. I said I mean lifting belly. Don’t misunderstand me. Do you. Do you lift everybody in that way. No. You are to say No. Lifting belly. How are you. Lifting belly how are you lifting belly. We like a fire and we don’t mind if it smokes. Do you. ―From “Lifting Belly” Each palm–size book in the Counterpoints series is meant to stay with you, whether safely in your pocket or long after you turn the last page. From short stories to essays to poems, these little books celebrate our most–beloved writers, whose work encapsulates the spirit of Counterpoint Press: cutting–edge, wide–ranging, and independent.
This bold new theoretical study explores dissident subjectivity, that is, the struggle for unique authorial identity in American literary discourse that has existed, according to David Jarraway, since the Romantics. From Emerson’s “Experience” remarking upon the “focal distance within the actual horizon of human life” to Toni Morrison’s Nobel Prize address sanctifying the artist’s “sophisticated privileged space,” American literature has continuously recognized a necessary “distance”—the gap between culturally accepted ideas of selfhood and the intractable reality of the self’s never-completed construction in time. Jarraway’s fascinating examination of modernist poets shows that engaging with this artistic space, or “going the distance,” empowers writers and their readers to create and perceive identities that resist the frozen certainties of conventional gender, sexual, and social roles. Employing this theory with grace and precision, Jarraway ranges through the dissident process in Gertrude Stein, the cultural criticism of William Carlos Williams, the deferred racialism of Langston Hughes, the queer perversities of Frank O’Hara, and the spectral lesbian poetics of Elizabeth Bishop. Bolstered further by insights from the pragmatism of William James through the cultural critique of Theodor Adorno to the queer theory of Judith Butler, the author challenges his audience with politically engaged insistence on the life-affirming potentialities of human subjectivity in literature. His passionate conclusion demonstrates the liberating fluidity of self made possible by feminist chartings of modern identity’s depths. Lucidly composed, theoretically sophisticated and up-to-the-minute, Going the Distance painstakingly recovers the dissident American subjective in modernist literary discourse within its fullest cultural context. Jarraway’s readings are a major contribution to poetry scholarship and to cultural studies that will provoke further investigations into the history of subjectivity in American literature as a whole.