Gertrude Stein Essay Plays

Gertrude Stein (February 3, 1874 – July 27, 1946) was an American novelist, poet, playwright, and art collector. Born in the Allegheny West neighborhood of Pittsburgh, Pennsylvania, and raised in Oakland, California, Stein moved to Paris in 1903, and made France her home for the remainder of her life. She hosted a Paris salon, where the leading figures of modernism in literature and art, such as Pablo Picasso, Ernest Hemingway, F. Scott Fitzgerald, Sinclair Lewis, Ezra Pound, Sherwood Anderson and Henri Matisse, would meet.[1]

In 1933, Stein published a quasi-memoir of her Paris years, The Autobiography of Alice B. Toklas, written in the voice of her life partner[citation needed]Alice B. Toklas, an American-born member of the Parisian avant-garde. The book became a literary bestseller and vaulted Stein from the relative obscurity of the cult-literature scene into the limelight of mainstream attention.[2] Two quotes from her works have become widely known: "Rose is a rose is a rose is a rose"[3] and "there is no there there", with the latter often taken to be a reference to her childhood home of Oakland, California.

Her books include Q.E.D. (Quod Erat Demonstrandum) (1903), about a lesbian romantic affair involving several of Stein's female friends, Fernhurst, a fictional story about a romantic affair, Three Lives (1905–06), and The Making of Americans (1902–1911). In Tender Buttons (1914), Stein commented on lesbian sexuality.[4]

Her activities during World War II have been the subject of analysis and commentary. As a Jew living in Nazi-occupied France, Stein may have only been able to sustain her lifestyle as an art collector, and indeed to ensure her physical safety, through the protection of the powerful Vichy government official and Nazi collaborator Bernard Faÿ. After the war ended, Stein expressed admiration for another Nazi collaborator, Vichy leader Marshal Pétain.[5] Some have argued that certain accounts of Stein's wartime activities have amounted to a "witch hunt".[6]

Early life[edit]

Stein, the youngest of a family of five children, was born on February 3, 1874, in Allegheny, Pennsylvania (which merged with Pittsburgh in 1907), to upper-middle-class Jewish parents, Daniel and Amelia Stein.[7][8] Her father was a wealthy businessman with real estate holdings. German and English were spoken in their home.[9]

When Stein was three years old, she and her family moved to Vienna, and then Paris. Accompanied by governesses and tutors, the Steins endeavored to imbue their children with the cultured sensibilities of European history and life.[10] After a year-long sojourn abroad, they returned to America in 1878, settling in Oakland, California, where her father became director of San Francisco's street car lines, the Market Street Railway, in an era when public transportation was a privately owned enterprise.[11] Stein attended First Hebrew Congregation of Oakland's Sabbath school.[12] During their residence in Oakland, they lived for four years on a ten-acre lot, and Stein built many memories of California there. She would often go on excursions with her brother, Leo, with whom she developed a close relationship. Stein found formal schooling in Oakland unstimulating, but she read often: Shakespeare, Wordsworth, Scott, Burns, Smollett, Fielding, and more.[8]

When Stein was 14 years old, her mother died. Three years later, her father died as well. Stein's eldest brother, Michael Stein, then took over the family business holdings and in 1892 arranged for Gertrude and another sister, Bertha, to live with their mother's family in Baltimore.[13] Here she lived with her uncle David Bachrach,[14] who in 1877 had married Gertrude's maternal aunt, Fanny Keyser.

In Baltimore, Stein met Claribel and Etta Cone, who held Saturday evening salons that she would later emulate in Paris. The Cones shared an appreciation for art and conversation about it and modeled a domestic division of labor that Stein would replicate in her relationship with Alice B. Toklas.[15]

Education[edit]

Radcliffe[edit]

Stein attended Radcliffe College,[16] then an annex of Harvard University, from 1893 to 1897 and was a student of psychologist William James. With James's supervision, Stein and another student, Leon Mendez Solomons, performed experiments on normal motor automatism, a phenomenon hypothesized to occur in people when their attention is divided between two simultaneous intelligent activities such as writing and speaking.

These experiments yielded examples of writing that appeared to represent "stream of consciousness", a psychological theory often attributed to James and the style of modernist authors Virginia Woolf and James Joyce. In 1934, behavioral psychologist B.F. Skinner interpreted Stein's difficult poem Tender Buttons as an example of normal motor automatism.[17] In a letter Stein wrote during the 1930s, she explained that she never accepted the theory of automatic writing: "[T]here can be automatic movements, but not automatic writing. Writing for the normal person is too complicated an activity to be indulged in automatically."[18] She did publish an article in a psychological journal on "spontaneous automatic writing" while at Radcliffe, but "the unconscious and the intuition (even when James himself wrote about them) never concerned her."[8]

At Radcliffe, she began a lifelong friendship with Mabel Foote Weeks, whose correspondence traces much of the progression of Stein's life. In 1897, Stein spent the summer in Woods Hole, Massachusetts, studying embryology at the Marine Biological Laboratory.[19] She received her A.B. (Bachelor of Arts) magna cum laude from Radcliffe in 1898.[8]

Johns Hopkins School of Medicine[edit]

William James, who had become a committed mentor to Stein at Radcliffe, recognizing her intellectual potential, and declaring her his "most brilliant woman student", encouraged Stein to enroll in medical school. Although Stein professed no interest in either the theory or practice of medicine, she enrolled at Johns Hopkins School of Medicine in 1897. In her fourth year, Stein failed an important course, lost interest, and left.[8] Ultimately, medical school had bored her, and she had spent many of her evenings not applying herself to her studies, but taking long walks and attending the opera.[10][20]

Stein's tenure at Johns Hopkins was marked by challenge and stress. Men dominated the medical field, and the inclusion of women in the profession was not unreservedly or unanimously welcomed. Writing of this period in her life (in Things As They Are, 1903) Stein often revealed herself as a depressed young woman dealing with a paternalistic culture, struggling to find her own identity, which she realized could not conform to the conventional female role. Her uncorseted physical appearance and eccentric mode of dress aroused comment and she was described as "Big and floppy and sandaled and not caring a damn".[21][22] According to Linda Wagner-Martin, Stein's "controversial stance on women's medicine caused problems with the male faculty" and contributed to her decision to leave without finishing her degree.[7]

Asked to give a lecture to a group of Baltimore women in 1899, Stein gave a controversial speech titled "The Value of College Education for Women", undoubtedly designed to provoke the largely middle-class audience. In the lecture Stein maintained:

"average middle class woman [supported by] some male relative, a husband or father or brother,...[is] not worth her keep economically considered. [This economic dependence caused her to become] oversexed...adapting herself to the abnormal sex desire of the male...and becoming a creature that should have been first a human being and then a woman into one that is a woman first and always."

— [22]

While a student at Johns Hopkins and purportedly still naïve about sexual matters, Stein experienced an awakening of her latent sexuality. Sometime in 1899 or 1900, she became infatuated with Mary Bookstaver who was involved in a relationship with a medical student, Mabel Haynes. Witnessing the relationship between the two women served for Stein as her "erotic awakening". The unhappy love triangle demoralized Stein, arguably contributing to her decision to abandon her medical studies.[22] In 1902 Stein's brother Leo Stein left for London, and Stein followed. The following year the two relocated to Paris, where Leo hoped to pursue an art career.[20]

Art collection[edit]

From 1903 until 1914, when they dissolved their common household, Gertrude and her brother Leo shared living quarters near the Luxembourg Garden on the Left Bank of Paris in a two-story apartment (with adjacent studio) located on the interior courtyard at 27 rue de Fleurus, 6th arrondissement. Here they accumulated the works of art that formed a collection that became renowned for its prescience and historical importance.

The gallery space was furnished with imposing Renaissance-era furniture manufactured in Florence, Italy. The paintings lined the walls in tiers trailing many feet to the ceiling. Initially illuminated by gaslight, the artwork was later lit by electric light shortly prior to World War I.[23]

Leo Stein cultivated important art world connections, enabling the Stein holdings to grow over time. The art historian and collector Bernard Berenson hosted Gertrude and Leo in his English country house in 1902, facilitating their introduction to Paul Cézanne and the dealer Ambroise Vollard.[24] Vollard was heavily involved in the Cézanne art market, and he was the first important contact in the Paris art world for both Leo and Gertrude.[8]

The joint collection of Gertrude and Leo Stein began in late 1904 when Michael Stein announced that their trust account had accumulated a balance of 8,000 francs. They spent this at Vollard's Gallery, buying Gauguin's Sunflowers[25] and Three Tahitians,[26] Cézanne's Bathers,[27] and two Renoirs.[28]

The art collection increased and the walls at Rue de Fleurus were rearranged continually to make way for new acquisitions.[29] In "the first half of 1905" the Steins acquired Cézanne's Portrait of Mme Cézanne and Delacroix's Perseus and Andromeda.[30] Shortly after the opening of the Salon d'Automne of 1905 (on October 18, 1905), the Steins acquired Matisse's Woman with a Hat[31] and Picasso's Young Girl with Basket of Flowers.[32]

Henry McBride (art critic for the New York Sun) did much for Stein's reputation in the United States, publicizing her art acquisitions and her importance as a cultural figure. Of the art collection at 27 Rue de Fleurus, McBride commented: "[I]n proportion to its size and quality... [it is] just about the most potent of any that I have ever heard of in history."[33] McBride also made the observation that Gertrude "collected geniuses rather than masterpieces. She recognized them a long way off."[33]

By early 1906, Leo and Gertrude Stein's studio had many paintings by Henri Manguin, Pierre Bonnard, Pablo Picasso, Paul Cézanne, Pierre-Auguste Renoir, Honoré Daumier, Henri Matisse, and Henri de Toulouse-Lautrec.[34] Their collection was representative of two famous art exhibitions that took place during their residence together in Paris, and to which they contributed, either by lending their art, or by patronizing the featured artists.[35] The Steins' elder brother, Michael, and sister-in-law Sarah (Sally) acquired a large number of Henri Matisse paintings; Gertrude's friends from Baltimore, Claribel and Etta Cone, collected similarly, eventually donating their art collection, virtually intact, to the Baltimore Museum of Art.[36]

While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 Rue de Fleurus. Where Renoir, Cézanne, Matisse, and Picasso's works dominated Leo and Gertrude's collection, the collection of Michael and Sarah Stein emphasized Matisse.[37] In April 1914 Leo relocated to Settignano, Italy, near Florence, and the art collection was divided. The division of the Steins' art collection was described in a letter by Leo:

The Cézanne apples have a unique importance to me that nothing can replace. The Picasso landscape is not important in any such sense. We are, as it seems to me on the whole, both so well off now that we needn't repine. The Cézannes had to be divided. I am willing to leave you the Picasso oeuvre, as you left me the Renoir, and you can have everything except that. I want to keep the few drawings that I have. This leaves no string for me, it is financially equable either way for estimates are only rough & ready methods, & I'm afraid you'll have to look upon the loss of the apples as an act of God. I have been anxious above all things that each should have in reason all that he wanted, and just as I was glad that Renoir was sufficiently indifferent to you so that you were ready to give them up, so I am glad that Pablo is sufficiently indifferent to me that I am willing to let you have all you want of it.[38][39]

Leo departed with sixteen Renoirs, and relinquishing the Picassos and most of Matisse to his sister, took only a portrait sketch Picasso had done of him. He remained dedicated to Cézanne, nonetheless, leaving all the artist's works with his sister, taking with him only a Cézanne painting of "5 apples".[23] The split between brother and sister was acrimonious. Stein did not see Leo Stein again until after World War I, and then through only a brief greeting on the street in Paris. After this accidental encounter, they never saw or spoke to each other again.[23] The Steins' holdings were dispersed eventually by various methods and for various reasons.[40] After Stein's and Leo's households separated in 1914, she continued to collect examples of Picasso's art, which had turned to Cubism, a style Leo did not appreciate. At her death, Gertrude's remaining collection emphasized the artwork of Picasso and Juan Gris, most of her other pictures having been sold.[41]

Gertrude Stein's personality has dominated the provenance of the Stein art legacy. It was, however, her brother Leo who was the astute art appraiser. Alfred Barr Jr., the founding director of New York's Museum of Modern Art, said that between the years of 1905 and 1907, "[Leo] was possibly the most discerning connoisseur and collector of 20th century painting in the world."[42] After the artworks were divided between the two Stein siblings, it was Gertrude who moved on to champion the works of what proved to be lesser talents in the 1930s. She concentrated on the work of Juan Gris, André Masson, and Sir Francis Rose. In 1932, Stein asserted: "painting now after its great period has come back to be a minor art."[23]

In 1945, in a preface for the first exhibition of Spanish painter Francisco Riba Rovira (who painted a portrait of her), Stein wrote:

I explained that for me, all modern painting is based on what Cézanne nearly made, instead of basing itself on what he almost managed to make. When he could not make a thing, he hijacked it and left it. He insisted on showing his incapacity: he spread his lack of success: showing what he could not do, became an obsession for him. People influenced by him were also obsessed by the things which they could not reach and they began the system of camouflage. It was natural to do so, even inevitable: that soon became an art, in peace and in war, and Matisse concealed and insisted at the same time on that Cézanne could not realize, and Picasso concealed, played and tormented all these things. The only one who wanted to insist on this problem, was Juan Gris. He persisted by deepening the things which Cézanne wanted to do, but it was too hard a task for him: it killed him. And now here we are, I find a young painter who does not follow the tendency to play with what Cézanne could not do, but who attacks any right the things which he tried to make, to create the objects which have to exist, for, and in themselves, and not in relation.[43][44]

27 rue de Fleurus: The Stein salon[edit]

The gatherings in the Stein home "brought together confluences of talent and thinking that would help define modernism in literature and art". Dedicated attendees included Pablo Picasso, Ernest Hemingway, F. Scott Fitzgerald, Sinclair Lewis, Ezra Pound, Gavin Williamson, Thornton Wilder, Sherwood Anderson, Francis Cyril Rose, Bob Brown, René Crevel, Élisabeth de Gramont, Francis Picabia, Claribel Cone, Mildred Aldrich, Jane Peterson, Carl Van Vechten and Henri Matisse.[1] Saturday evenings had been set as the fixed day and time for formal congregation so Stein could work at her writing uninterrupted by impromptu visitors. It was Stein's partner Alice who became the de facto hostess for the wives and girlfriends of the artists in attendance, who met in a separate room.

Gertrude attributed the beginnings of the Saturday evening salons to Matisse, as people began visiting to see his paintings and those of Cézanne: "Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance, and it was in this way that Saturday evenings began."[45]

Among Picasso's acquaintances who frequented the Saturday evenings were: Fernande Olivier (Picasso's mistress), Georges Braque (artist), André Derain (artist), Max Jacob (poet), Guillaume Apollinaire (poet), Marie Laurencin (artist, and Apollinaire's mistress), Henri Rousseau (painter), and Joseph Stella.[46]

Hemingway frequented Stein's salon, but the two had an uneven relationship. They began as close friends, with Hemingway admiring Stein as a mentor, but they later grew apart, especially after Stein called Hemingway "yellow" in The Autobiography of Alice B. Toklas.[8] Upon the birth of his son, Hemingway asked Stein to be the godmother of his child.[47] While Stein has been credited with inventing the term "Lost Generation" for those whose defining moment in time and coming of age had been World War I and its aftermath, there are at least three versions of the story that led to the phrase, two by Hemingway and one by Stein.[48]

During the summer of 1931, Stein advised the young composer and writer Paul Bowles to go to Tangier, where she and Alice had vacationed.

Literary style[edit]

Stein's writing can be placed in three categories: "hermetic" works best illustrated by The Making of Americans: The Hersland Family; popularized writing such as The Autobiography of Alice B. Toklas; and speech writing and more accessible autobiographical writing of later years, of which Brewsie and Willie is a good example. Her works include novels, plays, stories, libretti and poems written in a highly idiosyncratic, playful, repetitive, and humorous style. Typical quotes are: "Rose is a rose is a rose is a rose"; "Out of kindness comes redness and out of rudeness comes rapid same question, out of an eye comes research, out of selection comes painful cattle"; about her childhood home in Oakland, "There is no there there"; and "The change of color is likely and a difference a very little difference is prepared. Sugar is not a vegetable."

These stream-of-consciousness experiments, rhythmical essays or "portraits", were designed to evoke "the excitingness of pure being" and can be seen as literature's answer to visual art styles and forms such as Cubism, plasticity, and collage. Many of the experimental works such as Tender Buttons have since been interpreted by critics as a feminist reworking of patriarchal language. These works were well received by avant-garde critics but did not initially achieve mainstream success. Despite Stein's work on "automatic writing" with William James, she did not see her work as automatic, but as an 'excess of consciousness'.[citation needed]

Though Stein collected cubist paintings, especially those of Picasso, the largest visual arts influence on her literary work is that of Cézanne. Particularly, he influenced her idea of equality, distinguished from universality: "the whole field of the canvas is important" (p. 8[full citation needed]). Rather than a figure/ground relationship, "Stein in her work with words used the entire text as a field in which every element mattered as much as any other." It is a subjective relationship that includes multiple viewpoints. Stein explained: "The important thing is that you must have deep down as the deepest thing in you a sense of equality."

Her use of repetition is ascribed to her search for descriptions of the "bottom nature" of her characters, such as in The Making of Americans where the narrator is described through the repetition of narrative phrases such as "As I was saying" and "There will be now a history of her." Stein used many Anglo-Saxon words and avoided words with "too much association". Social judgement is absent in her writing, so the reader is given the power to decide how to think and feel about the writing. Anxiety, fear and anger are also absent, and her work is harmonic and integrative.[citation needed]

Stein predominantly used the present progressive tense, creating a continuous present in her work, which Grahn argues is a consequence of the previous principles, especially commonality and centeredness. Grahn describes "play" as the granting of autonomy and agency to the readers or audience: "rather than the emotional manipulation that is a characteristic of linear writing, Stein uses play."[49] In addition Stein's work is funny, and multilayered, allowing a variety of interpretations and engagements. Lastly Grahn argues that one must "insterstand... engage with the work, to mix with it in an active engagement, rather than 'figuring it out.' Figure it in."[50] In 1932, using an accessible style to appeal to a wider audience, she wrote The Autobiography of Alice B. Toklas; the book would become her first best-seller. Despite the title, it was actually Stein's autobiography. The style was quite similar to that of The Alice B. Toklas Cookbook, which was written by Toklas.

Several of Stein's writings have been set to music by composers, including Virgil Thomson's operas Four Saints in Three Acts and The Mother of Us All, and James Tenney's setting of Rose is a rose is a rose is a rose as a canon dedicated to Philip Corner, beginning with "a" on an upbeat and continuing so that each repetition shuffles the words, e.g. "a/rose is a rose/is a rose is/a rose is a/rose."

Literary career[edit]

While living in Paris, Stein began submitting her writing for publication. Her earliest writings were mainly retellings of her college experiences. Her first critically acclaimed publication was Three Lives. In 1911, Mildred Aldrich introduced Stein to Mabel Dodge Luhan and they began a short-lived but fruitful friendship during which the wealthy Mabel Dodge promoted Gertrude's legend in the United States.

Mabel was enthusiastic about Stein's sprawling publication The Makings of Americans and, at a time when Stein had much difficulty selling her writing to publishers, privately published 300 copies of Portrait of Mabel Dodge at Villa Curonia.[41] Dodge was also involved in the publicity and planning of the 69th RegimentArmory Show in 1913, "the first avant-garde art exhibition in America".[41]

In addition, she wrote the first critical analysis of Stein's writing to appear in America, in "Speculations, or Post-Impressionists in Prose", published in a special March 1913 publication of Arts and Decoration.[52] Foreshadowing Stein's later critical reception, Dodge wrote in "Speculations":

In Gertrude Stein's writing every word lives and, apart from concept, it is so exquisitely rhythmical and cadenced that if we read it aloud and receive it as pure sound, it is like a kind of sensuous music. Just as one may stop, for once, in a way, before a canvas of Picasso, and, letting one's reason sleep for an instant, may exclaim: "It is a fine pattern!" so, listening to Gertrude Stein's words and forgetting to try to understand what they mean, one submits to their gradual charm.[52]

Stein and Carl Van Vechten, the noted critic and photographer, became acquainted in Paris in 1913. The two became lifelong friends, devising pet names for each other: Van Vechten was "Papa Woojums", and Stein, "Baby Woojums". Van Vechten served as an enthusiastic champion of Stein's literary work in the United States, in effect becoming her American agent.[1]

America (1934–1935)[edit]

In October 1934, Stein arrived in America after a 30-year absence. Disembarking from the ocean liner in New York, she encountered a throng of reporters. Front-page articles on Stein appeared in almost every New York City newspaper. As she rode through Manhattan to her hotel, she was able to get a sense of the publicity that would hallmark her US tour. An electric sign in Times Square announced to all that "Gertrude Stein Has Arrived".[53] Her six-month tour of the country encompassed 191 days of travel, criss-crossing 23 states and visiting 37 cities. Stein prepared her lectures for each stop-over in a formally structured way, and the audience was limited to five hundred attendees for each venue. She spoke, reading from notes, and provided for an audience question and answer period at the end of her presentation.[53]

Stein's effectiveness as a lecture speaker received varying evaluations. At the time, some maintained that "Stein's audiences by and large did not understand her lectures." Some of those in the psychiatric community weighed in, judging that Stein suffered from a speech disorder, palilalia, which caused her "to stutter over words and phrases". The predominant feeling, however, was that Stein was a compelling presence, a fascinating personality who had the ability to hold listeners with the "musicality of her language".[53]

In Washington, D.C. Stein was invited to have tea with the President's wife, Eleanor Roosevelt. In Beverly Hills, California, she visited actor and filmmaker Charlie Chaplin who reportedly discussed the future of cinema with her.[53] Stein left America in May 1935, a newly minted American celebrity with a commitment from Random House, who had agreed to become the American publisher for all of her future works.[53][54] The Chicago Daily Tribune wrote after Stein's return to Paris: "No writer in years has been so widely discussed, so much caricatured, so passionately championed."[53]

Books[edit]

Q.E.D.[edit]

Gertrude completed Q.E.D. (Quod Erat Demonstrandum) on October 24, 1903.[55] One of the earliest coming out stories,[56] it is about a romantic affair involving Stein and her friends Mabel Haynes, Grace Lounsbury and Mary Bookstaver, and occurred between 1897 and 1901 while she was studying at Johns Hopkins in Baltimore.[57] This story is discussed more completely later in this article in the section on her lesbian relationships.

Fernhurst (1904)[edit]

In 1904 Stein began Fernhurst, a fictional account of a scandalous three-person romantic affair involving a dean (M. Carey Thomas), a faculty member from Bryn Mawr College (Mary Gwinn) and a Harvard graduate (Alfred Hodder).[58] Mellow asserts that Fernhurst "is a decidedly minor and awkward piece of writing".[59] It includes some commentary that Gertrude mentioned in her autobiography when she discussed the "fateful twenty-ninth year"[59] during which:

All the forces that have been engaged through the years of childhood, adolescence and youth in confused and ferocious combat range themselves in ordered ranks (and during which) the straight and narrow gateway of maturity, and life which was all uproar and confusion narrows down to form and purpose, and we exchange a great dim possibility for a small hard reality.

Also in our American life where there is no coercion in custom and it is our right to change our vocation so often as we have desire and opportunity, it is a common experience that our youth extends through the whole first twenty-nine years of our life and it is not till we reach thirty that we find at last that vocation for which we feel ourselves fit and to which we willingly devote continued labor.[60]

Mellow observes that, in 1904, 30-year-old Gertrude "had evidently determined that the 'small hard reality' of her life would be writing".[61]

Three Lives (1905–1906)[edit]

Stein attributed the inception of Three Lives to the inspiration she received from a portrait Cézanne had painted of his wife and which was in the Stein collection. She credited this as a revelatory moment in the evolution of her writing style. Stein described:

that the stylistic method of (Three Lives) had been influenced by the Cézanne portrait under which she sat writing. The portrait of Madame Cézanne is one of the monumental examples of the artist's method, each exacting, carefully negotiated plane—from the suave reds of the armchair and the gray blues of the sitter's jacket to the vaguely figured wallpaper of the background—having been structured into existence, seeming to fix the subject for all eternity. So it was with Gertrude's repetitive sentences, each one building up, phrase by phrase, the substance of her characters.[62]

She began Three Lives during the spring of 1905 and finished it the following year.[63]

The Making of Americans (1902–1911)[edit]

Gertrude Stein stated the date for her writing of The Making of Americans was 1906–8. Her biographer has uncovered evidence that it actually began in 1902 and did not end until 1911.[64] Stein compared her work to James Joyce's Ulysses and to Marcel Proust's In Search of Lost Time. Her critics were less enthusiastic about it.[65] Stein wrote the bulk of the novel between 1903 and 1911, and evidence from her manuscripts suggests three major periods of revision during that time.[66] The manuscript remained mostly hidden from public view until 1924 when, at the urging of Ernest Hemingway, Ford Madox Ford agreed to publish excerpts in the transatlantic review.[67] In 1925, the Paris-based Contact Press published a limited run of the novel consisting of 500 copies. A much-abridged edition was published by Harcourt Brace in 1934, but the full version remained out of print until Something Else Press republished it in 1966. In 1995, a new, definitive edition was published by Dalkey Archive Press with a foreword by William Gass.[68]

Gertrude's Matisse and Picasso descriptive essays appeared in Alfred Stieglitz's August, 1912 edition of Camera Work, a special edition devoted to Picasso and Matisse, and represented her very first publication.[69] Of this publication, Gertrude said, "[h]e was the first one that ever printed anything that I had done. And you can imagine what that meant to me or to any one."[69]

Word Portraits (1908–1913)[edit]

Stein's descriptive essays apparently began with her essay of Alice B. Toklas, "a little prose vignette, a kind of happy inspiration that had detached itself from the torrential prose of The Making of Americans".[70] Stein's early efforts at word portraits are catalogued in Mellow (1974, pp. 129–37) and under individual's names in Kellner, 1988. Matisse and Picasso were subjects of early essays,[71] later collected and published in Geography and Plays and Portraits and Prayers.[74][75]

Her subjects included several ultimately famous personages, and her subjects provided a description of what she observed in her Saturday salons at 27 Rue de Fleurus: "Ada" (Alice B. Toklas), "Two Women" (The Cone sisters, Claribel Cone and Etta Cone), Miss Furr and Miss Skeene (Ethel Mars and Maud Hunt Squire), "Men" (Hutchins Hapgood, Peter David Edstrom, Maurice Sterne), "Matisse" (1909, Henri Matisse), "Picasso" (1909, Pablo Picasso), "Portrait of Mabel Dodge at the Villa Curonia" (1911, Mabel Dodge Luhan), and "Guillaume Apollinaire" (1913).

Tender Buttons (1912)[edit]

Tender Buttons is the best known of Stein's "hermetic" works. It is a small book separated into three sections—"Food, Objects and Rooms", each containing prose under subtitles.[76] Its publication in 1914 caused a great dispute between Mabel Dodge Luhan and Stein, because Mabel had been working to have it published by another publisher.[77] Mabel wrote at length about what she viewed as the bad choice of publishing it with the press Gertrude selected.[77] Evans wrote Gertrude:

Claire Marie Press... is absolutely third rate, & in bad odor here, being called for the most part 'decadent" and Broadwayish and that sort of thing... I think it would be a pity to publish with [Claire Marie Press] if it will emphasize the idea in the opinion of the public, that there is something degenerate & effete & decadent about the whole of the cubist movement which they all connect you with, because, hang it all, as long as they don't understand a thing they think all sorts of things. My feeling in this is quite strong.[77]

Stein ignored Mabel's exhortations, and eventually Mabel, and published 1,000 copies of the book, in 1914. An antiquarian copy was valued at over $1,200 in 2007. It is currently in print, and was re-released as Tender Buttons: The Corrected Centennial Edition by City Lights Publishers in March 2014.

In an interview with Robert Bartlett Haas in "A Transatlantic Interview - 1946", Stein insisted that this work was completely "realistic" in the tradition of Gustave Flaubert, stating the following: "I used to take objects on a table, like a tumbler or any kind of object and try to get the picture of it clear and separate in my mind and create a word relationship between the word and the things seen." Commentators have indicated that what she meant was that the reference of objects remained central to her work, although the representation of them had not.[78] Scholar Marjorie Perloff had said of Stein that "[u]nlike her contemporaries (Eliot, Pound, Moore), she does not give us an image, however fractured, of a carafe on a table; rather, she forces us to reconsider how language actually constructs the world we know."[78]

Alice B. Toklas[edit]

Stein met her life partnerAlice B. Toklas[79] on September 8, 1907, on Toklas's first day in Paris, at Sarah and Michael Stein's apartment.[80] On meeting Stein, Toklas wrote:

She was a golden brown presence, burned by the Tuscan sun and with a golden glint in her warm brown hair. She was dressed in a warm brown corduroy suit. She wore a large round coral brooch and when she talked, very little, or laughed, a good deal, I thought her voice came from this brooch. It was unlike anyone else's voice—deep, full, velvety, like a great contralto's, like two voices.[81][82]

Soon thereafter, Stein introduced Toklas to Pablo Picasso at his studio, where he was at work on Les Demoiselles d'Avignon.

In 1908, they summered in Fiesole, Italy, Toklas staying with Harriet Lane Levy, the companion of her trip from the United States, and her housemate until Alice moved in with Stein and Leo in 1910. That summer, Stein stayed with Michael and Sarah Stein, their son Allan, and Leo in a nearby villa. Gertrude and Alice's summer of 1908 is memorialized in images of the two of them in Venice, at the piazza in front of Saint Mark's.[65]

Toklas arrived in 1907 with Harriet Levy, with Toklas maintaining living arrangements with Levy until she moved to 27 Rue de Fleurus in 1910. In an essay written at the time, Stein humorously discussed the complex efforts, involving much letter writing and Victorian niceties, to extricate Levy from Toklas's living arrangements.[83] In "Harriet", Stein considers Levy's nonexistent plans for the summer, following her nonexistent plans for the winter:

She said she did not have any plans for the summer. No one was interested in this thing in whether she had any plans for the summer. That is not the complete history of this thing, some were interested in this thing in her not having any plans for the summer... Some who were not interested in her not having made plans for the summer were interested in her not having made plans for the following winter. She had not made plans for the summer and she had not made plans for the following winter... There was then coming to be the end of the summer and she was then not answering anything when any one asked her what were her plans for the winter.

During the early summer of 1914, Gertrude bought three paintings by Juan Gris: Roses, Glass and Bottle, and Book and Glasses. Soon after she purchased them from Daniel-Henry Kahnweiler's gallery,[85] the Great War began, Kahnweiler's stock was confiscated and he was not allowed to return to Paris. Gris, who before the war had entered a binding contract with Kahnweiler for his output, was left without income. Gertrude attempted to enter an ancillary arrangement in which she would forward Gris living expenses in exchange for future pictures. Stein and Toklas had plans to visit England to sign a contract for the publication of Three Lives, to spend a few weeks there, and then journey to Spain. They left Paris on July 6, 1914 and returned on October 17.[86] When Britain declared war on Germany, Stein and Toklas were visiting Alfred North Whitehead in England. After a supposed three-week trip to England that stretched to three months due to the War, they returned to France, where they spent the first winter of the war.

With money acquired from the sale of Stein's last Matisse Woman with a Hat[87] to her brother Michael, she and Toklas vacationed in Spain from May 1915 through the spring of 1916.[88] During their interlude in Majorca, Spain, Gertrude continued her correspondence with Mildred Aldrich who kept her apprised of the War's progression, and eventually inspired Gertrude and Alice to return to France to join the war effort.[89]

Toklas and Stein returned to Paris in June 1916, and acquired a Ford automobile with the help of associates in the United States; Gertrude learned to drive it with the help of her friend William Edwards Cook.[90] Gertrude and Alice then volunteered to drive supplies to French hospitals, in the Ford they named Auntie, "after Gertrude's aunt Pauline, 'who always behaved admirably in emergencies and behaved fairly well most times if she was flattered.'"

During the 1930s, Stein and Toklas became famous with the 1933 mass market publication of The Autobiography of Alice B. Toklas. She and Alice had an extended lecture tour in the United States during this decade. They also spent several summers in the town of Bilignin, in the Ain district of eastern France situated in the picturesque region of the Rhône-Alpes. The two women doted on their beloved poodle named "Basket" whose successor, "Basket II", comforted Alice in the years after Gertrude's death.

With the outbreak of World War II, Stein and Toklas relocated to a country home that they had rented for many years previously in Bilignin, Ain, in the Rhône-Alpes region. Gertrude and Alice, who were both Jewish, escaped persecution probably because of their friendship to Bernard Faÿ who was a collaborator with the Vichy regime and had connections to the Gestapo, or possibly because Gertrude was an American and a famous author. Gertrude's book "Wars I Have Seen" written before the German surrender and before the liberation of German concentration camps, likened the German army to Keystone cops. When Faÿ was sentenced to hard labor for life after the war, Gertrude and Alice campaigned for his release. Several years later, Toklas would contribute money to Faÿ's escape from prison. After the war, Stein was visited by many young American soldiers. The August 6, 1945 issue of Life magazine featured a photo of Stein and American soldiers posing in front of Hitler's bunker in Berchtesgaden. They are all giving the Nazi salute and Stein is wearing the traditional Alpine cap, accompanied by the text: "Off We All Went To See Germany."[91]

In the 1980s, a cabinet in the Yale UniversityBeinecke Library, which had been locked for an indeterminate number of years, was opened and found to contain some 300 love letters written by Stein and Toklas. They were made public for the first time, revealing intimate details of their relationship. Stein's endearment for Toklas was "Baby Precious", in turn Stein was for Toklas, "Mr. Cuddle-Wuddle".[92]

Lesbian relationships[edit]

Stein is the author of one of the earliest coming out stories, "Q.E.D." (published in 1950 as Things as They Are), written in 1903 and suppressed by the author. The story, written during travels after leaving college, is based on a three-person romantic affair in which she became involved while studying at Johns Hopkins in Baltimore. The affair was complicated, as Stein was less experienced with the social dynamics of romantic friendship as well as her own sexuality and any moral dilemmas regarding it. Stein maintained at the time that she detested "passion in its many disguised forms". The relationships of Stein's acquaintances Mabel Haynes and Grace Lounsbury ended as Haynes started one with Mary Bookstaver (also known as May Bookstaver). Stein became enamored of Bookstaver but was unsuccessful in advancing their relationship. Bookstaver, Haynes, and Lounsbury all later married men.[57]

Stein began to accept and define her pseudo-masculinity through the ideas of Otto Weininger's Sex and Character (1906). Weininger, though Jewish by birth, considered Jewish men effeminate and women as incapable of selfhood and genius, except for female homosexuals who may approximate masculinity. As Stein equated genius with masculinity, her position as a female and an intellectual becomes difficult to synthesize and modern feminist interpretations of her work have been called into question.[93]

More positive affirmations of Stein's sexuality began with her relationship with Alice B. Toklas. Ernest Hemingway describes how Alice was Gertrude's "wife" in that Stein rarely addressed his (Hemingway's) wife, and he treated Alice the same, leaving the two "wives" to chat.[94]

The more affirming essay "Miss Furr and Miss Skeene" is one of the first homosexual revelation stories to be published. The work, like Q.E.D., is informed by Stein's growing involvement with a homosexual community,[94] though it is based on lesbian partners Maud Hunt Squire and Ethel Mars.[4] The work contains the word "gay" over 100 times, perhaps the first published use of the word "gay" in reference to same-sex relationships and those who have them,[4] and, thus, uninformed readers missed the lesbian content. A similar essay of homosexual men begins more obviously with the line "Sometimes men are kissing" but is less well known.[4]

In Tender Buttons Stein comments on lesbian sexuality and the work abounds with "highly condensed layers of public and private meanings" created by wordplay including puns on the words "box", "cow", and in titles such as "tender buttons".[4]

"There is no there there"[edit]

Along with Stein's widely known "A rose is a rose is a rose is a rose"[95] quotation, "there is no there there" is also one of her most famous. It appears in Gertrude Stein, Everybody's Autobiography (Random House 1937, p 289) and is often applied to the city of her childhood, Oakland, California. Defenders and critics of Oakland have debated what she really meant when she said this in 1933, after coming to San Francisco on a book tour. She took a ferry to Oakland to visit the farm she grew up on, and the house she lived in near what is now 13th Avenue and E. 25th Street in Oakland. The house had been razed, and the farmland had been developed with new housing in the three decades since her father had sold the property and moved closer to the commercial hub of the neighborhood on Washington Street (now 12th Avenue). She wrote:

She took us to see her granddaughter who was teaching in the Dominican convent in San Raphael, we went across the bay on a ferry, that had not changed but Goat Island might just as well not have been there, anyway what was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or anything if I like but not there, there is no there there.[96]

...but not there, there is no there there. ... Ah Thirteenth Avenue was the same it was shabby and overgrown. ... Not of course the house, the house the big house and the big garden and the eucalyptus trees and the rose hedge naturally were not there any longer existing, what was the use ...

Leo, Gertrude and Michael Stein
Gertrude Stein sitting on a sofa in her Paris studio, with a portrait of her by Pablo Picasso, and other modern art paintings hanging on the wall (before 1910)
Plaque at 27 rue de Fleurus

Gertrude Stein 1874-1946

American playwright, biographer, poet, novelist, and essayist.

The following entry presents information on Stein's works through 1996.

Regarded as a major figure of literary Modernism and as one of the most influential writers of the twentieth century, Stein wrote avant-garde compositions that continue to prove as radical as when her experimental prose, poetry, and drama first appeared. Uttering such famous expressions as “a rose is a rose is a rose” and coining the designation of American expatriates during the 1920s as “a lost generation,” Stein rejected tenets of nineteenth-century naturalism and developed an abstract manner of literary expression that emulates the principles of post-impressionism and cubism in the visual arts. In her plays, Stein emphasized language and word play above all else, eschewing such dramatic conventions as plot, character, and scenery. Consequently, producers were reluctant to mount productions of Stein's dramas, and only a few were performed during her lifetime. While most critics have acknowledged the contributions of Stein's radical innovations to the evolution of twentieth-century theater, her often cryptic style and radical structure have made her works less popular than those of her contemporaries Virginia Woolf, James Joyce, and Thornton Wilder.

Biographical Information

The youngest daughter of wealthy American Jews, Stein was born in Allegheny, Pennsylvania, but spent her infancy in Vienna, Austria, and Passy, France, before her family settled in Oakland, California, while she was a young girl. In 1893 Stein enrolled in the all-female Harvard Annex (later Radcliffe College) in Cambridge, Massachusetts, where she attended lectures by psychologist William James, who influenced her artistic development with his theories of perception and personality types. Upon graduation, Stein entered the medical school at Johns Hopkins University to study psychology, but becoming disaffected, she left in 1902 without a degree. In 1903, she moved to Paris with her brother, Leo, who later became a noted art critic. In 1907 Stein met her lifetime companion, Alice B. Toklas, who began residing with the siblings in 1909, the same year Stein published her first work, Three Lives. Meanwhile, the home at 27 rue de Fleurus became a salon for such leading artists as Pablo Picasso, Henri Matisse, and Georges Braque, who later mingled after World War I with such prominent American expatriate writers as Sherwood Anderson and Ernest Hemingway. An early advocate of Cubism, Stein tried to mimic its theories in her diverse writings of the period, ranging from the poetry collection Tender Buttons (1914) to the sprawling novel The Making of Americans (1925). Between those works she wrote numerous experimental dramas but rarely saw them produced on stage. Stein eventually outlined her literary principles in the essay “Composition as Explanation” (1926), which she based on lectures she delivered at Oxford and Cambridge universities. As her social and literary influence flourished, a publisher friend urged Stein to write her memoirs, which led to the publication of her best-known and most popular work, The Autobiography of Alice B. Toklas (1933), which was actually Stein's own autobiography. In 1934, Stein's libretto Four Saints in Three Acts was scored by Virgil Thomson and produced as an opera in New York City to rave reviews, which prompted a celebrated American lecture tour through 1935. In Nazi-occupied France during World War II, Stein assumed the proportions of a legend in Paris where she befriended many of the American servicemen stationed there after the liberation of France and memorialized them in Brewsie and Willis (1946). On July 27, 1946, Stein died of cancer at the American Hospital at Neuilly-sur-Seine, France.

Major Works

Stein's first play, What Happened (1913), resembles satire in comparison to conventional dramaturgical principles. Although the play has a traditional five-act structure, it is devoid of such elements of drama as plot, character development, scenery, and stage directions. In fact, What Happened is a play in which nothing happens. As in most of her other works, Stein experimented with language and syntax in her dramas, forcing the spectator to decode her meaning. Ladies' Voices (1916) focuses on a group of women who have gathered at Mallorca, Spain, for Carnival time. Through their conversations, they explore the world of spoken words. Stein's experimental style includes more than rejecting traditional narrative structures. A Circular Play (1920) epitomizes Stein's experiments with word play by using rhyme, repetition, alliteration, and homonyms. A List (1923) emphasizes the spatial relationships of words, featuring characters with names that start with “M” and arranging the dialogue to create visual order. Beginning in 1920 Stein worked at developing a concept of drama as “landscape.” These plays include As in Lend a Hand or Four Religions (1922), A Village Are You Ready Yet Not Yet (1923) and Capital Capitals (1923). These plays illustrate Stein's struggle with syntax and the relationship between sight and sound. One of the most-talked about theatrical productions of the Depression years as well as one of her few plays to be staged during her lifetime, Four Saints in Three Acts features the writing process as an integral part of the allegory punctuated with interruptions by the playwright's persona. Primarily set in sixteenth-century Spain, the play concerns St. Therese of Avila, St. Ignatius of Loyola, and two fictional saints, St. Settlement and St. Chavez. As the drama unfolds, the “plot” of the play is elaborated in terms of a garden plot. The Mother of Us All (1947), Stein's second collaboration with Thomson, concerns the woman suffrage movement of the late nineteenth century and early twentieth century, centering on the life and work of Susan B. Anthony.

Critical Reception

Stein's plays have often challenged critics. Initially attacked by those who did not accept the validity of her artistic methods, Stein has gradually been treated with more temperate discussion of her work as her innovations have been mainstreamed by succeeding generations of writers. Because much of her drama violates basic formal and thematic conventions, certain interpretive methods, such as the close textual analysis favored by New Critics, have been of little use in approaching her work. Most of the commentary on Stein during her lifetime was evaluative rather than interpretive, either arguing her artistic merits or deriding her radical innovations. With the rise of structuralism and deconstruction in the 1960s and 1970s, critics have found a critical method suited to understanding Stein's work as she conceived it. Feminist critics have also provided a fresh perspective on Stein, discussing such issues as her treatment of human sexuality and her defiance of patriarchal literary traditions. Another topic often raised by commentators is Stein's relationship to post-impressionism and cubism. Consequently, many critics have called Stein a “literary cubist” for her ability to project a reality beyond visual reality. Some scholars have suggested that Stein's true worth as an artist is best indicated by her influence on other writers, both contemporary with her own era and subsequent to it.

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