By Deborah M. Mix
Arguing that those authors have obtained particularly little recognition as a result of hassle in categorizing them, combine brings the writing of ladies of colour, lesbians, and collaborative writers into the dialogue of experimental writing. therefore, instead of exploring traditional strains of impact, she departs from past scholarship by utilizing Stein and her paintings as a lens in which to learn the methods those authors have renegotiated culture, authority, and innovation.
construction at the culture of experimental or avant-garde writing within the usa, combine questions the politics of the canon and literary effect, bargains shut readings of formerly overlooked modern writers whose paintings does not healthy inside of traditional different types, and by way of linking genres now not generally linked to experimentalism-lyric, epic, and autobiography-challenges ongoing reevaluations of cutting edge writing.
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Extra resources for A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women's Innnovative Writing
23 With the hope that they will like it which has not been predicted. They will hope that they will like it although this is not predicted. They will be with whatever they have as pleasure. When is whenever it is whatever it is that she is either with with mending that it is. Think of a sentence why should there be a noun. They think of a sentence. Why should there be a noun. A noun is the name of a thing a sentence is why they came. If they came they are here. Thank you. With them they think. ” Indeed, this potential to entertain or to please her readers “has not been predicted,” either because the sentences are too unexpected or because the author herself has been dismissed as unpleasurable.
36 . . Starting with Stein two Domestic Economies Harryette Mullen’s Trimmings and S*PeRM**K*T . . . . . . . . . . . . . . The teasing is tender and trying and thoughtful. — Gertrude Stein, “Sugar,” Tender Buttons I n a 1999 interview with Cynthia Hogue, Har ryette Mullen expresses an appreciation for Gertrude Stein’s work, Tender Buttons in particular, and she places her second and third books of poetry, Trimmings and S*PeRM**K*T, directly within Stein’s lineage. After initial engagements with Stein’s writing that left her frustrated but fascinated, Mullen began to admire Stein’s “idiosyncratic approach to language .
In the following chapter, I begin with a discussion of Harryette Mullen, who situates herself and her work directly in relationship to Stein. Mullen positions her first two collections of experimental poetry, Trimmings and S*PeRM**K*T, as both extensions of and reactions to Stein’s Tender Buttons. In these books, Mullen sees herself in dialogue with what she terms the “pink and white” femininity that Stein also sought to interrogate in Tender Buttons. As a black woman, however, Mullen’s position vis-à-vis this version of femininity is more deeply vexed than Stein’s.
A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women's Innnovative Writing by Deborah M. Mix