Portrait of Gertrude Stein — Felix Vallotton

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“IIIIIIIIII.” — Gertrude Stein

“IIIIIIIIII.”
by
Gertrude Stein
from Geography and Plays (1922)

INCLINE.

Clinch, melody, hurry, spoon, special, dumb, cake, forrester. Fine, cane, carpet, incline, spread, gate, light, labor.

BANKING.

Coffee, cough, glass, spoon, white, singing. Choose, selection, visible, lightning, garden, conversation, ink, spending, light space, morning, celebration, invisible, reception, hour, glass, curving, summons, sparkle, suffering the minisection, sanctioning the widening, less than the wireless, more certain. All the change. Any counselling non consuming and split splendor.

Forward and a rapidity and no resemblance no more utterly. Safe light, more safes no more safe for the separation.

M—N H—.

A cook. A cook can see. Pointedly in uniform, exertion in a medium. A cook can see.

Clark which is awful, clark which is shameful, clark and order.

A pin is a plump point and pecking and combined and more much more is in fine.

Rats is, rats is oaken. Robber. Height, age, miles, plaster, pedal, more order.

Bake, a barn has cause and more late oat-cake specially.

Spend rubber, holder and coal, high, careful, in a pointed collar. A hideous south west is always a climb in aged seldom succeeded flavoring untimely, necessity white, hour in a glaze.

Break, sky blue light, obliquely, in a cut carpet, in the pack. A sound.

COO—GE.

Press in the ink and stare and cheese. Pick in the faint and feather and white. White in the plume.

M—N H—.

No noon back. No noon settler, no sun in the slant and carpet utterly surrounded.

No pressed plaster. None.

No pressing pan and pan cake. Not related exactly. Not related.

Matter in the center of single sand and slide in the hut.

No account of gibberish. No sky lark utterly.

Perfect lemon and cutting a central black. Not such clouding. A sugar, a lame sugar, certainly. No sobriety no silver ash tray. Continue reading ““IIIIIIIIII.” — Gertrude Stein”

As birds as well as words (Gertrude Stein on the way Chaucer sounds)

You do remember Chaucer, even if you have not read him you do remember not how it looks but how it sounds, how simply it sounds as it sounds. That is as I say because the words were there. They had not yet to be chosen, they had only has yet to be there just there.

That makes a sound that gently sings that gently sounds but sounds as sounds. It sounds as sounds of course as words but it sounds as sounds. It sounds as sounds that is to say as birds as well as words. And that is because the words are there, they are not chosen as words, they are already there. That is the way Chaucer sounds.

From Gertrude Stein’s lecture “What Is English Literature” (no question mark); collected in Look at Me Now and Here I Am.

“Sugar” — Gertrude Stein

SUGAR.

by Gertrude Stein

(From Tender Buttons).

A violent luck and a whole sample and even then quiet.

Water is squeezing, water is almost squeezing on lard. Water, water is a mountain and it is selected and it is so practical that there is no use in money. A mind under is exact and so it is necessary to have a mouth and eye glasses.

A question of sudden rises and more time than awfulness is so easy and shady. There is precisely that noise.

A peck a small piece not privately overseen, not at all not a slice, not at all crestfallen and open, not at all mounting and chaining and evenly surpassing, all the bidding comes to tea.

A separation is not tightly in worsted and sauce, it is so kept well and sectionally.

Put it in the stew, put it to shame. A little slight shadow and a solid fine furnace.

The teasing is tender and trying and thoughtful.

The line which sets sprinkling to be a remedy is beside the best cold.

A puzzle, a monster puzzle, a heavy choking, a neglected Tuesday.

Wet crossing and a likeness, any likeness, a likeness has blisters, it has that and teeth, it has the staggering blindly and a little green, any little green is ordinary.

One, two and one, two, nine, second and five and that.

A blaze, a search in between, a cow, only any wet place, only this tune.

Cut a gas jet uglier and then pierce pierce in between the next and negligence. Choose the rate to pay and pet pet very much. A collection of all around, a signal poison, a lack of languor and more hurts at ease.

A white bird, a colored mine, a mixed orange, a dog.

Cuddling comes in continuing a change.

A piece of separate outstanding rushing is so blind with open delicacy.

A canoe is orderly. A period is solemn. A cow is accepted.

A nice old chain is widening, it is absent, it is laid by.

“A Sweet Tail (Gypsies)” — Gertrude Stein

“A Sweet Tail (Gypsies)”

by

Gertrude Stein

Curves.

Hold in the coat. Hold back ladders and a creation and nearly sudden extra coppery ages with colors and a clean voice gyp hoarse. Hold in that curl with a good man. Hold in cheese. Hold in cheese. Hold in cheese.

A cool brake, a cool brake not a success not a re-sound a re-sound and a little pan with a yell oh yes so yet change, famous, a green a green colored oak, a handsome excursion, a really handsome log, a regulation to exchange oars, a regulation or more press more precise cold pieces, more yet in the teeth within the teeth. This is the sun in. This is the lamb of the lantern with chalk. With chalk a shadow shall be a sneeze in a tooth in a tin tooth, a turned past, a turned little corset, a little tuck in a pink look and with a pin in, a pin in.

Win lake, eat splashes dig salt change benches.

Win lake eat splashes dig salt change benches.

Can in.

Come a little cheese. Come a little cheese and same same tall sun with a little thing to team, team now and a bass a whole some gurgle, little tin, little tin soak, soak why Sunday, supreme measure. Continue reading ““A Sweet Tail (Gypsies)” — Gertrude Stein”

White Wines, a Three Act Play by Gertrude Stein

WHITE WINES
THREE ACTS

by

Gertrude Stein

(from Geography and Plays)

All together.
Witnesses.
House to house.
(5 women)

All together.

Cunning very cunning and cheap, at that rate a sale is a place to use type writing. Shall we go home.
Cunning, cunning, quite cunning, a block a strange block is filled with choking.
Not too cunning, not cunning enough for wit and a stroke and careless laughter, not cunning enough.
A pet, a winter pet and a summer pet and any kind of a pet, a whole waste of pets and no more hardly more than ever.
A touching spoon a real touching spoon is golden and show in that color. A really touching spoon is splendid, is splendid, and dark and is so nearly just right that there is no excuse.
The best way is to wave an arm, the best way is to show more used to it than could be expected.
Comfort a sudden way to go home, comfort that and the best way is known.

All together.

Hold hard in a decision about eyes. Hold the tongue in a sober value as to bunches. See the indication in all kinds of rigorous landscapes. Spell out what is to be expected.
Show much blame in order and all in there, show much blame when there is a breath in a flannel. Show the tongue strongly in eating. Puzzle anybody.
Violet and the ink and the old ulster, shut in trembling and a whole departure, flood the sunshine, terrorize the grown didy, mingle sweetness with communion.

All together.

Change the sucking with a little sucking.
Modify the brave gallant pin wheel. Show the shout, worry with wounds, love out what is a pendant and a choke and a dress in together.
Punish the grasshopper with needles and pins are plenty. Show the old chink.
All together.
Put the putty in before the door put the oil glass in with what is green. Put the mellow choice with all the test, rust with night and language in the waist. Praise the cat and show the twine the door, mention every scrap of linen carpet, see the eagle and behold the west, win the day light with the hat unpressed, show it in a shudder and a limp, make a best container with no speed, and a jacket and a choice and beets, beets are what there are when bets are less. Bets are less in summer.

Single Witnesses

(I). A spread out case is so personal it is a mountain of change and any little piece is personal, any one of them is an exchange. No forethought is removed. Nothing, hindrances, butter, a safe smooth, a safe why is a tongue a season, why is a loin large by way of spoiling. There is no cake in front. A choking is an example.

More witnesses.

It is true, it certainly is true and a coat any coat, any dress, all dress, a hat, many hats, all colors, every kind of coloring, all this makes shadows longer and birds, makes birds, just makes birds.
Not much limping is in the back, not much limping is in the front, not much limping is circular, a bosom, a candle, an elegant foot fall, all this makes daylight.

Single Witnesses.

(2). A blunder in a charger is blue. A high pocket not higher than the wrist and the elbow, the pocket is not added.
A clutch, a real clutch is merry and a joke and a baby, a real clutch is such a happy way. A real clutch is so soon worried so easily made the same, so soon made so.
A real white and blue, blue and blue, blue is raised by being so and more much more is ready. At last a person is safe.

More witnesses.

Pile in the windows, freeze with the doors, paint with the ceiling, shut in the floors, paint with the ceiling, paint with the doors, shut in the ceiling, shut out the doors, shut in the doors, shut in the floors, shut in the floors, shut in the doors.

More Witnesses.

Put the patient goat away, put the patient boat away, put away the boat and put it, the boat, put it, put away that boat. Put away the boat.

Single Witnesses.

(3). An army of invincible and ever ready mustaches and all the same mind and a way of winding and no more repertoire, not any more noise, this did increase every day.
A moon, a moon, a darkness and the stars and little bits of eels and a special sauce, not a very special sauce, not only that.
A wide pair that are not slippers, not a wide pair of slippers, not pressed to be any of that in that particular but surely, surely, surely a loan, surely every kind of a capital.

More Witnesses.

A splendid little charles louis philip, a splendid spout of little cups and colds, a splendid big stir, a splendid glass, a splendid little splinter, a splendid cluster.

Single Witnesses.

(4). Why should wet be that and cut, cut with the grass, why should wet be that and clut with the purse, why should wet be wet and the wet that wet. Why should wet be the time to class. Why should there be solemn cuppings.
The lean bark, that is the round and intense and common stop and in shouting, the left bark and the right bark and a belt, in that belt, in no belt and a corset, in a belt and chores, in a belt and single stitches, in more boys than enough, in all thin beer and in all such eggs, in all the pile and in all the bread, in the bread, in the bread, in the condition of pretty nearly saying that yesterday is today, and tomorrow, tomorrow is yesterday. The whole swindle is in short cake and choice cake is white cake and white cake is sponge cake and sponge cake is butter.

House to house.

(1). A habit that is not left by always screaming, a habit that is similar to the one that made quiet quite quiet and made the whole plain show dust and white birds and little plaintive drops of water, a habit which brightened the returning butter fly and the yellow weed and even tumbling, the habit which made a well choose the bottom and refuses all chances to change, the habit that cut in two whatever was for the use of the same number, the habit which credited a long touch with raising the table and the hour glass and even eye glasses and plenty of milk, the habit which made a little piece of cheese wholesome and darkness bitter and clanging a simple way to be solemn, a habit which has the best situation and nearly all the day break and the darkness a habit that is cautious and serious and strange and violent and even a little disturbed, a habit which is better than almost anything, a habit that is so little irritating, so wondering and so unlikely is not more difficult than every other.
(2). A change a real change is made by a piece, by any piece by a whole mixture of words and likenesses and whole outlines and ranges, a change is a butt and a wagon and an institution, a change is a sweetness and a leaning and a bundle, a change is no touch and buzzing and cruelty, a change is no darkness and swinging and highness, a change is no season and winter and leaving, a change is no stage and blister and column, a change is no black and silver and copper, a change is no jelly and anything proper, a change is not place, a change is not church, a change is not more clad, a change is not more in between when there is that and the change is the kind and the king is the king and the king is the king and the king is the king.
(3). Could there be the best almost could there be almost the most, could there be almost almost, could there be the most almost. Could there be the most almost, could there be the most almost, could there be almost almost. Could there be almost, almost.
Can the stretch have any choice, can the choice have every chunk, can the choice have all the choice, can the stretch have in the choice. Can there be water, can there be water and water. Can there be water. Can there be.
(4). A cousin to cooning, a cousin to that and mixed labor and a strange orange and a height and a piece of holy phone and a catching hat glass and a bit of undertaking. All this makes willows and even then there is no use in dusting not in really redusting, not in really taking everything away. The best excuse for shadows is in the time when white is starched and hair is released and all the old clothes are in the best bag.

House to house.

A wet hurt and a yellow stain and a high wind and a color stone, a place in and the whole real set all this and each one has a chin. This is not a claim it is a reorganization and a balance and a return.

“Susie Asado” — Gertrude Stein

Capture

Gertrude Stein on Football

In a 1934 radio interview, Gertrude Stein talks American football:

INTERVIEWER: You saw the Yale-Dartmouth game a week ago Saturday didn’t you? Did you understand that in the American way or the football way or how?

STEIN: IN the American way. The thing that interested me was that the Modern American in his movements and his actions in a football game so resembled the red Indian dance and it proves that the physical country that made the one made the other and that the red Indian is still with us. They just put their heads down solemnly together and then double over, while on the sidelines the substitutes move in a jiggly way just like Indians. Then they all get down on all fours just like Indians.

INTERVIEWER: But those jiggles are just warming-up exercises.

STEIN: It doesn’t make any difference what they are doing it for, they are just doing it, like the way the Indian jiggles in the Indian dance and then there is that little brown ball they all bend down and worship.

INTERVIEWER: But the ideas in that is to get the ball across the goal line.

STEIN: But don’t you suppose I know that, and don’t you suppose the Indians had just as much reason and enjoyed their dancing just as much?

Please Unplease Me: A Review of Laura Frost’s The Problem With Pleasure

First, I want to get a bad joke out of the way: it seems cruelly apt to review a scholarly text titled The Problem With Pleasure: Modernism and Its Discontents (Columbia UP 2013), especially one, while passionate and provocative, that may preclude pleasure for the casual reader. To be expected from a scholarly text, hence the bad joke, but Frost’s study of the vicissitudes of modernist unpleasure performs its argument quite well — The arrays of Unpleasure found in this book do delight and prod the reader in its investigations of everything from stalwart modernist topoi to perfume and farts. Frost’s mission, in her own words, is to “present the interwar debate about pleasure and the rise of unpleasure … as a new way of defining literary modernism more capaciously” (14). Frost wants to collapse the schism between the two divergent interwar poles of “high” and “low” culture and their shared mission to re-stabilize the shocked and distended interwar subject. Frost’s contribution to her field isn’t quite revolutionary, but the methods in which she ties the affect of text and media on the body is pressing and important, and carries weight outside the academy. For it is not simply that the “high” modernists wanted its world to repudiate fast & easy entertainment to engage with the post-World War One space. Rather, they wanted their readers to engage with pleasure in a different key — unpleasure. Seeing the beginnings of literary modernism with the more inclusive Unpleasure rather than Eliotian disdain or Poundian militancy allows us to see how literary modernists not only critiqued vernacular entertainment, but how  Jean Rhys, James Joyce and Aldous Huxley were themselves subject to mass cultural motifs in their own texts.  “High” and “low” culture were not as mutually exclusive as previously thought, Frost asserts, and the interwar period set the stage for our current moment of pleasure, cultural division, and technological innovation considerably more than we think.

Continue reading “Please Unplease Me: A Review of Laura Frost’s The Problem With Pleasure”

“Rooms” — Gertrude Stein

“Rooms”

by Gertrude Stein

Act so that there is no use in a centre. A wide action is not a width. A preparation is given to the ones preparing. They do not eat who mention silver and sweet. There was an occupation.

A whole centre and a border make hanging a way of dressing. This which is not why there is a voice is the remains of an offering. There was no rental.

So the tune which is there has a little piece to play, and the exercise is all there is of a fast. The tender and true that makes no width to hew is the time that there is question to adopt.

To begin the placing there is no wagon. There is no change lighter. It was done. And then the spreading, that was not accomplishing that needed standing and yet the time was not so difficult as they were not all in place. They had no change. They were not respected. They were that, they did it so much in the matter and this showed that that settlement was not condensed. It was spread there. Any change was in the ends of the centre. A heap was heavy. There was no change.

Burnt and behind and lifting a temporary stone and lifting more than a drawer.

The instance of there being more is an instance of more. The shadow is not shining in the way there is a black line. The truth has come. There is a disturbance. Trusting to a baker’s boy meant that there would be very much exchanging and anyway what is the use of a covering to a door. There is a use, they are double.

If the centre has the place then there is distribution. That is natural. There is a contradiction and naturally returning there comes to be both sides and the centre. That can be seen from the description.

The author of all that is in there behind the door and that is entering in the morning. Explaining darkening and expecting relating is all of a piece. The stove is bigger. It was of a shape that made no audience bigger if the opening is assumed why should there not be kneeling. Any force which is bestowed on a floor shows rubbing. This is so nice and sweet and yet there comes the change, there comes the time to press more air. This does not mean the same as disappearance.

Continue reading ““Rooms” — Gertrude Stein”

“Breakfast” — Gertrude Stein

“Breakfast” by Gertrude Stein

From Tender Buttons

BREAKFAST.

A change, a final change includes potatoes. This is no authority for the abuse of cheese. What language can instruct any fellow.

A shining breakfast, a breakfast shining, no dispute, no practice, nothing, nothing at all.

A sudden slice changes the whole plate, it does so suddenly.

An imitation, more imitation, imitation succeed imitations.

Anything that is decent, anything that is present, a calm and a cook and more singularly still a shelter, all these show the need of clamor. What is the custom, the custom is in the centre.

What is a loving tongue and pepper and more fish than there is when tears many tears are necessary. The tongue and the salmon, there is not salmon when brown is a color, there is salmon when there is no meaning to an early morning being pleasanter. There is no salmon, there are no tea-cups, there are the same kind of mushes as are used as stomachers by the eating hopes that makes eggs delicious. Drink is likely to stir a certain respect for an egg cup and more water melon than was ever eaten yesterday. Beer is neglected and cocoanut is famous. Coffee all coffee and a sample of soup all soup these are the choice of a baker. A white cup means a wedding. A wet cup means a vacation. A strong cup means an especial regulation. A single cup means a capital arrangement between the drawer and the place that is open.

Price a price is not in language, it is not in custom, it is not in praise.

A colored loss, why is there no leisure. If the persecution is so outrageous that nothing is solemn is there any occasion for persuasion.

A grey turn to a top and bottom, a silent pocketful of much heating, all the pliable succession of surrendering makes an ingenious joy.

A breeze in a jar and even then silence, a special anticipation in a rack, a gurgle a whole gurgle and more cheese than almost anything, is this an astonishment, does this incline more than the original division between a tray and a talking arrangement and even then a calling into another room gently with some chicken in any way.

A bent way that is a way to declare that the best is all together, a bent way shows no result, it shows a slight restraint, it shows a necessity for retraction.

Suspect a single buttered flower, suspect it certainly, suspect it and then glide, does that not alter a counting.

A hurt mended stick, a hurt mended cup, a hurt mended article of exceptional relaxation and annoyance, a hurt mended, hurt and mended is so necessary that no mistake is intended.

What is more likely than a roast, nothing really and yet it is never disappointed singularly.

A steady cake, any steady cake is perfect and not plain, any steady cake has a mounting reason and more than that it has singular crusts. A season of more is a season that is instead. A season of many is not more a season than most.

Take no remedy lightly, take no urging intently, take no separation leniently, beware of no lake and no larder.

Burden the cracked wet soaking sack heavily, burden it so that it is an institution in fright and in climate and in the best plan that there can be.

An ordinary color, a color is that strange mixture which makes, which does make which does not make a ripe juice, which does not make a mat.

A work which is a winding a real winding of the cloaking of a relaxing rescue. This which is so cool is not dusting, it is not dirtying in smelling, it could use white water, it could use more extraordinarily and in no solitude altogether. This which is so not winsome and not widened and really not so dipped as dainty and really dainty, very dainty, ordinarily, dainty, a dainty, not in that dainty and dainty. If the time is determined, if it is determined and there is reunion there is reunion with that then outline, then there is in that a piercing shutter, all of a piercing shouter, all of a quite weather, all of a withered exterior, all of that in most violent likely.

An excuse is not dreariness, a single plate is not butter, a single weight is not excitement, a solitary crumbling is not only martial.

A mixed protection, very mixed with the same actual intentional unstrangeness and riding, a single action caused necessarily is not more a sign than a minister.

Seat a knife near a cage and very near a decision and more nearly a timely working cat and scissors. Do this temporarily and make no more mistake in standing. Spread it all and arrange the white place, does this show in the house, does it not show in the green that is not necessary for that color, does it not even show in the explanation and singularly not at all stationary.