By Deborah M. Mix
Arguing that those authors have got particularly little awareness end result of the hassle in categorizing them, combine brings the writing of girls of colour, lesbians, and collaborative writers into the dialogue of experimental writing. hence, instead of exploring traditional strains of impact, she departs from prior scholarship by utilizing Stein and her paintings as a lens by which to learn the methods those authors have renegotiated culture, authority, and innovation.
development at the culture of experimental or avant-garde writing within the usa, combine questions the politics of the canon and literary impact, bargains shut readings of formerly missed modern writers whose paintings does not healthy inside of traditional different types, and via linking genres now not ordinarily linked to experimentalism-lyric, epic, and autobiography-challenges ongoing reevaluations of cutting edge writing.
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Additional info for A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women's Innnovative Writing
What Frost sees as a “model” offers a way to think about how a vocabulary emphasizing play and intimacy — rather than attack and loss — might speak to the transformative aims of experimental writing. By interrogating readers’ expectations, Stein’s work opens out into an examination of cultural practices of mastery, resisting the notion that mastery is a potential or even desirable goal. Thus Stein’s work enacts important feminist literary and social practices; replacing the patriarchal hierarchy of explanation, where the speaker/author is the expert and the listener/reader the neophyte, Stein offers a model of collaboration between equals, an intimacy of lovers.
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 .
It is also essentially solitary: “The text is never a ‘dialogue’: no risk of feint, of aggression, of blackmail, no rivalry of ideolects” (16). This vision, which emphasizes dialogue as primarily contentious, offers, as Chessman notes, no place for intimacy (9); instead, Barthes seems to envision only an inverted hierarchy of reader over author/text. 27 It is also possible to read this concept of intimate reading through the lens of French poststructuralist feminists such as Luce Irigaray. Her vision of a feminine poetics considers the question, “How can we speak so as to escape from their compartments, their schemas, their distinctions and oppositions?
A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women's Innnovative Writing by Deborah M. Mix