By Deborah M. Mix
Arguing that those authors have bought fairly little recognition due to the hassle in categorizing them, combine brings the writing of girls of colour, lesbians, and collaborative writers into the dialogue of experimental writing. therefore, instead of exploring traditional traces of effect, she departs from prior scholarship by utilizing Stein and her paintings as a lens during 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, deals shut readings of formerly overlooked modern writers whose paintings does not healthy inside traditional different types, and through linking genres no longer quite often linked to experimentalism-lyric, epic, and autobiography-challenges ongoing reevaluations of leading edge writing.
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Additional resources for A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women's Innnovative Writing
W]e shall remain paralyzed” (214). Irigaray’s exhortation to “hurry and invent our own phrases” (215) seems apt for understanding experimental writing. On the other hand, however, Irigaray’s theory, like Schweickart’s, relies on marking aesthetic difference purely along gender lines. 28 While it is certainly true that male writers have been praised for qualities that suggest authoritarianism and control, and women authors have been lauded for gentleness or for valuing collaboration over hierarchization, the dynamic is not so simple.
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. In The Making of Americans, Stein writes: Bear it in your mind my reader . . what I have said always before to you, that this that I write down a little each day here on my scraps of paper for you is not just an ordinary kind of novel .
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 .
A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women's Innnovative Writing by Deborah M. Mix