Gertrude Stein frequently called herself a genius, but what did this term really mean for her? Stein's claims to genius are legendary, appearing frequently throughout her texts and public lectures. Were they the signs of excessive egotism, of desperate self-advertisement, or of something else entirely? This book examines the centrality and the specificity of the idea of 'genius' to Stein's work and to the aesthetic ideals and contradictory intellectual affiliations of high modernism in general. Through a chronological reading, it maps Stein's move from an early investment in an essential and essentializing notion of 'genius' to her later use of the term to describe an anti-essentialist, democratic textual process. It considers how this revisionary idea of 'genius' came to correspond with Stein's identification of herself as Jewish, queer and American. And it ends with Stein's seemingly paradoxical decision to call a text about being a genius in America, Everybody's Autobiography. Drawing upon a wide range of literary theory, cultural criticism and historical evidence, and offering new readings of previously unexamined texts by Stein, Barbara Will challenges received understandings of Stein's claims to 'genius' and of modernist literary hermeticism by reconceptualising the textual practice of this exemplary modernist writer.Key Features:*A scholarly study of a writer who is receiving ever-increasing critical attention*The first major scholarly study to deal with Gertrude Stein's central claim to being a genius*Offers new insight into debates over modernism, mass culture, and postmodernism*Combines a historical approach with a theoretical reading inflected by postmodern thinking*Original, theoretically informed and consistently well-writtenGertrude Stein, Modernism, and the Problem of 'Genius' was winner of the Choice Outstanding Academic Title award in 2001.

From 1941 to 1943, the Jewish American writer and avant-garde icon Gertrude Stein translated for an American audience thirty-two speeches in which Marshal Philippe Petain, head of state for the collaborationist Vichy government, outlined the Vichy policy barring Jews and other "foreign elements" from the public sphere while calling for France to reconcile with its Nazi occupiers. Why and under what circumstances would Stein undertake such a project? The answers lie in Stein's link to the man at the core of this controversy: Bernard Faÿ, her apparent Vichy protector. Barbara Will outlines the formative powers of this relationship, treating their interaction as a case study of intellectual life during wartime France and an indication of America's place in the Vichy imagination.

A compelling revision of the history of experimental writing from Pound and Stein to Language poetry, disclosing its uses and its limits. In this bold new study of twentieth-century American writing and poetics, Natalia Cecire argues that experimental writing should be understood as a historical phenomenon before it is understood as a set of formal phenomena. This seems counterintuitive because, at its most basic level, experimental writing can be thought of as writing which breaks from established forms. Touching on figures who are not typically considered experimental, such as Stephen Crane, Jacob Riis, Busby Berkeley, Ursula K. Le Guin, and Gottlob Frege, Experimental offers a fresh look at authors who are often treated as constituting a center or an origin point of an experimental literary tradition in the United States, including Gertrude Stein, Ezra Pound, William Carlos Williams, and Marianne Moore. In responding to a crisis of legitimization in the production of knowledge, this tradition borrows and transforms the language of the sciences. Drawing upon terminology from the history of science, Cecire invokes the epistemic virtue, which tethers ethical values to the production of knowledge in order to organize diverse turn-of-the-century knowledge practices feeding into "experimental writing." Using these epistemic virtues as a structuring concept for the book's argument, Cecire demonstrates that experimental writing as we now understand it does not do experiments (as in follow a method) but rather performs epistemic virtues. Experimental texts embody the epistemic virtues of flash, objectivity, precision, and contact, associated respectively with population sciences, neuroanatomy, natural history and toolmaking, and anthropology. Yet which virtues take precedence may vary widely, as may the literary forms through which they manifest. Bringing it up to the 1980s, Cecire reveals the American experimental literary tradition as a concerted and largely successful rewriting of twentieth-century literary history. She shows how the Language poets, a group of primarily white experimental writers, restored to the canon what they saw as modernism's true legacy, whose stakes were simultaneously political and epistemological: it produced a poet who was an intellectual and a text that was experimental.

From debates about reparations to the rise of the welfare state, the decades following World War I saw a widespread turn across disciplines to questions about the nature and role of gifts: What is a gift? What do gifts mean and do? Which individuals and institutions have the authority to give? Marshalling wide-ranging interdisciplinary research, Returning the Gift argues that these questions centrally shaped literary modernism. The book begins by revisiting the locus classicus of twentieth-century gift theory — the French sociologist Marcel Mauss's 1925 essay, The Gift: The Form and Reason for Exchange in Archaic Societies. His title notwithstanding, the gift Mauss envisions is not primitive or pre-capitalist, but rather a distinctively modern phenomenon. Subsequent chapters offer sustained, nuanced readings of novels and nonfiction by Virginia Woolf, Jean Rhys, Gertrude Stein, and H.D. from the 1920s to 1940s, underscoring the ways their writing is illuminated by contemporaneous developments in the social sciences, economics, and politics, while also making a case for their unique contributions to broader debates about gifts. Not only do these writers insist that literature is a special kind of gift, but they also pose challenges to the gift's feminization in the work of both their Victorian forebears and contemporary male theorists. Each of these writers uses tropes and narratives of giving — of hospitality, sympathy, reciprocity, charity, genius, and kinship — to imagine more egalitarian social possibilities under the conditions of the capitalist present. The language of the gift is not, as we might expect, a mark of hostility to the market so much as a means of giving form to the 'society' in market society — of representing everyday experiences of exchange that the myth of the free market works, even now, to render unthinkable.

The definitive book on Gertrude Stein

Through mapping the entwinement between the turn-of-the-century nativist discourse, "race suicide," and the frequent representation of suicide in Progressive-Era literature, The Suicidal State asks what kind of agency, subjectivity, and intimacies suicide could forge in its undoing of the selfhood. Prefiguring the twenty-first-century white nationalist discourse "replacement theory," race suicide imagined the white race's declining birthrate as a sign of its imminent extinction, sparking anti-immigrant sentiment and legislation. Suicidal figures in period literature, this book argues, symptomatically enact race suicide to short-circuit the imperatives of racial reproduction and self-preservation, instead gesturing toward new erotic relationalities and pleasures.

An investigation of how popular modernist writers handled their fame.

This monograph underscores the way in which mortality functions in the later poetry and prose of major modernist writers.

Although often hailed as a 'quintessentially American' writer, the modernist poet, novelist and playwright Gertrude Stein (1874-1946) spent most of her life in France. With chapters written by leading international scholars, Gertrude Stein in Europe is the first sustained exploration of the European artistic and intellectual networks in which Stein's work was first developed and circulated. Along the way, the book investigates the European contexts of Stein's writing, how her own work intersected with European thought, including phenomenology and the vitalist work of Henri Bergson, and ultimately how it was received by scholars and artists across the continent. Gertrude Stein in Europe opens up new perspectives on Stein as a writer and on the centrality of artistic and intellectual networks to European modernism.

Gertrude Stein’s first novel, one that was never published during her lifetime, was called Q.E.D. She wrote it to exorcise the experience of her first passionate love affair with the New Yorker May Bookstaver, the friend and lover of the Bostonian Mabel Haynes, a fellow student of Gertrude Stein’s at Johns Hopkins Medical School between 1898 and 1902. The impact of the complicated affair on Stein’s writing has attracted considerable attention but the subsequent lives of her two intimate friends have not been covered so far in any detailed way. Gwendolyn Leick is the granddaughter of Mabel Haynes, who moved to Austria-Hungary in 1905. She began writing this book, after the chance discovery of her grandmother’s part in Gertrude Stein’s life some six years ago, in order to do justice to these remarkable women. The method of writing lays out the things, the notions and ideas, the people (friends, relatives, lovers, husbands), in the form of associative ‘entries’, woven around Gertrude Stein’s texts, as much as on private letters, photographs and other found objects. It is an encyclopaedic enterprise, rather than a chronologically ordered biographical account. The character and the lives of the three protagonists and the times they lived in emerge through the kaleidoscope of the accumulated vignettes.