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Tender Buttons: Objects, Food, Rooms de Gertrude Stein

Tender Buttons: Objects, Food, Rooms

Autor Gertrude Stein Editat de Leonard Diepeveen
en Limba Engleză Paperback – dec 2017
The first publisher of Tender Buttons described the book’s effect on readers as “something like terror, there are no known precedents to cling to.” Written in pencil in a small notebook and barely revised after its first composition, the text caused a sensation and was widely reviewed and discussed on its publication. This edition of Gertrude Stein’s transformative work immerses the text in its cultural context. The most opaque of modernist texts, Tender Buttons also had modernism’s most voluminous and varied response.
This Broadview Edition uses the response to Tender Buttons as a way of understanding this spectacular moment in publishing history. Stein’s text is published alongside its parodies, defenses, publicity brochure, and selections from the hundreds of responses to it in American daily newspapers, which placed it in the context of Cubism, fashion shows, and celebrity culture.
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Specificații

ISBN-13: 9781554811984
ISBN-10: 1554811988
Pagini: 152
Ilustrații: 5 illustrations
Dimensiuni: 140 x 216 x 8 mm
Greutate: 0.18 kg
Editura: BROADVIEW PR
Colecția Broadview Press
Locul publicării:Peterborough, Canada

Recenzii

The first publisher of Tender Buttons described the book’s effect on readers as “something like terror, there are no known precedents to cling to.” Written in pencil in a small notebook and barely revised after its first composition, the text caused a sensation and was widely reviewed and discussed on its publication. This edition of Gertrude Stein’s transformative work immerses the text in its cultural context. The most opaque of modernist texts, Tender Buttons also had modernism’s most voluminous and varied response.
This Broadview Edition uses the response to Tender Buttons as a way of understanding this spectacular moment in publishing history. Stein’s text is published alongside its parodies, defenses, publicity brochure, and selections from the hundreds of responses to it in American daily newspapers, which placed it in the context of Cubism, fashion shows, and celebrity culture.

“Ever since I heard of Don Marquis’s parodies of Tender Buttons, I have been waiting for this edition. Stein’s art, for Mina Loy, ‘makes a demand for a creative audience, by providing a stimulus,’ and I felt that a parody was an interesting response to it. Now with Leonard Diepeveen’s superb, archive-based edition, I know that Marquis was one of many in the popular press in 1914 who went through bafflement by using her style, copying it to understand it. Stein wanted a new way to say, not explain, and the journalists followed suit. I now know that like the Cubists and Fauvists whose work drew massive crowds to the Armory Show in 1913, Stein had an audience, and it was a similar audience—and if this bellwether text was the literary analogue of the paintings, it did not disappoint. I know that when Stein later said ‘My sentences do get under their skin’ she was thinking back to this historical moment, this annus mirabilis, when to write about her led to writing like her; read and ‘the pesky flea has bitten you,’ said Alfred Kreymborg. Once again, we begin.” — Logan Esdale, Chapman University
“Few modernist landmarks are as exhilarating in challenging the tyrannies of sense-making as Gertrude Stein’s Tender Buttons. Published originally by a one-man avant-garde press, the 78-page booklet caused an uproar among columnists who couldn’t decide whether it marked a revolution in language or a practical joke. But while the media made fun of Gertrude Stein, writers absorbed her rhythms and repetitions until her influence grew inexorable. Leonard Diepeveen’s edition makes Stein’s accomplishment more accessible than ever before. His excellent introduction brings alive the book’s writing and reception, and a broad selection of early reviews and commentary demonstrates how it both baffled and emboldened audiences. The Broadview Press edition of this wholly singular classic reveals both how and why the mater of modernism pushed literature’s buttons—sometimes tenderly, sometimes not.” — Kirk Curnutt, Troy University
“This terrific edition of Gertrude Stein’s Tender Buttons vividly situates the text in its moment of publication in 1914. The editors provide, as footnotes, Stein’s own corrections to errata in the Marie Claire edition, and follow up with a generous sampling of print reviews and press reactions. In addition to classic statements by Mencken and Van Vechten, readers will find very keen and rewarding treatments of Tender Buttons by arts patron Mabel Dodge and poet Mina Loy. These and the other respondents, imitators, critics and celebrants brought together in this volume offer an historical center of gravity for a poetic text that challenges readers to ‘Act so there is no use in a center.’” — Patricia Schechter, Portland State University

Cuprins

Acknowledgements
Introduction
Gertrude Stein: A Brief Chronology
A Note on the Text
Tender Buttons
Appendix A: Manuscript Pages of “A Seltzer Bottle,” Tender Buttons
Appendix B: Claire Marie Publicity Brochure for Tender Buttons
Appendix C: Gertrude Stein on Tender Buttons
  1. On Her Reception
  2. On Words
  3. On Interpretation
Appendix D: Reviews and Contemporary Comment
  1. General
    • a. “Literary Notes,” St. Joseph News-Press (8 August 1914)
      b. Mabel Dodge, “Speculations, or Post-Impressionism in Prose,” Arts and Decoration (March 1913)
      c. Alfred Kreymborg, “Gertrude Stein—Hoax and Hoaxtress,” New York Morning Telegraph (7 March 1915)
      d. Carl Van Vechten, “How to Read Gertrude Stein,” Trend (1914)
      e. From Mina Loy, “Gertrude Stein,” Transatlantic Review (1924)
      f. “Flat Prose,” Atlantic Monthly (September 1914)
      g. “Gertrude Stein,” New York City Call (7 June 1914)
      h. “Time to Show a Message,” Omaha World Herald (7 June 1914)
  2. Cubism and Futurism
    • a. From Mary Mills Lyall, The Cubies’ ABC (1913)
      b. “Cubist Literature,” San Antonio Light (14 June 1914)
      c. “What Is Lunch?,” Chicago Tribune (12 June 1914)
      d. “Gertrude Stein as Literary Cubist,” Philadelphia North American (13 June 1914)
      e. G.V.S., “Tender Buttons,” Pittsburgh Sun (17 July 1914)
      f. H.L. Mencken, “A Cubist Treatise,” Baltimore Sun (6 June 1914)
  3. Celebrity and Mass Culture
    • a. Oscar Odd McIntyre, “Day by Day in New York,” Bridgeport Post (13 July 1914)
      b. Marguerite Mooers Marshall, “No Straight Lines,” Toledo Blade (9 July 1914)
      c. “Futurist Man’s Dress to Be a One-Piece Suit With One Button and Twinkling in Colors,” Toledo Blade (9 July 1914)
      d. “Gertrude Stein of the Stage,” Pittsfield Eagle (4 November 1914)
  4. Parodies
    • a. From Franklin P. Adams, “The Conning Tower,” Cleveland Leader (23 June 1914)
      b. “The Futurist on the Trade,” New York City Daily Trade Record (18 June 1914)
      c. “Our Own Polo Guide: The Game Explained a la Gertrude Stein,” New York Evening Sun (13 June 1914)
      d. Don Marquis, “Gertrude Stein on the War,” New York Evening Sun (2 October 1914)
      e. A.S.K. [Alexander S. Kaun], “The Same Book from Another Standpoint,” Little Review (July 1914)
Works Cited and Select Bibliography

Notă biografică

Gertrude Stein: Gertrude Stein (1874-1946) was one of the most important and innovative American writers of literary modernism, as well as one of the great art collectors and salon hosts of the period. A pioneering lesbian writer, Stein lived most of her life in Paris and became famous in the U.S. with the publication of The Autobiography of Alice B. Toklas (1933).
Seth Perlow: Seth Perlow is an Assistant Professor of English at Oklahoma State University. His research and teaching focus on twentieth-century American literature, poetry and poetics, new media studies, and gay and lesbian literature. He earned a PhD in English at Cornell University.
Juliana Spahr: Juliana Spahr edits with Jena Osman the book series Chain Links and co-edits Subpress. With David Buuck she wrote An Army of Lovers, about two friends who are writers in a time of war and ecological collapse. She is the author of several poetry collections and teaches at Mills College.