A Vocabulary of Thinking: Gertrude Stein and Contemporary by Deborah M. Mix

By Deborah M. Mix

Using experimental kind as a framework for shut readings of writings produced via past due twentieth-century North American ladies, Deborah combine areas Gertrude Stein on the middle of a feminist and multicultural account of twentieth-century cutting edge writing. Her meticulously argued paintings maps literary affiliations that attach Stein to the paintings of Harryette Mullen, Daphne Marlatt, Betsy Warland, Lyn Hejinian, and Theresa Hak Kyung Cha. through distinguishing a vocabulary-which is versatile, evolving, and concurrently person and communal--from a lexicon-which is recorded, mounted, and consists of the load of masculine authority--Mix argues that Stein's experimentalism either permits and calls for the advanced responses of those authors.
    Arguing that those authors have got rather little consciousness as a result 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 impression, she departs from past scholarship through the use of Stein and her paintings as a lens in 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 impression, deals shut readings of formerly ignored modern writers whose paintings does not healthy inside traditional different types, and by means of linking genres no longer mostly linked to experimentalism-lyric, epic, and autobiography-challenges ongoing reevaluations of leading edge writing.

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Additional info for A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women's Innnovative Writing

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At the same time, the answer to the question is quite simple: there are infinitely more than two. If the possibilities are infinite, then it is impossible to impose an order or classificatory scheme, much less a hierarchy or even a beginning or ending (which is, after all, a binary formulation) on the text. “More than two” reveals binary systems as groundless, a reevaluation that destabilizes similar approaches to gender, sexuality, culture, and authority. Equally destabilized are the dualities of reader/writer and self/other.

These narratives are both plotlines for novels and plotlines for lives (which in turn affect the production of novels and other literary works, not to mention our ability to recognize the “Miss Agnes” hidden behind “Mrs. Christopher Harriet”). In addition to such sociofamilial imperatives that are highly gendered, the culturalaesthetic context in which literature is produced and consumed is also deeply marked by gendered expectations: “Those who correctly attach themselves to ribbons ribbons are really awfully long and all” (21).

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.

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