Jesper Olsson om Gertrude Stein

02/05/2018 § Leave a comment

Gertrude Stein förknippas med Paris kulturliv under 1900-talets första hälft. Men det är till hennes säregna poesi och radikala litterära praktik vi ska vända oss för vägledning idag, menar litteraturvetaren Jesper Olsson i dagens OBS-essä. Som man finder på Sveriges P1; spol frem til 48.30 for at høre radioessayet.

 

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The Sentence That Is a Period

14/11/2017 § Leave a comment

Jeff Dolven in The Paris Review on a sentence by Gertrude Stein:

How do you read a sentence by Gertrude Stein aloud? What she puts between periods is often fragmentary and repetitive, unhelpfully underpunctuated, reliant on a series of appositions and flat ands to hold it together. There is a decision to make.

Read the full article here.

The End of Progress on Earth

31/10/2017 § Leave a comment

In Sensorium Journal Solveig Daugaard writes about how cars and airplanes shaped the writing of Gertrude Stein. Read the article here.

Ulla E. Dydo has passed away

18/09/2017 § Leave a comment

A few days ago, the great, American Stein scholar Ulla E. Dydo passed away. Dydo was Professor Emerita at the City University of New York and was the author of Gertrude Stein: the Language that Rises, 1923-1934 (Northwestern, 2008), editor of A Stein Reader (Northwestern, 1993) and the co-editor of The Letters of Gertrude Stein and Thornton Wilder (Yale University Press, 1996).  Here‘s an excerpt of the latter, here‘s “Two Notes on Stein Textual Scholarship” and here‘s a postcard from Dydo on “Stein’s Continuous Present”.

John Ashbery (1927-2017)

04/09/2017 § Leave a comment

Yesterday the American poet John Ashbery died at 90. A fellow American poet, Mia You, shared this update on Facebook:

“One of the first essays I read about Stein and that made me understand why I loved. Rest in peace, John Ashbery.

‘It is for moments like this that one perseveres in this difficult poem, moments which would be less beautiful and meaningful if the rest did not exist, for we have fought side by side with the author in her struggle to achieve them.'”

The essay can be read here.

 

”Jeg skriver til mig selv og fremmede”

26/08/2017 § Leave a comment

Steins livslange forelskelse i det engelske sprog – det vil sige de værker, hun skrev – skal ikke læses metaforisk, allegorisk eller symbolsk. De betyder ikke noget andet end det, de er

Af Kamilla Löfström

Hvad kan man lære af at læse Gertrude Stein? Man kan lære at læse, lyder mit helt korte svar, der samtidig lyder meget steinsk, idet ordene ser ud til at lukke sig om sig selv – lidt ligesom i Steins mest berømte linje: ”Rose is a rose is a rose is a rose” fra digtet ’Sacred Emily’ skrevet i 1913.

I den sætning er rosen ikke noget andet end en rose. Den er hverken den elskede, kærlighed eller Jesus. Den sætning er et fuldstændigt kærtegn af et ord, ordet rose. Senere, i bogen How to Write fra 1931, skriver Stein med sin karakteristiske snusfornuft og myndighed: ”It is natural to suppose that a rose is a rose is a rose is a rose.” Et ord er et ord, og rosen er tilbage i naturen. Samtidig giver sætningen lige et vrik med hoften, idet man hører ordet ’suppose’ rime på ordet ’rose’.

Den berømte linje var det første, jeg læste af Stein. Den dukkede op i Steffen Hejlskov Larsens bog om systemdigtning fra 1971. Det var Inger Christensen og systemerne, der optog mig lige der, og Hejlskov inddrog Stein i sin forklaring af systemdigtningen. Jeg fik en forståelse af systemerne i Christensens poesi, men Steins rose lærte mig at se mere end blot en kategori eller en genre og faktisk læse ordene. At se hvad der står og give de enkelte ord, og siden de enkelte sætninger, fuld opmærksomhed. « Read the rest of this entry »

Gertrude and Alice in Vichyland

07/06/2017 § Leave a comment

Charles Bernstein in Jacket2:

In “Gertrude and Alice in Vichlyand,” I explore the sources of the disinformation on Stein/WW2, with historical context and documents. One of many questions I ask here: Why was Stein subjected to such virulent scorn when her family art collection was shown at the Met (with no focus on her own work) while Picabia, subject of a full-scale retrospective of his work, was not? Ironically, some of Picabia’s quite intriguing paintings reflect his “murky” views, which is not the case with any of Stein’s literary works.

Read the full text here.

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