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

By Deborah M. Mix

Using experimental type 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 leading 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 at the same time person and communal--from a lexicon-which is recorded, fastened, and includes the weight of masculine authority--Mix argues that Stein's experimentalism either allows and calls for the complicated responses of those authors.
    Arguing that those authors have obtained fairly little recognition 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. hence, instead of exploring traditional strains of impression, she departs from prior scholarship through the use of Stein and her paintings as a lens wherein 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 of traditional different types, and by means of linking genres now not as a rule linked to experimentalism-lyric, epic, and autobiography-challenges ongoing reevaluations of leading edge writing.

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

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This process of resignification is akin to the process through which, as Judith Butler argues, agency is constructed. While Butler is discussing gender performativity in particular, the dynamic she elaborates can be usefully applied to acts of writing, not least because generic categories are so heavily gendered in practice. Butler explains that “all signification takes place within the orbit of the compulsion to repeat; ‘agency,’ then, is to be located within the possibility of a variation on that repetition” (145).

She explores the possibilities of literal heteroglossia and glossolalia, blurring the boundaries between languages, between the discourses of history and imagination, between self and other. Cha uses this multitongued text to tell painful and urgent stories that open outward in concentric circles, encompassing her own, her mother’s, and other Koreans’ experiences. Thus DICTEE’s readers sense the importance of finding ways into this text, of finding strategies for documenting and passing on its narratives.

And we will soon make her presence more substantial by writing about the Three Vocabularies of Thinking . . 17 profoundly important female experimental writing in the less accessible Stein” (13). DeKoven goes on to argue that “Stein gives us a real blueprint, a deep structure of resistance to prevailing materials of mind/culture/language because, in spite of everything (all attempts to change the weather), it is still patriarchal late capitalism outside, years after Stein’s achievement” (14).

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