Gertrude Stein

Gertrude Stein(February 3, 1874 – July 27, 1946) was an American novelist, poet, playwright, and art collector. Born inAllegheny, Pennsylvania(now part ofPittsburgh), and raised inOakland, California,Stein moved to Paris in 1903, and made France her home for the remainder of her life. She hosted a Parissalon,where the leading figures of modernism in literature and art, such asPablo Picasso,Ernest Hemingway,F. Scott Fitzgerald,Sinclair Lewis,Ezra Pound,Sherwood AndersonandHenri Matisse,would meet.

Gertrude Stein
Portrait byCarl Van Vechten,1935
Born	(1874-02-03)February 3, 1874 Allegheny, Pennsylvania,U.S.
Died	July 27, 1946(1946-07-27)(aged 72) Neuilly-sur-Seine,France
Resting place	Père Lachaise Cemetery
Occupation	Writer poet novelist playwright art collector
Education	Harvard University(BA) Johns Hopkins University
Literary movement	Modernist literature
Partner	Alice Toklas
Signature

In 1933, Stein published a quasi-memoir of her Paris years,The Autobiography of Alice B. Toklas,written in the voice ofAlice B. Toklas,herlife partner.The book became a literary bestseller and vaulted Stein from the relative obscurity of the cult-literature scene into the limelight of mainstream attention.Two quotes from her works have become widely known: "Rose is a rose is a rose is a rose",and "there is no there there", with the latter often taken to be a reference to her childhood home of Oakland.

Her books includeQ.E.D.(1903), about a lesbian romantic affair involving several of Stein's friends;Fernhurst,a fictional story about alove triangle;Three Lives(1905–06);The Making of Americans(1902–1911); andTender Buttons(1914).

Her activities duringWorld War IIhave been the subject of analysis and commentary. As a Jew living inNazi-occupied France,Stein may have been able to sustain her lifestyle as an art collector, and indeed to ensure her physical safety, only through the protection of the powerfulVichy governmentofficial and Nazi collaboratorBernard Faÿ.After the war ended, Stein expressed admiration for another Nazi collaborator, Vichy leaderMarshal Pétain.

Early life

Stein's birthplace and childhood home inAllegheny West

Stein, the youngest of a family of five children, was born on February 3, 1874, inAllegheny, Pennsylvania(which merged withPittsburghin 1907), to upper-middle-class Jewish parents, Daniel Stein and Amelia Stein, née Keyser.Her father was a wealthy businessman with real estate holdings. German and English were spoken in their home.Gertrude's siblings were: Michael (1865), Simon (1868), Bertha (1870), and Leo (1872).

Stein at three years of age

When Stein was three years old, she and her family moved toVienna,and then Paris. Accompanied by governesses and tutors, the Steins endeavored to imbue their children with the cultured sensibilities of European history and life.After a year-long sojourn abroad, they returned to America in 1878, settling inOakland, California,where her father became director of San Francisco's streetcar lines, theMarket Street Railway.Stein attendedFirst Hebrew Congregation of Oakland's Sabbath school.During their residence in Oakland, they lived for four years on a ten-acre lot, and Stein built many memories of California there.She would often go on excursions with her brother, Leo, with whom she developed a close relationship. Stein found formal schooling in Oakland unstimulating,but she often readShakespeare,Wordsworth,Scott,Burns,Smollett,Fielding,and more.

When Stein was 14 years old, her mother died. Three years later, her father died as well. Stein's eldest brother, Michael Stein, age 26,then took over the family business holdings, moved his four siblings to San Francisco,where he now was a director of theMarket Street Cable Railway Company,and in 1892 arranged for Gertrude and another sister, Bertha, to live with their mother's family inBaltimore.Here she lived with her uncleDavid Bachrach,who in 1877 had married Gertrude's maternal aunt, Fanny Keyser.

In Baltimore, Stein metClaribelandEtta Cone,who held Saturday eveningsalonsthat she would later emulate in Paris. The Cones shared an appreciation for art and conversation about it and modeled a domestic division of labor that Stein would replicate in her relationship withAlice B. Toklas.

Education

Radcliffe

Stein attendedRadcliffe College,then an annex ofHarvard University,from 1893 to 1897 and was a student of psychologistWilliam James.With James's supervision, Stein and another student, Leon Mendez Solomons, performed experiments onnormal motor automatism,a phenomenon hypothesized to occur in people when their attention is divided between two simultaneous intelligent activities such as writing and speaking.

These experiments yielded examples of writing that appeared to represent "stream of consciousness",a psychological theory often attributed to James and the style of modernist authorsVirginia WoolfandJames Joyce.In 1934, behavioral psychologistB. F. Skinnerinterpreted Stein's difficult poemTender Buttonsas an example ofnormal motor automatism.In a letter Stein wrote during the 1930s, she explained that she never accepted the theory ofautomatic writing:"[T]here can be automatic movements, but not automatic writing. Writing for the normal person is too complicated an activity to be indulged in automatically."She did publish an article in a psychological journal on "spontaneous automatic writing" while at Radcliffe, but "the unconscious and the intuition (even when James himself wrote about them) never concerned her".

At Radcliffe, she began a lifelong friendship with Mabel Foote Weeks, whose correspondence traces much of the progression of Stein's life. In 1897, Stein spent the summer inWoods Hole, Massachusetts,studying embryology at theMarine Biological Laboratory.She received her A.B. (Bachelor of Arts)magna cum laudefrom Radcliffe in 1898.

Johns Hopkins School of Medicine

William James, who had become a committed mentor to Stein at Radcliffe, recognizing her intellectual potential, and declaring her his "most brilliant woman student", encouraged Stein to enroll in medical school. Although Stein professed no interest in either the theory or practice of medicine, she enrolled atJohns Hopkins School of Medicinein 1897. In her fourth year, Stein failed an important course, lost interest, and left.Ultimately, medical school had bored her, and she had spent many of her evenings not applying herself to her studies, but taking long walks and attending the opera.

Stein's tenure at Johns Hopkins was marked by challenges and stress. Men dominated the medical field, and the inclusion of women in the profession was not unreservedly or unanimously welcomed. Writing of this period in her life (inThings As They Are,1903) Stein often revealed herself as a depressed young woman dealing with a paternalistic culture, struggling to find her own identity, which she realized could not conform to the conventional female role. Her uncorseted physical appearance and eccentric mode of dress aroused comment and she was described as "Big and floppy and sandaled and not caring a damn."According to Linda Wagner-Martin, Stein's "controversial stance on women's medicine caused problems with the male faculty" and contributed to her decision to leave without finishing her degree.

Asked to give a lecture to a group of Baltimore women in 1899, Stein gave a controversial speech titled "The Value of College Education for Women", undoubtedly designed to provoke the largely middle-class audience. In the lecture Stein maintained:

average middle class woman [supported by] some male relative, a husband or father or brother,...[is] not worth her keep economically considered. [This economic dependence caused her to become] oversexed...adapting herself to the abnormal sex desire of the male...and becoming a creature that should have been first a human being and then a woman into one that is a woman first and always.

— 

While a student at Johns Hopkins and purportedly still naïve about sexual matters, Stein experienced an awakening of her latent sexuality. Sometime in 1899 or 1900, she became infatuated withMary Bookstaverwho was involved in a relationship with a medical student, Mabel Haynes. Witnessing the relationship between the two women served for Stein as her "erotic awakening". The unhappy love triangle demoralized Stein, arguably contributing to her decision to abandon her medical studies.In 1902, Stein's brotherLeo Steinleft for London, and Stein followed. The following year the two relocated to Paris, where Leo hoped to pursue an art career.

Art collection

Gertrude and Leo Stein boughtHenri Matisse's,Woman with a Hat,1905, a portrait of the artist's wife, Amelia, now in theSan Francisco Museum of Modern Art

Leo, Gertrude, and Michael Stein

From 1903 until 1914, when they dissolved their common household, Gertrude and her brother Leo shared living quarters near theLuxembourg Gardenson theLeft Bankof Paris in a two-story apartment (with the adjacent studio) located on the interior courtyard at27 rue de Fleurus,6th arrondissement.Here they accumulated the works of art that formed a collection that became renowned for its prescience and historical importance.

The gallery space was furnished with imposingRenaissance-era furniture fromFlorence,Italy. The paintings lined the walls in tiers trailing many feet to the ceiling. Initially illuminated by gaslight, the artwork was later lit by electric light shortly prior toWorld War I.

Leo Stein cultivated important art world connections, enabling the Stein holdings to grow over time. The art historian and collectorBernard Berensonhosted Gertrude and Leo in hisEnglish country housein 1902, facilitating their introduction toPaul Cézanneand the dealerAmbroise Vollard.Vollard was heavily involved in the Cézanne art market, and he was the first important contact in the Paris art world for both Leo and Gertrude.

The joint collection of Gertrude and Leo Stein began in late 1904 when Michael Stein announced that their trust account had accumulated a balance of 8,000 francs. They spent this atVollard's Gallery, buyingGauguin'sSunflowersandThree Tahitians,Cézanne'sBathers,and twoRenoirs.

Stein inher Paris studio,with aportrait of herby Pablo Picasso, and other modern art paintings hanging on the wall (before 1910)

The art collection increased and the walls at Rue de Fleurus were rearranged continually to make way for new acquisitions.In "the first half of 1905" the Steins acquiredCézanne'sPortrait of Mme CézanneandDelacroix'sPerseus and Andromeda.Shortly after the opening of theSalon d'Automneof 1905 (on October 18, 1905), the Steins acquired Matisse'sWoman with a Hatand Picasso'sYoung Girl with a Flower Basket.In 1906, Picasso completedPortrait of Gertrude Stein,which remained in her collection until her death.

Henry McBride(art critic for theNew York Sun) did much for Stein's reputation in the United States, publicizing her art acquisitions and her importance as a cultural figure. Of the art collection at 27 Rue de Fleurus, McBride commented: "[I]n proportion to its size and quality... [it is] just about the most potent of any that I have ever heard of in history."McBride also observed that Gertrude "collected geniuses rather than masterpieces. She recognized them a long way off."

By early 1906, Leo and Gertrude Stein's studio had many paintings byHenri Manguin,Pierre Bonnard,Pablo Picasso,Paul Cézanne,Pierre-Auguste Renoir,Honoré Daumier,Henri Matisse,andHenri de Toulouse-Lautrec.Their collection was representative of two famous art exhibitions that took place during their residence together in Paris, and to which they contributed, either by lending their art or by patronizing the featured artists.The Steins' elder brother, Michael, and sister-in-law Sarah (Sally) acquired a large number of Henri Matisse paintings; Gertrude's friends from Baltimore,ClaribelandEtta Cone,collected similarly, eventually donating their art collection, virtually intact, to theBaltimore Museum of Art.

While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 Rue de Fleurus. Where Renoir, Cézanne, Matisse, and Picasso's works dominated Leo and Gertrude's collection, the collection of Michael andSarah Steinemphasized Matisse.In April 1914 Leo relocated toSettignano, Italy, near Florence,and the art collection was divided. The division of the Steins' art collection was described in a letter by Leo:

The Cézanne apples have a unique importance to me that nothing can replace. The Picasso landscape is not important in any such sense. We are, as it seems to me on the whole, both so well off now that we needn't repine. The Cézannes had to be divided. I am willing to leave you the Picasso oeuvre, as you left me the Renoir, and you can have everything except that. I want to keep the few drawings that I have. This leaves no string for me, it is financially equable either way for estimates are only rough & ready methods, & I'm afraid you'll have to look upon the loss of the apples as an act of God. I have been anxious above all things that each should have in reason all that he wanted, and just as I was glad that Renoir was sufficiently indifferent to you so that you were ready to give them up, so I am glad that Pablo is sufficiently indifferent to me that I am willing to let you have all you want of it.

Leo departed with sixteen Renoirs and, relinquishing the Picassos and most of Matisse to his sister, took only a portrait sketch Picasso had done of him. He remained dedicated to Cézanne, nonetheless, leaving all the artist's works with his sister, taking with him only a Cézanne painting of "5 apples".The split between brother and sister was acrimonious. Stein did not see Leo Stein again until afterWorld War I,and then through only a brief greeting on the street in Paris. After this accidental encounter, they never saw or spoke to each other again.The Steins' holdings were dispersed eventually by various methods and for various reasons.

After her and Leo's households separated in 1914, Stein continued to collect examples of Picasso's art, which had turned toCubism,a style Leo did not appreciate. At her death, Gertrude's remaining collection emphasized the artwork of Picasso andJuan Gris,most of her other pictures having been sold.

Gertrude Stein's personality has dominated the provenance of the Stein art legacy. It was, however, her brother Leo who was the astute art appraiser. Alfred Barr Jr., the founding director of New York'sMuseum of Modern Art,said that between the years of 1905 and 1907, "[Leo] was possibly the most discerning connoisseur and collector of 20th-century painting in the world."After the artworks were divided between the two Stein siblings, it was Gertrude who moved on to champion the works of what proved to be lesser talents in the 1930s. She concentrated on the work ofJuan Gris,André Masson,and SirFrancis Rose.In 1932, Stein asserted: "Painting now after its great period has come back to be a minor art."

In 1945, in a preface for the first exhibition of Spanish painterFrancisco Riba Rovira(who painted a portrait of her), Stein wrote:

I explained that for me, all modern painting is based on what Cézanne nearly made, instead of basing itself on what he almost managed to make. When he could not make a thing, he hijacked it and left it. He insisted on showing his incapacity: he spread his lack of success: showing what he could not do, became an obsession for him. People influenced by him were also obsessed with the things which they could not reach and they began the system of camouflage. It was natural to do so, even inevitable: that soon became an art, in peace and war, and Matisse concealed and insisted at the same time that Cézanne could not realize, and Picasso concealed, played, and tormented all these things. The only one who wanted to insist on this problem was Juan Gris. He persisted by deepening the things which Cézanne wanted to do, but it was too hard a task for him: it killed him. And now here we are, I find a young painter who does not follow the tendency to play with what Cézanne could not do, but who attacks any right the things which he tried to make, to create the objects which have to exist, for, and in themselves, and not in relation.

27 rue de Fleurus: The Stein salon

Plaque at27 rue de Fleurus

The gatherings in the Stein home "brought together confluences of talent and thinking that would help define modernism in literature and art". Dedicated attendees includedPablo Picasso,Ernest Hemingway,F. Scott Fitzgerald,Sinclair Lewis,Ezra Pound,Gavin Williamson,Thornton Wilder,Sherwood Anderson,Francis Cyril Rose,Bob Brown,René Crevel,Élisabeth de Gramont,Francis Picabia,Claribel Cone,Mildred Aldrich,Jane Peterson,Carl Van Vechten,Henri MatisseandGeorges Braque.Saturday evenings had been set as the fixed day and time for formal congregation so Stein could work at her writing uninterrupted by impromptu visitors.

It was Stein's partner Alice who became the de facto hostess for the wives and girlfriends of the artists in attendance, who met in a separate room. From "Alice Entertained the Wives" (New York Times, 1977): "'I am a person acted upon, not a person who acts,' Alice told one of Gertrude's biographers (...) When guests showed up, Alice was called upon to entertain their wives. The ladies were, of course, 'second‐class citizens'"

Gertrude attributed the beginnings of the Saturday evening salons to Matisse, as people began visiting to see his paintings and those of Cézanne: "Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance, and it was in this way that Saturday evenings began."

Among Picasso's acquaintances who frequented the Saturday evenings were:Fernande Olivier(an artists’ model in a relationship with Picasso),Georges Braque(artist),André Derain(artist),Max Jacob(poet),Guillaume Apollinaire(poet and art critic),Marie Laurencin(artist, in a relationship with Apollinaire),Henri Rousseau(painter), andJoseph Stella(painter).

Hemingway frequented Stein's salon, but the two had an uneven relationship. They began as close friends, with Hemingway admiring Stein as a mentor, but they later grew apart, especially after Stein called Hemingway "yellow" inThe Autobiography of Alice B. Toklas.Upon the birth of his son, Hemingway asked Stein to be the godmother of his child.While Stein has been credited with inventing the term "Lost Generation"for those whose defining moment in time and coming of age had been World War I and its aftermath, there are at least three versions of the story that led to the phrase, two by Hemingway and one by Stein.

During the summer of 1931, Stein advised the young composer and writerPaul Bowlesto go toTangier,where she and Alice had vacationed.

In 1938, Stein and Toklas moved from the rue de Fleurus to 5 rue Christine in the6th arrondissement.For much of the war they sheltered in a house they had rented for several years in the hamlet of Bilignin in the commune of Belley (Ain), which was initially outside the area of direct German occupation in theZone libre.

Literary style

Carl Van Vechten,Portrait of Gertrude Stein,1934

Stein's writing can be placed in three categories: "hermetic" works best illustrated byThe Making of Americans:The Hersland Family;popularized writing such asThe Autobiography of Alice B. Toklas;and speech writing and more accessible autobiographical writing of later years, of whichBrewsie and Willieis a good example. Her works include novels, plays, stories,libretti,and poems written in a highly idiosyncratic, playful, repetitive, and humorous style. Typical quotes are: "Rose is a rose is a rose is a rose";"Out of kindness comes redness and out of rudeness comes rapid same question, out of an eye comes research, out of selection comes painful cattle ";about her childhood home inOakland,"There is no there there"; and "The change of color is likely and a difference a very little difference is prepared. Sugar is not a vegetable."

A reader wrote to Stein in 1933 asking her to explain the rose quotation received a reply from Toklas as her secretary: "The device rose is a rose is a rose is a rose means just that. Miss Stein is unfortunately too busy herself to be able to tell you herself, but trusts that you will eventually come to understand that each and every word that she writes means exactly what she says, for she says very exactly what she means, and really nothing more, but, of course, nothing less."

Thesestream-of-consciousnessexperiments, rhythmical essays or "portraits", were designed to evoke "the excitingness of pure being" and can be seen as literature's answer to visual art styles and forms such asCubism,plasticity, andcollage.Many of the experimental works such asTender Buttonshave since been interpreted by critics as afeministreworking of patriarchal language. These works were well received by avant-garde critics but did not initially achieve mainstream success. Despite Stein's work on "automatic writing"withWilliam James,she did not see her work as automatic, but as an 'excess of consciousness'.

Though Stein collected cubist paintings, especially those of Picasso, the largest visual arts influence on her literary work is that ofCézanne.Particularly, he influenced her idea of equality, distinguished from universality: "the whole field of the canvas is important".Rather than a figure/ground relationship, "Stein in her work with words used the entire text as a field in which every element mattered as much as any other." It is a subjective relationship that includes multiple viewpoints. Stein explained: "[T]he important thing... is that you must have deep down as the deepest thing in you a sense of equality."

Her use of repetition is ascribed to her search for descriptions of the "bottom nature" of her characters, such as inThe Making of Americanswhere the narrator is described through the repetition of narrative phrases such as "As I was saying" and "There will be now a history of her." Stein used many Anglo-Saxon words and avoided words with "too much association". Social judgment is absent in her writing, so the reader is given the power to decide how to think and feel about the writing. Anxiety, fear, and anger are also absent, and her work is harmonic and integrative.Stein's work was included in the second issue of0 to 9 magazine,a journal which explored language and meaning-making during the 1960s avant garde movement.

Stein predominantly used the present progressive tense, creating a continuous presence in her work, which Grahn argues is a consequence of the previous principles, especially commonality and centeredness. Grahn describes "play" as the granting of autonomy and agency to the readers or audience: "rather than theemotional manipulationthat is a characteristic of linear writing, Stein usesplay."In addition, Stein's work is funny, and multilayered, allowing a variety of interpretations and engagements. Lastly, Grahn argues that one must "insterstand... engage with the work, to mix with it in an active engagement, rather than 'figuring it out.' Figure it in. "In 1932, using an accessible style to appeal to a wider audience, she wroteThe Autobiography of Alice B. Toklas;the book would become her first best-seller. Despite the title, it was actually Stein's autobiography. The style was quite similar to that ofThe Alice B. Toklas Cookbook,which was written by Toklas. Many critics speculated that Toklas actually had writtenThe Autobiography of Alice B. Toklas,despite Toklas repeatedly denying authorship.

Several of Stein's writings have been set to music by composers, includingVirgil Thomson's operasFour Saints in Three ActsandThe Mother of Us All,andJames Tenney's setting ofRose is a rose is a rose is a roseas acanondedicated toPhilip Corner,beginning with "a" on an upbeat and continuing so that each repetition shuffles the words, e.g. "a/rose is a rose/is a rose is/a rose is a/rose."

Literary career

Pablo Picasso,Portrait of Gertrude Stein,1906,Metropolitan Museum of Art,New York. When someone commented that Stein didn't look like her portrait, Picasso replied, "She will."Stein wrote "If I Told Him: A Completed Portrait of Picasso"(1923) in response to the painting.

Félix Vallotton,Portrait of Gertrude Stein,1907

While living in Paris, Stein began submitting her writing for publication. Her earliest writings were mainly retellings of her college experiences. Her first critically acclaimed publication wasThree Lives.In 1911,Mildred Aldrichintroduced Stein toMabel Dodge Luhanand they began a short-lived but fruitful friendship during which the wealthy Mabel Dodge promoted Gertrude's legend in the United States.

Mabel was enthusiastic about Stein's sprawling publicationThe Makings of Americansand, at a time when Stein had much difficulty selling her writing to publishers, privately published 300 copies ofPortrait of Mabel Dodge at Villa Curonia.Dodge was also involved in the publicity and planning of the69th RegimentArmory Showin 1913, "the first avant-garde art exhibition in America".

In addition, she wrote the first critical analysis of Stein's writing to appear in America, in "Speculations, or Post-Impressionists in Prose", published in a special March 1913 publication ofArts and Decoration.Foreshadowing Stein's later critical reception, Dodge wrote in "Speculations":

In Gertrude Stein's writing every word lives and, apart from concept, it is so exquisitely rhythmical and cadenced that if we read it aloud and receive it as pure sound, it is like a kind of sensuous music. Just as one may stop, for once, in a way, before a canvas of Picasso, and, letting one's reason sleep for an instant, may exclaim: "Itisa fine pattern! "so, listening to Gertrude Stein's words and forgetting to try to understand what they mean, one submits to their gradual charm.

Stein andCarl Van Vechten,the noted critic and photographer, became acquainted in Paris in 1913. The two became lifelong friends, devising pet names for each other: Van Vechten was "Papa Woojums", and Stein, "Baby Woojums". Van Vechten served as an enthusiastic champion of Stein's literary work in the United States, in effect becoming her American agent.

America (1934–1935)

In October 1934, Stein arrived in America after a 30-year absence. Disembarking from the ocean liner in New York, she encountered a throng of reporters. Front-page articles on Stein appeared in almost every New York City newspaper. As she rode through Manhattan to her hotel, she was able to get a sense of the publicity that would hallmark her US tour. An electric sign inTimes Squareannounced to all that "Gertrude Stein Has Arrived."Her six-month tour of the country encompassed 191 days of travel, criss-crossing 23 states and visiting 37 cities. Among other sites, Stein visited Civil War battlefields, toured Chicago with homicide detectives, saw a football game in New Haven, dined in New Orleans, visited Scott Fitzergald and Zelda Sayer in Baltimore, and returned to her childhood home in Oakland.

Stein's tour was partly to give public lectures, and she prepared each individually; the audiences were limited to five hundred attendees. She spoke, reading from notes, and provided for an audience question and answer period at the end of her presentation.

Stein's effectiveness as a lecture speaker received varying evaluations. At the time, some maintained that "Stein's audiences by and large did not understand her lectures." Some of those in the psychiatric community weighed in, judging that Stein suffered from aspeech disorder,palilalia,which caused her "to stutter over words and phrases". The predominant feeling, however, was that Stein was a compelling presence, a fascinating personality who could hold listeners with the "musicality of her language".

In Washington, D.C. Stein was invited to have tea with the President's wife,Eleanor Roosevelt.InBeverly Hills,California, she visited actor and filmmakerCharlie Chaplin,who reportedly discussed the future of cinema with her.Stein left America in May 1935, a newly minted American celebrity with a commitment fromRandom House,who had agreed to become the American publisher for all of her future works.TheChicago Daily Tribunewrote after Stein's return to Paris: "No writer in years has been so widely discussed, so much caricatured, so passionately championed."

Books

Q.E.D.

Stein completedQ.E.D.,her first novel, on October 24, 1903.One of the earliestcoming outstories,it is about a romantic affair involving Stein and her friends Mabel Haynes, Grace Lounsbury andMary Bookstaver,and occurred between 1897 and 1901 while she was studying atJohns Hopkinsin Baltimore.

Fernhurst(1904)

In 1904, Stein beganFernhurst,a fictional account of a scandalous three-person romantic affair involving a dean (M. Carey Thomas), a faculty member fromBryn Mawr College(Mary Gwinn) and a Harvard graduate (Alfred Hodder).Mellow asserts thatFernhurst"is a decidedly minor and awkward piece of writing".It includes some commentary that Gertrude mentioned in her autobiography when she discussed the "fateful twenty-ninth year"during which:

All the forces that have been engaged through the years of childhood, adolescence and youth in confused and ferocious combat range themselves in ordered ranks (and during which) the straight and narrow gateway of maturity, and life which was all uproar and confusion narrows down to form and purpose, and we exchange a great dim possibility for a small hard reality. Also in our American life where there is no coercion in custom and it is our right to change our vocation so often as we have desire and opportunity, it is a common experience that our youth extends through the whole first twenty-nine years of our life and it is not till we reach thirty that we find at last that vocation for which we feel ourselves fit and to which we willingly devote continued labor.

Mellow observes that, in 1904, 30-year-old Gertrude "had evidently determined that the 'small hard reality' of her life would be writing".

Three Lives(1905–1906)

Stein attributed the inception ofThree Livesto the inspiration she received from a portraitCézannehad painted of his wife and which was in the Stein collection. She credited this as arevelatory momentin the evolution of her writing style. Stein described:

that the stylistic method of(Three Lives)had been influenced by the Cézanne portrait under which she sat writing. The portrait of Madame Cézanne is one of the monumental examples of the artist's method, each exacting, carefully negotiated plane—from the suave reds of the armchair and the gray blues of the sitter's jacket to the vaguely figured wallpaper of the background—having been structured into existence, seeming to fix the subject for all eternity. So it was with Gertrude's repetitive sentences, each one building up, phrase by phrase, the substance of her characters.

She beganThree Livesduring the spring of 1905 and finished it the following year.

The Making of Americans(1902–1911)

Gertrude Stein stated the date for her writing ofThe Making of Americanswas 1906–1908. Her biographer has uncovered evidence that it actually began in 1902 and did not end until 1911.Stein compared her work toJames Joyce'sUlyssesand toMarcel Proust'sIn Search of Lost Time.Her critics were less enthusiastic about it.Stein wrote the bulk of the novel between 1903 and 1911, and evidence from her manuscripts suggests three major periods of revision during that time.The manuscript remained mostly hidden from public view until 1924 when, at the urging ofErnest Hemingway,Ford Madox Fordagreed to publish excerpts in thetransatlantic review.In 1925, the Paris-based Contact Press published a limited run of the novel consisting of 500 copies. A much-abridged edition was published byHarcourt Bracein 1934, but the full version remained out of print untilSomething Else Pressrepublished it in 1966. In 1995, a new, definitive edition was published byDalkey Archive Presswith a foreword byWilliam Gass.

Gertrude'sMatisseandPicassodescriptive essays appeared inAlfred Stieglitz's August 1912 edition ofCamera Work,a special edition devoted to Picasso and Matisse, and represented her first publication.Of this publication, Gertrude said, "[h]e was the first one that ever printed anything that I had done. And you can imagine what that meant to me or to any one."

Word Portraits (1908–1913)

Stein's descriptive essays apparently began with her essay of Alice B. Toklas, "a little prose vignette, a kind of happy inspiration that had detached itself from the torrential prose ofThe Making of Americans".Stein's early efforts at word portraits are catalogued by Mellowand under individual's names in Kellner, 1988. Matisse and Picasso were subjects of early essays,later collected and published inGeography and PlaysandPortraits and Prayers.

Her subjects included several ultimately famous personages, and her subjects provided a description of what she observed in her Saturday salons at 27 Rue de Fleurus: "Ada" (Alice B. Toklas), "Two Women" (TheCone sisters,Claribel ConeandEtta Cone),Miss Furr and Miss Skeene(Ethel MarsandMaud Hunt Squire), "Men" (Hutchins Hapgood,Peter David Edstrom,Maurice Sterne), "Matisse" (1909,Henri Matisse), "Picasso" (1909,Pablo Picasso), "Portrait of Mabel Dodge at the Villa Curonia" (1911,Mabel Dodge Luhan), and "Guillaume Apollinaire"(1913).

Tender Buttons(1912)

Tender Buttonsis the best known of Stein's "hermetic" works. It is a small book separated into three sections— "Food", "Objects" and "Rooms", each containing prose under subtitles.Its publication in 1914 caused a great dispute betweenMabel Dodge Luhanand Stein, because Mabel had been working to have it published by another publisher.Mabel wrote at length about what she viewed as the bad choice of publishing it with the press Gertrude selected.Evans wrote Gertrude:

Claire Marie Press... is absolutely third rate, & in bad odor here, being called for the most part 'decadent "and Broadwayish and that sort of thing... I think it would be a pity to publish with [Claire Marie Press]ifit will emphasize the idea in the opinion of the public, that there is something degenerate & effete & decadent about the whole of the cubist movement which theyallconnect you with, because, hang it all, as long as they don't understand a thing they think all sorts of things. My feeling in this is quite strong.

Stein ignored Mabel's exhortations and published 1,000 copies of the book in 1914. An antiquarian copy was valued at over $1,200 in 2007.It is currently in print, and was re-released asTender Buttons: The Corrected Centennial EditionbyCity Lights Publishersin March 2014.

In an interview withRobert Bartlett Haasin "A Transatlantic Interview – 1946", Stein insisted that this work was completely "realistic" in the tradition ofGustave Flaubert,stating the following: "I used to take objects on a table, like a tumbler or any kind of object and try to get the picture of it clear and separate in my mind and create a word relationship between the word and the things seen." Commentators have indicated that what she meant was that thereferenceof objects remained central to her work, although therepresentationof them had not.ScholarMarjorie Perloffhad said of Stein that "[u]nlike her contemporaries (Eliot,Pound,Moore), she does not give us an image, however fractured, of a carafe on a table; rather, she forces us to reconsider how language actually constructs the world we know. "

The Autobiography of Alice B. Toklas(1933)

The publication ofThe Autobiography of Alice B. Toklaslifted Gertrude Stein from literary obscurity to almost immediate celebrity in the United States.Although popular with the American public, Stein received considerable backlash from individuals portrayed in her book. Eugene Jolas, editor of the avant-garde journalTransition,published a pamphlet titledTestimony against Gertrude Steinin which artists such as Henri Matisse and Georges Braque expressed their objections to Stein's portrayal of the Parisian community of artists and intellectuals.Braque, in his response, criticized, "she had entirely misunderstood cubism which she sees simply in terms of personalities".

Four in America(1947)

Published posthumously by Yale University Press in 1947, with an introduction byThornton Wilder,Four in Americacreates alternative biographies ofUlysses S. Grantas a religious leader,Wilbur Wrightas a painter,George Washingtonas a novelist, andHenry Jamesas a military general.

Alice B. Toklas

Alice B. Toklas and Gertrude Stein(1922) byMan Ray

Stein met herlife partnerAlice B. Toklason September 8, 1907, on Toklas's first day in Paris, at Sarah and Michael Stein's apartment.On meeting Stein, Toklas wrote:

She was a golden brown presence, burned by the Tuscan sun and with a golden glint in her warm brown hair. She was dressed in a warm brown corduroy suit. She wore a large round coral brooch and when she talked, very little, or laughed, a good deal, I thought her voice came from this brooch. It was unlike anyone else's voice—deep, full, velvety, like a great contralto's, like two voices.

Soon thereafter, Stein introduced Toklas toPablo Picassoat hisBateau-Lavoirstudio, where he was at work onLes Demoiselles d'Avignon.

In 1908, they summered inFiesole,Italy, Toklas staying withHarriet Lane Levy,the companion of her trip from the United States, and her housemate until Alice moved in with Stein and Leo in 1910. That summer, Stein stayed with Michael and Sarah Stein, their son Allan, and Leo in a nearby villa. Gertrude and Alice's summer of 1908 is memorialized in images of the two of them in Venice, at the piazza in front of Saint Mark's.

Toklas arrived in 1907 with Harriet Levy, with Toklas maintaining living arrangements with Levy until she moved to 27 Rue de Fleurus in 1910. In an essay written at the time, Stein humorously discussed the complex efforts, involving much letter-writing and Victorian niceties, to extricate Levy from Toklas's living arrangements.In "Harriet", Stein considers Levy's nonexistent plans for the summer, following her nonexistent plans for the winter:

She said she did not have any plans for the summer. No one was interested in this thing in whether she had any plans for the summer. That is not the complete history of this thing, some were interested in this thing in her not having any plans for the summer... Some who were not interested in her not having made plans for the summer were interested in her not having made plans for the following winter. She had not made plans for the summer and she had not made plans for the following winter... There was then coming to be the end of the summer and she was then not answering anything when any one asked her what were her plans for the winter.

During the early summer of 1914, Stein bought three paintings byJuan Gris:Roses,Glass and Bottle,andBook and Glasses.Soon after she purchased them fromDaniel-Henry Kahnweiler's gallery,the Great War began, Kahnweiler's stock was confiscated and he was not allowed to return to Paris. Gris, who before the war had entered a binding contract with Kahnweiler for his output, was left without income. Stein attempted to enter an ancillary arrangement in which she would forward Gris living expenses in exchange for future pictures. Stein and Toklas had plans to visit England to sign a contract for the publication ofThree Lives,to spend a few weeks there, and then journey to Spain. They left Paris on July 6, 1914, and returned on October 17.When Britain declared war on Germany, Stein and Toklas were visitingAlfred North Whiteheadin England. After a supposed three-week trip to England that stretched to three months due to the War, they returned to France, where they spent the first winter of the war.

With money acquired from the sale of Stein's last MatisseWoman with a Hatto her brother Michael, she and Toklas vacationed in Spain from May 1915 through the spring of 1916.During their interlude inMajorca,Spain, Gertrude continued her correspondence withMildred Aldrichwho kept her apprised of the War's progression, and eventually inspired Gertrude and Alice to return to France to join the war effort.

Toklas and Stein returned to Paris in June 1916, and acquired a Ford automobile with the help of associates in the United States; Gertrude learned to drive it with the help of her friendWilliam Edwards Cook.Gertrude and Alice then volunteered to drive supplies to French hospitals, in the Ford they namedAuntie,"after Gertrude's aunt Pauline, 'who always behaved admirably in emergencies and behaved fairly well most times if she was flattered.'"

Stein withErnest Hemingway's son,Jack Hemingway,in 1924. Stein is credited with bringing the term "Lost Generation"into use.

During the 1930s, Stein and Toklas became famous with the 1933 mass-market publication ofThe Autobiography of Alice B. Toklas.She and Alice had an extended lecture tour in the United States during this decade. They also spent several summers in the town of Bilignin, in theAindistrict of eastern France situated in the picturesque region of theRhône-Alpes.The two women doted on their beloved poodle named "Basket" whose successor, "Basket II", comforted Alice in the years after Gertrude's death.

With the outbreak of World War II, Stein and Toklas relocated to a country home that they had rented for many years previously in Bilignin,Ain,in theRhône-Alpesregion. Stein and Alice, who were both Jewish, escaped persecution probably because of their friendship toBernard Faÿwho was a collaborator with theVichy regimeand had connections to theGestapo,or possibly because Stein was an American and a famous author. Stein's book "Wars I Have Seen" written before the German surrender and before the liberation of German concentration camps, likened the German army toKeystone Cops.When Faÿ was sentenced to hard labor for life after the war, Stein and Alice campaigned for his release. Several years later, Toklas would contribute money to Faÿ's escape from prison. After the war, Stein was visited by many young American soldiers. The August 6, 1945, issue ofLifemagazine featured a photo of Stein and American soldiers posing in front of Hitler's bunker inBerchtesgaden.They are all giving the Nazi salute and Stein is wearing the traditional Alpine cap, accompanied by the text: "Off We All Went To See Germany."

In the 1980s, a cabinet in theYale UniversityBeinecke Library,which had been locked for an indeterminate number of years, was opened and found to contain some 300 love letters written by Stein and Toklas. They were made public for the first time, revealing intimate details of their relationship. Stein's endearment for Toklas was "Baby Precious", in turn Stein was for Toklas, "Mr. Cuddle-Wuddle".

Lesbian relationships

Stein is the author of one of the earliestcoming outstories,Q.E.D.(published in 1950 asThings as They Are), written in 1903 and suppressed by the author. The story, written during travels after leaving college, is based on a three-person romantic affair in which she became involved while studying atJohns Hopkinsin Baltimore. The affair was complicated, as Stein was less experienced with the social dynamics ofromantic friendshipas well as her own sexuality and any moral dilemmas regarding it. Stein maintained at the time that she detested "passion in its many disguised forms". The relationships of Stein's acquaintances Mabel Haynes and Grace Lounsbury ended as Haynes started one withMary Bookstaver(also known as May Bookstaver). Stein became enamored of Bookstaver but was unsuccessful in advancing their relationship. Bookstaver, Haynes, and Lounsbury all later married men.

Stein began to accept and define her pseudo-masculinity through the ideas ofOtto Weininger'sSex and Character(1906). Weininger, though Jewish by birth, considered Jewish men effeminate and women as incapable of selfhood and genius, except for female homosexuals who may approximate masculinity. As Stein equated genius with masculinity, her position as a female and an intellectual becomes difficult to synthesize and modern feminist interpretations of her work have been called into question.

More positive affirmations of Stein's sexuality began with her relationship withAlice B. Toklas.Ernest Hemingwaydescribes how Alice was Gertrude's "wife" in that Stein rarely addressed his (Hemingway's) wife, and he treated Alice the same, leaving the two "wives" to chat.

The more affirming essay "Miss Furr and Miss Skeene" is one of the firsthomosexual revelation storiesto be published. The work, likeQ.E.D.,is informed by Stein's growing involvement with a homosexual community,though it is based on lesbian partners Maud Hunt Squire and Ethel Mars.The work contains the word "gay" over 100 times, perhaps the first published use of the word "gay" in reference to same-sex relationships and those who have them.A similar essay ofgay menbegins more obviously with the line "Sometimes men are kissing" but is less well known.

InTender ButtonsStein comments on lesbian sexuality and the work abounds with "highly condensed layers of public and private meanings" created by wordplay including puns on the words "box", "cow", and in titles such as "tender buttons".

"There is no there there"

Along with Stein's widely known "Rose is a rose is a rose is a rose"quotation, "there is no there there" is one of her most famous. It appears in her workEverybody's Autobiography(Random House 1937, p. 289) and is often applied to the city of her childhood, Oakland, California. Defenders and critics of Oakland have debated what she really meant when she said this in 1933, after coming to San Francisco on a book tour. She took a ferry to Oakland to visit the farm she grew up on, and the house she lived in near what is now 13th Avenue and E. 25th Street in Oakland. The house had been razed, and the farmland had been developed with new housing in the three decades since her father had sold the property and moved closer to the commercial hub of the neighborhood on Washington Street (now 12th Avenue).

Stein wrote:

She took us to see her granddaughter who was teaching in the Dominican convent in San Raphael, we went across the bay on a ferry, that had not changed but Goat Island might just as well not have been there, anyway what was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or anything if I like but not there, there is no there there.

... but not there, there is no there there.... Ah Thirteenth Avenue was the same it was shabby and overgrown.... Not of course the house, the house the big house and the big garden and the eucalyptus trees and the rose hedge naturally were not there any longer existing, what was the use...

It is a funny thing about addresses where you live. When you live there you know it so well that it is like an identity a thing that is so much a thing that it could not ever be any other thing and then you live somewhere else and years later, the address that was so much an address that it was like your name and you said it as if it was not an address but something that was living and then years after you do not know what the address was and when you say it is not a name anymore but something you cannot remember. That is what makes your identity not a thing that exists but something you do or do not remember.

Political views

According to Janet Malcolm's contested account inTwo Lives: Gertrude and Alice,Stein was a vocal critic ofFranklin D. Rooseveltand theNew Deal.

Some have stressed Stein's queer, feminist, pro-immigration, and democratic politics,although her statements on immigration need to be seen in context of the time and world events.In a 1934 interview published inThe New York Times,she stated:

That is the reason why I do not approve of the stringent immigration laws in America today. We need the stimulation of new blood. It is best to favor healthy competition. There is no reason why we should not select our immigrants with greater care, nor why we should not bar certain peoples and preserve the color line for instance. But if we shut down on immigration completely we shall become stagnant. The French may not like the competition of foreigners, but they let them in. They accept the challenge and derive the stimulus. I am surprised that there is not more discussion of immigration in the United States than there is. We have got rid of prohibition restrictions, and it seems to me the next thing we should do is to relax the severity of immigration restrictions.

She publicly endorsed GeneralFrancisco Francoduring theSpanish Civil Warand admired Vichy leader MarshalPhilippe Pétain.Some have argued for a more nuanced view of Stein's collaborationist activity, arguing that it was rooted in her wartime predicament and status as a Jew in Nazi-occupied France.Similarly, Stein commented in 1938 onBenito Mussolini,Adolf Hitler,Franklin D. Roosevelt,Joseph StalinandLeon Trotsky:"There is too much fathering going on just now and there is no doubt about it fathers are depressing."

World War II activities

While identified with the modernist movements in art and literature, Stein's political affiliations were a mix of reactionary and progressive ideas. She was outspoken in her hostility to some liberal reforms of progressive politics. To Stein, theIndustrial Revolutionhad acted as a negative societal force, disrupting stability, degrading values, and subsequently affecting cultural decline. Stein idealized the 18th century as the golden age of civilization, epitomized in America as the era of its founding fathers and what was in France, the glory of its pre-revolutionaryAncien Régime.At the same time, she was pro-immigrant, pro-democratic, and anti-patriarchal.Her last major work was thelibrettoof the feminist operaThe Mother of Us All(1947) about the socially progressive suffragette movement and another work from this time,Brewsie and Willie(1946), expressed strong support for American G.I.s.

A compendium of source material confirms that Stein may have been able to save her life and sustain her lifestyle through the protection of powerfulVichy governmentofficialBernard Faÿ.Stein had met Faÿ in 1926, and he became her "dearest friend during her life", according to Alice B. Toklas. Faÿ had been the primary translator of Stein's work into French and subsequently masterminded her 1933–34 American book tour, which gave Stein celebrity status and proved to be a highly successful promotion of her memoir,The Autobiography of Alice B. Toklas.Faÿ's influence was instrumental in avoidingNaziconfiscation of Stein's historically significant and monetarily valuable collection of artwork, which throughout the war years was housed in Stein's Paris rue Christine apartment, under locked safeguard.

In 1941, at Faÿ's suggestion, Stein consented to translate into English some 180 pages of speeches made by MarshalPhilippe Pétain.In her introduction, Stein crafts an analogy betweenGeorge Washingtonand Pétain. She writes of the high esteem in which Pétain is held by his countrymen; France respected and admired the man who had struck an armistice with Hitler. Conceived and targeted for an American readership, Stein's translations were ultimately never published in the United States.Random HousepublisherBennett Cerfhad read the introduction Stein had written for the translations and was horrified by what she had produced.

Although Jewish, Stein collaborated withVichy France,a regime that deported more than 75,000 Jews toNazi concentration camps,of whom only three percent survived theHolocaust.In 1944, Stein wrote that Pétain's policies were "really wonderful so simple so natural so extraordinary". This was Stein's contention in the year when the town ofCuloz,where she and Toklas resided, saw the removal of its Jewish children toAuschwitz.It is difficult to say, however, how aware Stein was of these events. As she wrote inWars I Have Seen,"However near a war is it is always not very near. Even when it is here."Stein had stopped translating Petain's speeches three years previously, in 1941.

Stein was able to condemn the Japanese attack atPearl Harborwhile simultaneously maintaining the dissonant acceptance of Hitler as conqueror of Europe.Journalist Lanning Warren interviewed Stein in her Paris apartment in a piece published inThe New York Times Magazineon May 6, 1934. Stein, seemingly ironically, proclaimed that Hitler merited theNobel Peace Prize.

The Saxon element is always destined to be dominated. The Germans have no gift at organizing. They can only obey. And obedience is not organization. Organization comes from community of will as well as community of action. And in America, our democracy has been based on community of will and effort.... I say Hitler ought to have the peace prize... because he is removing all elements of contest and struggle from Germany. By driving out the Jews and the democratic Left elements, he is driving out everything that conduces to activity. That means peace.

Given that after the war Stein commented that the only way to ensure world peace was to teach the Germans disobedience,this 1934 Stein interview has come to be interpreted as an ironic jest made by a practiced iconoclast hoping to gain attention and provoke controversy. In an effort to correct popular mainstream misrepresentations of Stein's wartime activity, a dossier of articles by critics and historians has been gathered for the online journalJacket2.

How much of Stein's wartime activities were motivated by the real exigencies of self-preservation in a dangerous environment can only be speculated upon. However, her loyalty to Pétain may have gone beyond expedience.She had been urged to leave France by American embassy officials, friends and family when that possibility still existed, but declined to do so. In an essay written for theAtlantic Monthlyin November 1940, Stein wrote about her decision not to leave France: "it would be awfully uncomfortable and I am fussy about my food." Stein continued to praise Pétain after the war ended, this at a time when Pétain had been sentenced to death by a French court for treason.

AuthorDjuna Barnesprovided a caustic assessment of Stein's book,Wars I Have Seen:"You do not feel that she [Stein] is ever really worried about the sorrows of the people. Her concerns at its highest pitch is a well-fed apprehension."

Others have argued that some of the accounts of Stein's wartime activities have amounted to a "witch hunt".

Death

Stein died on July 27, 1946, at the age of 72 after surgery forstomach cancerat theAmerican HospitalinNeuilly-sur-Seine,near Paris.She was interred in Paris inPère Lachaise Cemetery.Later Alice B. Toklas was buried alongside her.Famously, one version of her last moments reports that, before having been taken into surgery, Stein asked her partner Toklas: "What is the answer?" After Toklas replied to Stein that there was no answer, Stein countered by sinking back into her bed, murmuring: "Then, there is no question!"

Her companion Toklas, however, has given two other versions of the encounter—neither of which agrees with the "canonical" version above. Writing in the June 2005 edition ofThe New Yorker,Janet Malcolm describes:

On July 27, 1946, Stein was operated on for what proved to be inoperable stomach cancer and died before coming out of anesthesia. In "What Is Remembered," Toklas wrote of the "troubled, confused and very uncertain" afternoon of the surgery. "I sat next to her and she said to me early in the afternoon, What is the answer? I was silent. In that case, she said, what is the question?" However, in a letter to Van Vechten ten years earlier, Toklas had written:

About Baby's last words. She said upon waking from a sleep—What is the question. And I didn't answer thinking she was not completely awakened. Then she said again—What is the question and before I could speak she went on—If there is no question then there is no answer.

Stein's biographers have naturally selected the superior "in that case what is the question?" version. Strong narratives win out over weak ones when no obstacle of factuality stands in their way. What Stein actually said remains unknown. That Toklas cited the lesser version in a 1953 letter is suggestive but not conclusive.

Stein named writer and photographerCarl Van Vechtenas herliterary executor,and he helped to publish works of hers that remained unpublished at the time of her death.

Critical reception

Sherwood Andersonin his public introduction to Stein's 1922 publication ofGeography and Playswrote:

For me the work of Gertrude Stein consists in a rebuilding, an entirely new recasting of life, in the city of words. Here is one artist who has been able to accept ridicule, who has even forgone the privilege of writing the great American novel, uplifting our English speaking stage, and wearing the bays of the great poets to go live among the little housekeeping words, the swaggering bullying street-corner words, the honest working, money-saving words and all the other forgotten and neglected citizens of the sacred and half-forgotten city.

In a private letter to his brother Karl, Anderson said, "As for Stein, I do not think her too important. I do think she had an important thing to do, not for the public, but for the artist who happens to work with words as his material.

James Thurberwrote:

Anyone who reads at all diversely during these bizarre 1920s cannot escape the conclusion that a number of crazy men and women are writing stuff which remarkably passes for important composition among certain persons who should know better. Stuart P. Sherman, however, refused to be numbered among those who stand in awe and admiration of one of the most eminent of the idiots, Gertrude Stein. He reviews herGeography and Playsin the August 11 issue of theLiterary Reviewof theNew York Evening Postand arrives at the conviction that it is a marvellous and painstaking achievement in setting down approximately 80,000 words which mean nothing at all.

"The interesting writer is where there is an adversary, a problem. Why Stein is not, finally, a good or helpful writer. There is no problem. It's all affirmation. A rose is a rose is a rose."
Susan Sontag,fromJournals and Notebooks, 1964–1980.

In his 1938 biographical novelThe Green Fool,Irish poetPatrick Kavanaghdescribes the works of Gertrude Stein fondly as being "like whisky to me; her strange rhythms broke up the cliché formation of my thought".

Legacy and commemoration

Stein has been the subject of many artistic works.

InBryant Park,in New York City, there is cast replica of sculptor Jo Davidson's bronze bust of Stein. The original, created in 1923, is now in the collection of theWhitney Museum of American Art.

ComposersFlorence Wickhamand Marvin Schwartz used Stein's text for their operettaLook and Long.

In 2005, playwright/actorJade Esteban Estradaportrayed Stein in the solo musicalICONS: The Lesbian and Gay History of the World, Vol. 1atPrinceton University.In 2006, theatre director/actorLuiz Päetowcreated his solo,Plays,portraying Stein's 1934 homonymous lecture, and toured Brazil for several years.Loving Repeatingis a musical byStephen Flahertybased on the writings of Gertrude Stein. Stein and Toklas are both characters in the eight-person show. Stein is a central character inNick Bertozzi's 2007 graphic novelThe Salon.

The posthumously publishedJournals of Ayn Randcontain several highly hostile references to Stein. From Rand's working notes for her novelThe Fountainhead,it is clear that the character Lois Cook in that book was intended as a caricature of Stein.

Stein (played byBernard Cribbins) and Toklas (played byWilfrid Brambell) were depicted in the Swedish 1978absurdist fictionfilmPicassos äventyr(The Adventures of Picasso)by directorTage Danielsson,withGösta EkmanasPicasso.

Stein was portrayed in the 2011Woody AllenfilmMidnight in ParisbyKathy Bates,and byTracee Chimoin the 2018 season of the television seriesGeniuswhich focuses on the life and career of Pablo Picasso.

Waiting for the Moon,a movie starringLinda Bassettthat was released in 1987.The Young Indiana Jones Chronicles,a TV series starringAlice Dvorákováthat was released in 1993.

Stein is added to a list of great artists and notables in the popular Broadway musicalRentin the song "La Vie Boheme". She is also mentioned in the Fred Astaire–Ginger Rogers 1935 filmTop Hatand in the song "Roseability"by the Scottish rock groupIdlewild.

ComposerRicky Ian Gordonand librettistRoyce Vavrek's opera27about Stein and Toklas premiered atOpera Theatre of St. Louisin June 2014 withStephanie Blytheas Stein.

In 2014 Stein was one of the inaugural honorees in theRainbow Honor Walk,awalk of famein San Francisco'sCastro neighborhoodnotingLGBTQpeople who have "made significant contributions in their fields".

Edward Einhornwrote the playThe Marriage of Alice B. Toklas by Gertrude Stein,a farce about their fantasy marriage that also told the story of their life. It premiered in May 2017 at HERE Arts Center in New York.

The 2018 artworkWords Doing As They Want to DobyEve Fowlerinvolved recording trans and lesbian Californians reading Stein's 1922 work called "Miss Furr and Miss Skeene".

The Gertrude Stein Society (GSS) at the Johns Hopkins University School of Medicine, an organization for LGBTQ+ students at the Johns Hopkins Medical Institutions, is named after her.

Published works

• Three Lives(1909)
• White Wines(1913)
• Tender Buttons: Objects, Food, Rooms(1914)online at Bartleby
• An Exercise in Analysis(1917)
• A Circular Play(1920)
• Geography and Plays(1922), includesA List
• The Making of Americans:Being a History of a Family's Progress(written 1906–8, published 1925)
• Four Saints in Three Acts(libretto, 1929: music byVirgil Thomson,1934)
• Useful Knowledge(1929)
• An Acquaintance with Description(1929)
• Lucy Church Amiably(1930). First Edition published by Imprimerie Union in Paris. The First American edition was published in 1969 by Something Press.
• How to Write(1931)
• They must. Be Wedded. To Their Wife(1931)
• Operas and Plays(1932)
• Matisse Picasso and Gertrude Stein with Two Shorter Stories(1933)
• The Autobiography of Alice B. Toklas(1933a)
• Blood on the Dining Room Floor(1933b)
• Portraits and Prayers(1934)
• Lectures in America(1935)
• The Geographical History of America or the Relation of Human Nature to the Human Mind(1936)
• Everybody's Autobiography(1937)
• Picasso,photo.Cecil Beaton(1938)
• Doctor Faustus Lights the Lights(1938)
• The World is Round,UK edition illus.Sir Francis Rose;US edition illus.Clement Hurd(1939)
• Paris France(1940)
• Ida A Novel(1941)
• Three Sisters Who Are Not Sisters(1943)
• Wars I Have Seen(1945a)
• À la recherche d'un jeune peintre(Max-Pol Fouchet, ed., 1945b)
• Reflections on the Atomic Bomb(1946a)
• Brewsie and Willie(1946b)
• The Mother of Us All(libretto, 1946c: music by Virgil Thompson 1947)
• Gertrude Stein on Picasso(1946d)
• Four in America(1947)
• Mrs. Reynolds(1947)
• Last Operas and Plays(Carl van Vechten, ed., 1949)
• The Things as They Are(written asQ.E.D.in 1903, published 1950)
• Patriarchal Poetry(1953)
• Alphabets and Birthdays(1957)
• Fernhurst, Q.E.D. and Other Early Writings(1971)
• Stein, Gertrude; van Vechten, Carl (1986), Burns, Edward (ed.),The Letters of Gertrude Stein and Carl Van Vechten, 1913–1946,New York: Columbia University Press,ISBN978-0-231-06308-1..
• Stein, Gertrude; Wilder, Thornton (1996), Burns, Edward;Dydo, Ulla,eds., The Letters of Gertrude Stein and Thornton Wilder, Yale University Press,ISBN978-0-300-06774-3.
• Stein, Gertrude (1998a), Chessman, Harriet; Stimpson, Catharine R. (eds.),Writings 1903–1932,Library of America,ISBN978-1-883011-40-6.
• ———————— (1998b), Chessman, Harriet; Stimpson, Catharine R. (eds.),Writings 1932–1946,Library of America,ISBN978-1-883011-41-3.
• Toklas, Alice (1973), Burns, Edward (ed.),Staying on Alone: Letters,New York: Liveright,ISBN978-0-87140-569-2.
• Grahn, Judy, ed. (1989),Really Reading Gertrude Stein: A Selected Anthology with Essays by Judy Grahn,Crossing Press,ISBN978-0-89594-380-4
• Vechten, Carl Van, ed. (1990).Selected Writings of Gertrude Stein.ISBN0-679-72464-8

In the media

• Paris Was a Woman(1996 documentary)
• Midnight in Paris(2011 film, where Stein's character is played byKathy Bates)
• Bad Gays (podcast)(Season 4 Episode 9)

See also

• Lesbian poetry

Related exhibits

• The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde,The Metropolitan Museum of Art,June 3, 2012
• The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde,San Francisco Museum of Modern Art,September 6, 2011, archived fromthe originalon June 24, 2011,retrievedJune 25,2011
• Seeing Gertrude Stein: five stories,Washington, D.C.: The National Portrait Gallery, Smithsonian Institution, January 22, 2012
• Seeing Gertrude Stein: five stories,San Francisco:Contemporary Jewish Museum,September 6, 2011, archived fromthe originalon July 28, 2011
• Four Saints in Three Acts: Four live presentations of a new production,San Francisco:Yerba Buena Center for the Arts,August 18–21, 2011, archived fromthe originalon March 21, 2012,retrievedJuly 4,2011
• Picasso: Masterpieces from the Musée National Picasso, Paris,San Francisco:M. H. de Young Memorial Museum,October 9, 2011, archived fromthe originalon June 28, 2011,retrievedJuly 4,2011
• Riba-RoviraGaleria Muro,Homenage for Gertrude Stein, 2012,Valencia, ES

References

Works cited

• Behrens, Roy R.Cook Book: Gertrude Stein, William Cook and Le Corbusier.Dysart, Iowa: Bobolink Books, 2005;ISBN0-9713244-1-7.
• Blackmer, Corrine E (1995),"Gertrude Stein",in Claude J. Summers (ed.),The Gay and Lesbian Literary Heritage,New York: H. Holt,ISBN978-0-8050-5009-7
• Bowers, Jane Palatini. 1991."They Watch Me as They Watch This": Gertrude Stein's Metadrama.Philadelphia: University of Pennsylvania Press.ISBN0-8122-3057-4.
• Dean, Gabrielle (April 2008),"Grid Games: Gertrude Stein's Diagrams and Detectives",Modernism/modernity,15(2), JHU: 317–41,doi:10.1353/mod.2008.0031,S2CID143340192.
• Grahn, Judy (1989).Really Reading Gertrude Stein: A Selected Anthology with essays by Judy Grahn.Freedom, California: The Crossing Press.ISBN0-89594-380-8.
• Hobhouse, Janet.Everybody Who Was Anybody: A Biography of Gertrude SteinNew York: G. P. Putnam's Sons, 1975.ISBN978-1-199-83299-3.
• Kellner, Bruce, ed. (1988),A Gertrude Stein Companion: Content with the Example,New York; Westport, Connecticut; London: Greenwood Press,ISBN978-0-313-25078-1
• Jaillant, Lise (2015),"Shucks, we've got glamour girls too! Gertrude Stein, Bennett Cerf and the Culture of Celebrity",Journal of Modern Literature,39(1): 149–169,doi:10.2979/jmodelite.39.1.149,S2CID162809458
• Malcolm, Janet.Two Lives: Gertrude and Alice,London: Yale University Press, 2007.ISBN978-0-300-12551-1
• Malcolm, Janet.Gertrude Stein's War,The New Yorker, June 2, 2003, pp. 58–81.
• Malcolm, Janet (June 13, 2005), "Someone Says Yes to It: Gertrude Stein, Alice B. Toklas, and" The Making of the Americans "",The New Yorker,pp. 148–165.
• Malcolm, Janet.Strangers in Paradise,The New Yorker, November 13, 2006, pp. 54–61.
• Mellow, James R. (1974),Charmed Circle: Gertrude Stein & Company,New York, Washington: Praeger Publishers,ISBN978-0-395-47982-7
• Meyer, Steven (2001),Irresistible Dictation: Gertrude Stein and the Correlations of Writing and Science,Stanford: Stanford University Press
• Perelman, Bob.The Trouble with Genius: Reading Pound, Joyce, Stein, and Zukofsky.Berkeley, California: University of California Press, 1994.
• Rosenbaum, Fred(1987), "San Francisco-Oakland: The Native Son", in Brinner, William M; Rischin, Moses (eds.),Like All the Nations?: The Life and Legacy of Judah L. Magnes,State University of New York Press,ISBN978-0-88706-507-1
• The Museum of Modern Art, New York (1970),Four Americans in Paris: The Collections of Gertrude Stein and Her Family,New York: The Museum of Modern Art,ISBN978-0-07-810067-3
• Ryan, Betsy Alayne. 1984.Gertrude Stein's Theatre of the Absolute.Theater and Dramatic Studies Ser., 21. Ann Arbor and London: UMI Research Press.ISBN0-8357-2021-7.
• Stendhal, Renate, ed. (1989),Gertrude Stein In Words and Pictures: A Photobiography,Chapel Hill: Algonquin Books,ISBN978-0-945575-99-3.
• Salinger, Sylvia; Albert S. Bennett (ed.) 1987.Just a Very Pretty Girl from the Country: Sylvia Salinger's Letters from France 1912-1913.Southern Illinois Press.ISBN0-8093-1329-4.
• Sontag, Susan. 2012.A Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964-1980.Farrar, Straus, Giroux Publishers. New York.ISBN978-0-374-10076-6
• Truong, Monique.The book of salt,Boston: Houghton Mifflin Company, 2003. A novel about a young Vietnamese cook who worked in Stein's Montparnasse-household.

External links

• Works by Gertrude Stein in eBook formatStandard Ebooks
• Works by Gertrude SteinatProject Gutenberg
• Works by or about Gertrude Steinat theInternet Archive
• Works by Gertrude SteinatLibriVox(public domain audiobooks)
• Gertrude Stein and Alice B. Toklas Collectionat theBeinecke Rare Book and Manuscript Library
• Gertrude Stein and Alice B. Toklas Papersat theBeinecke Rare Book and Manuscript Library
• Gertrude Stein Papersat theHarry Ransom Center
• Gertrude Stein and Her Circle papersat theUniversity of Maryland libraries
• Three Lives,American Studies at the University of Virginia, archived fromthe originalon November 13, 2009,retrievedOctober 6,2009.
• Complete, authorized audio recordings at PennSound,archived fromthe originalon July 4, 2013,retrievedJuly 7,2013
• Allegheny City (Deutschtown), Pittsburgh, Pennsylvania,PBase, archived fromthe original(birth placard)on January 26, 2009,retrievedAugust 4,2007.
• Stein, Gertrude,What is a masterpiece?,Z. Smith Reynolds Library,Wake Forest University,archived fromthe original(manuscript)on February 16, 2011,retrievedFebruary 17,2011.
• van Vechten, Carl,Gertrude Stein,archived fromthe original(photographic portraits)on December 15, 2018,retrievedSeptember 27,2019.
• Williams, William Carlos,The Work of Gertrude Stein,Center for book culture, archived fromthe originalon August 3, 2004.
• Four Saints in Three Acts,Music of the United States of America (MUSA), archived fromthe originalon September 1, 2014,retrievedAugust 16,2013
• The World of Gertrude Stein,Ellen's Place, archived fromthe originalon June 4, 2003.
• Gertrude Stein,Infography, archived fromthe originalon November 18, 2010,retrievedNovember 10,2009.
• Gertrude Stein,Ubu, archived fromthe originalon February 22, 2004,retrievedMarch 8,2004,featuring a reading ofIf I Told Him: A Completed Portrait of PicassoandA Valentine to Sherwood Anderson.
• Gertrude Stein, Gradually;readings fromAutobiography of Alice B. Toklas,Bee Time Vine,and more. Includes excerpts fromPatriarchal Poetryand layered-voice readings.
• "The Steins Collect: Matisse, Picasso, and the Parisian Avant Garde" at the Metropolitan Museum of Art,NYC-Arts, April 2, 2009, archived fromthe original(profile)on April 15, 2013.
• Gertrude Stein Reads fromThe Making of Americansa rare recording made in 1934 and 1935