I had a surreal moment reading the National Post recently. Robert Fulford devoted a column on the first page of the “Arts & Life” section to Gertrude Stein. Really, it was a discussion of Two Lives, Janet Malcolm’s book on Gertrude Stein, but, still, there they were: the words “Gertrude Stein” above the fold in a national newspaper. Fulford did a nice job introducing Stein to people who know the name but know little else about the author, but the real thrust of the article was Malcolm’s apparent suggestion that readers give another chance to The Making of Americans (1925), Stein’s most imposing, impenetrable tome. As a fan of Gertrude Stein who teaches her work regularly, I can ease the troubled consciences of Post readers: it is not necessary. Over nearly a thousand pages, Stein carries out her experiments in modernist composition. She repeats herself in what those people familiar with her work will recognize as her signature gestures. The measured “action” establishes both her ideas about time, or how we perceive time, and the conventions of plot. The sprawling story of family allows Stein to explore themes relevant to human relationships. Like the critic Edmund Wilson, quoted in Fulford’s column, I got through about half of The Making of Americans in my first semester at Oxford. But I found excellent illustrations of what Stein was trying to do in two shorter, more accessible books.
Three Lives (1909) was Gertrude Stein’s first published novel, brought forward by a vanity press soon after she moved to France. My students often grumble that it is slow, but by writing it the way she does Stein manages to subvert assumptions we make about rising action in novels. Life does not move towards some inexorable, dramatic climax, and neither do these stories. Readers can gather evidence that we both act in keeping with our natures and learn our behaviors as we go along; Stein remains equivocal on this point. Most importantly, Stein undertakes Three Lives with a “painterly” technique. Using her “insistence,” that is repetition to you and me, she emulates the strokes of a paintbrush, creating a surface narrative that hints at greater depth. What she does not do, just as her cubist friends did not do, is privilege one element of her composition above another. She does not isolate for her readers points that are important, and mundane details are treated in much the same way as details on which the plot should, presumably, turn.
The Autobiography of Alice B. Toklas (1933), on the other hand, is far less frustrating to student readers. Supposedly, the book is the story of the life of Stein’s long-time partner, but on the last page – spoiler alert! – the author is revealed to be Gertrude Stein herself. Today, we are somewhat more savvy about autobiography: James Frey taught Oprah Winfrey that we cannot always trust the “facts” of an author’s “truth.” But Stein was playing with the conventions of life narrative all this time ago. The result is an intriguing, indirect look at her life in Paris in the first decades of the twentieth century. What it reveals most for me is how modern authors used autobiography to engage their ambiguous relationship with fame. While writers like Stein wanted a healthy readership so as to measure their success, many of them believed that only a few people could really appreciate what they were trying to do. One can see Stein struggling with the paradox throughout this autobiography.