By Gertrude Stein
Newly recognized within the wake of the book of her groundbreaking Autobiography of Alice B. Toklas, Gertrude Stein added her Narration lectures to packed audiences on the college of Chicago in 1935. Stein had now not been again to her domestic nation seeing that departing for France in 1903, and her feedback consider the adjustments in American tradition after thirty years abroad.
In Stein’s trademark experimental prose, Narration reveals the mythical writer’s techniques concerning the strength and mobility of the yankee humans, the impact of modernism on literary shape, the character of historical past and its recording, and the inventiveness of the English language—in specific, its American version. Stein additionally discusses her ambivalence towards her personal literary popularity in addition to the destabilizing influence that notoriety had on her everyday life. Restored to print for a brand new new release of readers to find, those very important lectures will pride scholars and students of modernism and twentieth-century literature.
“Narration is a treasure ready to be rediscovered and to be pirated by means of jolly marauders of gleaming texts.”—Catharine Stimpson, NYU
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Extra resources for Narration : four lectures
When one used to think of narrative one meant a telling of what is happening in successive moments of its happening the quality of telling depending upon the conviction of the one telling that there was a distinct succession in happening, that one thing happened after something else and since that happening in succession was a profound conviction in every one then really there was no difference whether anyone began in the beginning or the middle or the ending because since narrative was a progressive telling of things that were progressively happening it really did not make any difference where you were at what moment you were in your happening since the important part of telling anything was the conviction that anything that everything was progressively happening.
That is what knowledge is, and essentially therefore knowledge is not succession but an immediate existing. All these things then are as they are and we come back to what poetry is what prose is and the reason why and what it all has to do with narrative and whether any narrative is existing now and how and why. Knowledge then is what you know at the time at any time that you really know anything. And in knowing anything you know it as you know it, you know it at the time that you are knowing it and in that way the way of knowing it knowing has not succession there may be continuous states of knowing 20 anything but at no time of knowing is there anything but knowing that thing the thing you know, know carefully what you do know and of course anybody can know that this is so.
42 As I say they try to bridge the gap in every way. Head lines were invented to help them do this better, they are all taught exactly how it can be done and as they are so well taught finally it happens not as ifit had begun but as ifit had never been done. Finally the newspaper gets its readers so that it does not make any difference whether any event can or will happen as long as the newspaper can go on getting larger and larger with anything or smaller and smaller with anything, and always tell be telling that thing, that they are larger and larger and smaller and smaller in telling everything.