• Texte intégral révisé suivi d'une biographie de Gertrude Stein. Gertrude Stein a été la première des grands écrivains de l'Amérique contemporaine. Elle fut la première à s'apercevoir qu'il y avait une Amérique contemporaine, que cette Amérique était différente de l'Europe et différente de l'Amérique d'hier. Elle fut la première à vouloir écrire ce que parlait l'Amérique d'aujourd'hui et à penser ce que penserait l'Amérique de demain. Elle est la première de ces novatrices et ces novateurs qui, à partir de 1900, ont entraîné l'Amérique littéraire et artistique en dehors des chemins frayés du XIXe siècle, de la tradition romantique et postromantique, des survivances puritaines et du ronronnement oratoire hérité du XVIIIe siècle. Elle fut la première à découvrir la phrase américaine et à inventer le paragraphe américain: elle fut la première à imaginer un roman-fleuve et des poèmes magiques dans une Amérique qui oubliait Poe et qui continuait Georges Ohnet. Alice Toklas était la secrétaire et confidente de Gertrude Stein et l'Autobiographie est l'histoire de sa vie. Cette vie s'est déroulée à côté de Gertrude Stein, dans la compagnie et la contemplation de Gertrude Stein. Seule Alice Toklas pouvait parler de Gertrude Stein, car Gertrude Stein elle-même, qui était poète et romancière, ne pouvait pas parler d'elle-même. Chacun son métier. Ce livre est donc l'Autobiographie d'Alice Toklas, et il émane bien de la sensibilité, de la pensée, de la sagesse d'Alice Toklas. Seulement, comme Alice Toklas était très occupée, qu'elle devait s'occuper des chiens, du jardin, des manuscrits, de la cuisine et des mille soins de la vie quotidienne, Gertrude Stein, qui était plus libre et mieux habituée à tenir la plume, a bien voulu rédiger cette Autobiographie de son amie, pour son amie. Voilà comment Gertrude Stein est l'auteur de l'Autobiographie d'Alice Toklas.


  • En 1938, William R. Scott passe commande à des grands auteurs comme Hemingway, Steinbeck ou Gertrude Stein d'écrire un livre pour enfants ; Stein accepte avec enthousiasme. La Terre est ronde (The World is Round), publié en 1939, relate les aventures de Rose, 9 ans, accompagnée de son cousin Willie, dans sa quête d'une identité stable dans un monde en mouvement. Ce récit tout en euphonie telle une comptine, où la signification des mots se confronte à leur sonorité, se joue des tropes des contes et de la fausse légèreté de leurs thèmes. A sa manière musicale et poétique, Gertrude Stein interroge le monde à hauteur d'enfance !

  • Alors que la menace allemande plane sur la France, Gertrude Stein publie en 1940 Paris France, un petit opuscule mêlant souvenirs de jeunesse et observations sur son pays d'adoption : la France. Elle écrivait que les écrivains doivent avoir deux pays, celui auquel ils appartiennent et celui dans lequel ils vivent réellement. Le second est romanesque. Ce texte est malgré tout un hymne au plaisir et à la joie de vivre dans ce pays romanesque qu'était la France pour elle et les Américains de sa génération. Derrière les commentaires tranchés sur la mode, les traditions et les façons d'être des Français, on retrouve l'intérêt continu de Stein pour les caractères, pour les habitudes : tout ce qui se répète dans un comportement et qui fait le style d'une vie. Ce texte est complété par Raoul Dufy. Il faut méditer sur le plaisir. Raoul Dufy est plaisir.

  • En 1934, Gertrude Stein retourne aux États-Unis, son pays natal, après plus de trente ans d'exil, pour y donner une série de conférences. L'écrivain a alors soixante ans. Établie à Paris, elle y est connue pour sa collection d'art, son amitié avec Picasso, sa poésie réputée difficile. Elle est aussi nouvellement célébrée pour L'Autobiographie d'Alice Toklas, publiée en 1933, qui lui apporte une attention dont elle était jusque-là relativement frustrée. La tournée américaine durera huit mois et connaîtra un important succès ; Stein y expose ses idées sur la littérature en général et sur la sienne en particulier. À l'invitation de Thornton Wilder, universitaire et romancier, elle intervient à l'Université de Chicago pour quatre conférences qui sont publiées aux États-Unis dès 1935 sous le titre Narration, et sont traduites pour la première fois en français dans ce volume. Stein tente d'y définir ce qui constitue la spécificité de la littérature américaine, la ligne de séparation entre poésie et prose, les conditions de possibilité du récit. Elle ne propose cependant pas une théorie des genres ; la langue des conférences contourne l'explication académique, provoque plutôt la pensée par sa poésie propre.

  • For Gertrude Stein and her companion Alice B. Toklas, life in Paris was based upon the rue de Fleurus and the Saturday evenings and 'it was like a kaleidoscope slowly turning'. Picasso was there with 'his high whinnying spanish giggle', as were Cezanne and Matisse, Hemingway and Fitzgerald. As Toklas put it - 'The geniuses came and talked to Gertrude Stein and the wives sat with me'. A light-hearted entertainment, this is in fact Gertrude Stein's own autobiography and a roll-call of all the extraordinary painters and writers she met between 1903 and 1932. Audacious, sardonic and characteristically self-confident, this is a definitive account by the American in Paris.

  • Gertrude Stein, as a college student at Radcliffe and a medical student at Johns Hopkins Medical School, was a privileged woman, but she was surrounded by women who were trapped by poverty, class, and race into lives that offered little choice. Her portraits of Anna and Lena are examples of realistic depictions of immigrant women who had no occupational choice but to become domestic workers. This collection of documents from the history of women's suffrage, medical history, modernist art, and literature enables readers to see how radical Stein's subject was.

  • Consists of three character studies of women; "The Good Anna"--a kind but domineering German servingwoman; "Melanctha"--an uneducated but sensitive black girl; "The Gentle Lena"--a pathetically feebleminded young German maid.
    From the Paperback edition.

  • This is the story of Ida, whose life consists mainly of resting, because she is always tired; of talking to herself; and of getting married, time after time.

  • “Alice B. Toklas wrote hers and now everybody will write theirs.” In 1933 Gertrude Stein’s The Autobiography of Alice B. Toklas skyrocketed to the top of the bestseller lists, and the author found herself a celebrity. Everybody’s Autobiography is the very Steinian account of her soul-satisfying next five years in France, England, and America, where she made a triumphant tour of the country. Here are Stein’s devastating analyses of some of the major figures of the day whom she met--among them Dashiell Hammett, Charlie Chaplin, Pablo Picasso, Marianne Moore, Mrs. Roosevelt, and Sherwood Anderson--and also of her own life and work.

  • Portraits and Prayers is a collection of early essays and word portraits by the American writer Gertrude Stein. Her subjects often provide a description of what she observed in her Saturday salons.

  • Wars I Have Seen is the American writer Gertrude Stein's memoir of her experiences during the Second World War. Gertrude Stein was living in Europe during the time of the war.

  • First published in 1936, The Geographical History of America compiles prose pieces, dialogues, philosophical meditations, and playlets by one of the century's most influential writers. In this work, Stein sets forth her view of the human mind: what it is, how it works, and how it is different from - and more interesting than - human nature.

  • @11@This collection, a retrospective exhibit of the work of a woman who created a unique place for herself in the world of letters, contains a sample of practically every period and every manner in Gertrude Stein's career. It includes The Autobiography of Alice B. Toklas in its entirety; selected passages from The Making of Americans; @11@Melanctha@11@from Three Lives; portraits of the painters Cezanne, Matisse, and Picasso; Tender Buttons; the opera Four Saints in Three Acts; and poem, plays, lectures, articles, sketches, and a generous portion of her famous book on the Occupation of France, Wars I Have Seen.

  • Tre esistenze

    Gertrude Stein

    Anna, Melanctha e Lena sono le protagoniste dei tre racconti lunghi che compongono 'Tre esistenze'. Le loro vite seguono direzioni parallele ma sono legate da un filo conduttore: l'incapacità di slegarsi dalle convenzioni che non consentono loro di spiegare le ali.
    Anna è una cameriera che si prodiga per gli altri senza ricevere nulla in cambio, Melanctha è una ragazza alla perpetua ricerca di una pace interiore che sembra non riuscire mai a raggiungere, Lena dedica invece la sua intera esistenza alla maternità, dietro alla quale scompare. Queste storie raccontano i destini di tre donne incatenate a una vita che non hanno scelto di vivere, e dalla quale si lasciano trascinare via inermi rischiando di sbiadire.



    Gertrude Stein (1874-1946) è stata una scrittrice e poetessa statunitense, esponente di spicco della letteratura modernista. Apertamente lesbica, i suoi scritti e la sua relazione con Alice B. Toklas hanno fatto anche la storia del movimento LGBT+. La Stein è stata anche immortalata da Pablo Picasso in un celebre ritratto.

  • First published in 1909, Three Lives marks the beginning of an era of bold experimentation with literary form and language that has continued throughout our century. In these three stories, Gertrude Stein put into practice certain theories about prose composition that paralleled the ideas expressed in the art of Impressionist and Post-Impressionist painters. Her characters strike the reader as living in a world determined by an aesthetic rather than a social order. The nonlinear narrative structure of 'The Good Anna', for example, was inspired by the works of Cézanne. Stein's friendship with Picasso encouraged her free expression of syntactical repetition to establish the mood and open sexuality of 'Melanctha'. And the influence of Matisse can be seen in 'The Gentle Lena', a bold psychological portrait of a woman, with a corresponding de-emphasis on plot and setting. Also included in this edition is Q.E.D. A frankly autobiographical story, conventional in form, it is in many ways an early version of 'Melanctha', and its inclusion here shows where Stein started and suggests how far she came on her own.

  • I always wanted to be historical,' Gertrude Stein once quipped. In 1932, Stein began writing the 'autobiography' of her longtime friend and companion, Alice B. Toklas. The book, an immediate bestseller, guaranteed them both a place in history. An account of their life together in Paris before, during, and after World War I, it is full of the atmosphere of the changing life of the city and of idiosyncratic glimpses of such figures as Matisse, Picasso, Braque, Cocteau, Apollinaire, Pound, Eliot, Hemingway, and other luminaries and aspirants who were their close friends. But at the center of the narrative there is always the titanic figure of Gertrude Stein, the self-proclaimed 'first-class genius' who some dismissed as the 'Mother Goose of Montparnasse,' presiding over her celebrated residence-salon-art gallery at 27, rue de Fleurus. William Troy remarked about her: 'It is not flippant to say that if she had not come to exist . . . it would be necessary to invent Miss Gertrude Stein.'

  • Three Lives
    Three short stories comprise Gertrude Stein’s first significant work, each a psychological portrait of a different woman. “The Good Anna” is a kindly but domineering German servant. “The Gentle Lena” apathetically endures her miserable life until she dies in childbirth. “Melanctha” is a young Black woman learning about sexuality and love. Different as they may be, all three women are bound by poverty--and all three face the restrictions of class, race, and sex with resignation.
    Tender Buttons
    Stein spoke of maintaining a “continuous present,” comprised of “moments of consciousness,” independent of time and memory. Nowhere is this more clear than in her prose poems Tender Buttons. Their repetitive sentences, juxtaposition of sounds, and simple language connote this continuous presence. To live in this state is “to begin again and again,” to “use everything.” Each of the three sections, “Objects,” “Food,” and “Rooms,” employs both this repetition and disjointed words to build images. Prose poetry at its most abstract expression, Tender Buttons “is to writing...what cubism is to art.” (W.G. Rogers)

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