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• W126662012 abstract "No matter how complicated anything is, if it is not mixed up with remembering there is no confusion, but and that is the trouble with a great many so called intelligent people they mix up remembering with talking and listening, and as a result they have theories about anything but as remembering is repetition and confusion, and being existing that is listening and talking is action and not repetition intelligent people although they talk as if they knew something are really confusing, because they are so to speak keeping two times going at once, the repetition time of remembering and the actual time of talking but, and as they are rarely talking and listening, that is the talking being listening and the listening being talking, although they are clearly saying something they are not clearly creating something, because they are because they are always remembering, they are not at the same time talking and listening. Do you understand. Do you any or all of you understand. Anyway that is the way that it is. And you hear it even if you do not say it in the way I say it as I hear it and say it [. . .] And does it make any difference to you if you do understand. It makes an awful lot of difference to me. It is very exciting to have all this be. Gertrude Stein, Portraits and Repetition (1935) Like much of her writing, Gertrude Stein's prose poem Patriarchal Poetry meditates on the limits of a limiting vocabulary. It troubles the presumptive coherence of symbolic discourse in order to acknowledge and enable a vast range of human subjectivity. Always asserting a generative link between modes of language and modes of being, it requires an improvisatory approach to reading and reveals the insufficient arithmetic of patriarchal subjectivity by encouraging its performative remainders. Though consistent with Stein's ongoing interrogation of the relationship between language and identity and language and power, the 1927 piece resists the interpretive approach of even her most agile readers. In fact, Marianne DeKoven, whose subtle and fluid readings have set a standard for scholarship in the last two decades, suggests that Patriarchal Poetry is unreadable. She contends that this lengthy piece [. . .] not only defies interpretation, it defies reading. Its consistent interrogation of the givens of meaning-making approach a kind of limit for DeKoven, finally yielding a text that is not worth reading because its writing reaches us as blank tedium (A Different Language 128). In most of Stein's work, as DeKoven and many others have argued, there is a suggestive correspondence on the one hand between play with and rhythm and, on the other, the promise of a feminist politics. But in Patriarchal Poetry, Stein builds no reiterative, incantatory rhythm, no complex patterns of sound that might be said to provide an interpretable feminist thematic content (128, 129). In dialogue with this frustration, I want to suggest that this poem, which has proven elusive and even irrelevant to many readers, invites us to once again broaden our understanding of what it means to read Stein. To read this piece involves both a hermeneutic pursuit of meaning and a risky engagement with interpretive uncertainty. This risk is most profoundly figured in a reader's willingness to read Patriarchal Poetry aloud, for when we do, we generate an unpredictable and heterogeneous phonotext.(1) Brought about by the experimental form of the text and differentially animated by each reader bold enough to give voice to its sequences, such music not only accompanies but periodically overwhelms the definitive search for meaning and suggests epistemologies and modes of subjectivity beyond the horizon of Western patriarchal logic.(2) Make no mistake: reading Patriarchal Poetry is very difficult. It repeatedly asks us to imagine new relationships with the words on the page. It confronts us with the fundamental labor of reading by making us work through such passages as this: Never which when where to be sent to be sent to be sent to be never which when where never to be sent to be sent to be sent never which when where to be sent never to be sent never to be sent never which when where to be sent never to be sent never to be sent which when where never to be sent which when where never which when where never which to be sent never which when where to be sent never which when where to be sent which when where to be sent never to be sent never which when where to be sent never which when which when where to be sent never which when where never which when where which when where never to be sent which when where (Yale Gertrude 122) Traditional scansion is of little help. …" @default.
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• W126662012 date "1999-03-22" @default.
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• W126662012 title "The Talking Being Listening: Gertrude Stein's Patriarchal Poetry and the Sound of Reading" @default.
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