Gertruda Shteyn - Gertrude Stein

Gertruda Shteyn
1935 yilda Shteyn (fotosurat muallifi Karl Van Vechten )
Tug'ilgan	(1874-02-03)1874 yil 3-fevral Allegheny, Pensilvaniya, BIZ.
O'ldi	1946 yil 27-iyul(1946-07-27) (72 yosh) Noyli-sur-Seyn, Frantsiya
Kasb	Yozuvchi, shoir, roman yozuvchisi, dramaturg, badiiy kollektsioner
Millati	Amerika
Adabiy harakat	Modernist adabiyot
Hamkor	Elis Babette Toklas
Imzo

Gertruda Shteyn (3 fevral 1874 - 27 iyul 1946) - amerikalik yozuvchi, shoir, dramaturg va badiiy kollektsioner. Tug'ilgan Pitsburg, Pensilvaniya ichida Allegheny West mahalla va o'sgan Oklend, Kaliforniya, Shteyn ko'chib o'tdi Parij 1903 yilda va Frantsiyani umrining qolgan qismida uyiga aylantirdi. U Parijga mezbonlik qildi salon, bu erda adabiyot va san'atdagi modernizmning etakchi namoyandalari, masalan Pablo Pikasso, Ernest Xeminguey, F. Skott Fitsjerald, Sinkler Lyuis, Ezra funt, Shervud Anderson va Anri Matiss, uchrashadi.^[1]

1933 yilda Stein o'zining Parij yillari haqida kvazi-xotirasini nashr etdi, Elis B. Toklasning tarjimai holi ovozida yozilgan Elis B. Toklas, u hayot sherigi. Kitob adabiy bestsellerga aylandi va Shteynni kult-adabiyot sahnasining nisbiy xiralashuvidan asosiy e'tibor markaziga o'tdi.^[2] Uning asarlaridan ikkita iqtiboslar keng ommalashgan: "Atirgul - bu atirgul - bu atirgul,"^[3] va "u erda yo'q ", ikkinchisi ko'pincha uning bolaligidagi Oklend uyiga ishora sifatida qabul qilingan.

Uning kitoblari orasida Q.E.D. (1903), Shteynning bir necha do'stlarini qamrab olgan lezbiyenlarning romantik ishi haqida; Fernxerst, a haqida xayoliy voqea sevgi uchburchagi; Uch hayot (1905-06); va Amerikaliklarning yaratilishi (1902-1911). Yilda Tender tugmalari (1914), Shteyn lezbiyen jinsiy aloqa haqida fikr bildirdi.^[4]

Uning faoliyati Ikkinchi jahon urushi tahlil va sharh mavzusi bo'lgan. Yahudiy sifatida yashaydi Natsistlar tomonidan bosib olingan Frantsiya, Shtayn nafaqat badiiy kollektsioner sifatida o'z hayot tarzini davom ettirishi va haqiqatan ham qudratli odamlarni himoya qilish orqali jismoniy xavfsizligini ta'minlashi mumkin edi. Vichi hukumati rasmiy va natsistlar hamkori Bernard Faÿ. Urush tugagandan so'ng, Shtin yana bir fashistlarning hamkori - Vichining etakchisiga qoyil qoldi Marshal Pétain.^[5]

Hayotning boshlang'ich davri

Shteynning tug'ilgan joyi va bolalik uyi Allegheny West

Shteyn, besh farzandli oilaning kenjasi, 1874 yil 3 fevralda tug'ilgan Allegheny, Pensilvaniya (bilan birlashtirilgan Pitsburg 1907 yilda), yuqori o'rta sinfga Yahudiy ota-onalar, Daniel Steyn va Ameliya (nee Shteyn.^[6][7] Uning otasi ko'chmas mulkka ega bo'lgan boy tadbirkor edi. Ularning uyida nemis va ingliz tillarida gaplashar edi.^[8]

Shteyn uch yoshida

Shteyn uch yoshida, u va uning oilasi ko'chib o'tdi Vena va keyin Parij. Gubernatorlar va o'qituvchilar hamrohligida Shteynlar o'z farzandlariga Evropa tarixi va hayotining madaniy tuyg'ularini singdirishga intildi.^[9] Chet elda bir yillik yashashdan so'ng, ular 1878 yilda Amerikaga qaytib kelishdi Oklend, Kaliforniya, uning otasi direktor bo'lgan San-Fransisko tramvay liniyalari, Bozor ko'chasi temir yo'l, jamoat transporti xususiy korxona bo'lgan davrda.^[10] Shteyn ishtirok etdi Oklendning birinchi ibroniycha jamoati Shabbat maktabi.^[11] Oklenddagi yashash vaqtida ular to'rt yil davomida o'n gektar maydonda yashashdi va Shtayn u erda Kaliforniya haqida ko'plab xotiralarni yaratdi. U tez-tez u bilan yaqin munosabatlarni o'rnatgan akasi Leo bilan ekskursiyalarga borardi. Shtayn Oklenddagi rasmiy maktabni tahlikali deb topdi, lekin u tez-tez o'qiydi: Shekspir, Wordsworth, Skott, Kuyishlar, Smollett, Fielding va boshqalar.^[7]

Shteyn 14 yoshida onasi vafot etdi. Uch yildan keyin uning otasi ham vafot etdi. Shteynning to'ng'ich akasi Maykl Shtayn keyinchalik oilaviy biznesni o'z zimmasiga oldi va 1892 yilda Gertruda va boshqa singlisi Berta onalarining oilasi bilan yashashni tashkil qildi. Baltimor.^[12] Bu erda u amakisi bilan yashagan Devid Baxrax,^[13] 1877 yilda Gertrudaning onasi Feni Keyser bilan turmush qurgan.

Baltimorda Shtayn uchrashdi Klaribel va Etta konus, shanba oqshomini kim o'tkazdi salonlari u keyinchalik Parijda taqlid qilishini. Konuslar san'atni qadrlashdi va bu haqda suhbatlashdilar va Shtayn o'z munosabatlarida takrorlaydigan ichki mehnat taqsimotini taqlid qildilar. Elis B. Toklas.^[14]

Ta'lim

Radklif

Shteyn ishtirok etdi Radkliff kolleji,^[9] undan keyin Garvard universiteti, 1893 yildan 1897 yilgacha va psixolog talabasi bo'lgan Uilyam Jeyms. Jeymsning nazorati ostida Shteyn va boshqa talaba Leon Mendez Solomons tajribalar o'tkazdilar oddiy vosita avtomatizmi, odamlarda ularning fikri bir vaqtning o'zida yozish va so'zlash kabi ikkita aqlli faoliyat o'rtasida bo'linib ketganda paydo bo'lishi taxmin qilingan hodisa.

Ushbu tajribalar yozish misollarini keltirib chiqardi "ong oqimi ", psixologik nazariya ko'pincha Jeymsga va modernist mualliflarning uslubiga tegishli edi Virjiniya Vulf va Jeyms Joys. 1934 yilda xulq-atvor psixologi B.F.Skinner Shteynning qiyin she'rini talqin qildi Tender tugmalari misol sifatida oddiy vosita avtomatizmi.^[15] Stein 1930-yillarda yozgan xatida u hech qachon nazariyani qabul qilmasligini tushuntirgan avtomatik yozish: "[T] bu erda avtomatik harakatlar bo'lishi mumkin, ammo avtomatik yozish mumkin emas. Oddiy odam uchun yozish juda murakkab mashg'ulot, chunki u avtomatik ravishda o'zlashtirilishi mumkin emas."^[16] U Radklifda bo'lganida "o'z-o'zidan avtomatik yozish" haqida psixologik jurnalda maqola e'lon qildi, ammo "ongsiz va sezgi (hatto Jeyms o'zi yozgan bo'lsa ham) uni hech qachon tashvishga solmadi".^[7]

Radklifda u Mabel Fut Uiks bilan umrbod do'stlikni boshladi, uning yozishmalarida Shtayn hayotining ko'pgina taraqqiyoti kuzatiladi. 1897 yilda Shtayn yozni o'tkazdi Massachusets shtatidagi Vuds-Xol, da embriologiyani o'rganish Dengiz biologik laboratoriyasi.^[17] U o'zini A.B. (San'at bakalavri) magna cum laude 1898 yilda Radklifdan.^[7]

Jons Xopkins tibbiyot maktabi

Radlliffda Shteynga sodiq ustozga aylanib, uning intellektual salohiyatini tan olgan va "o'zining eng zo'r ayol talabasi" deb e'lon qilgan Uilyam Jeyms Shteynni tibbiyot fakultetiga o'qishga kirishga undagan. Shtayn tibbiyot nazariyasi yoki amaliyotiga qiziqish bildirmasa-da, u o'qishga kirdi Jons Xopkins tibbiyot maktabi 1897 yilda. To'rtinchi yilida Shtayn muhim kursdan o'ta olmadi, qiziqishni yo'qotdi va ketdi.^[7] Oxir oqibat, tibbiyot fakulteti uni zeriktirdi va u ko'p oqshomlarini o'zini o'qishga jalb qilmasdan, balki uzoq yurish va operada qatnashish bilan o'tkazdi.^[9][18]

Steynning Jons Xopkinsdagi faoliyati qiyinchiliklar va stresslar bilan ajralib turardi. Tibbiy sohada erkaklar hukmronlik qildilar va ayollarning kasbga qo'shilishi beg'ubor yoki bir ovozdan qabul qilinmadi. Uning hayotidagi ushbu davrni yozish (yilda Ular qanday bo'lsa shunday, 1903) Shtayn o'zini odatiy ayol roliga mos kelmasligini anglagan holda o'zini o'ziga xosligini topishga urinib ko'rgan, o'zini paternalistik madaniyat bilan shug'ullanadigan ruhiy tushkunlikka uchragan yosh ayol sifatida namoyon qildi. Uning ko'rinmagan jismoniy qiyofasi va ekssentrik kiyinish uslubi izohlarni qo'zg'atdi va uni "Katta va yumshoq va sandallangan va hech narsaga ahamiyat bermaydigan" deb ta'rifladilar.^[19][20] Linda Vagner-Martinning so'zlariga ko'ra, Shteynning "ayollar tibbiyotiga oid bahsli pozitsiyasi erkaklar fakulteti bilan bog'liq muammolarni keltirib chiqardi" va uning diplomini tugatmasdan tark etishga qaror qildi.^[6]

1899 yilda bir guruh Baltimor ayollariga ma'ruza o'qishni iltimos qilgan Shteyn "Ayollar uchun kollej ta'limi qiymati" deb nomlangan munozarali nutq so'zladi, shubhasiz asosan o'rta sinf auditoriyasini qo'zg'atishga qaratilgan. Ma'ruzada Shteyn shunday dedi:

"O'rtacha o'rta sinf ayol (ba'zi bir erkak qarindoshlari, eri yoki otasi yoki akasi tomonidan qo'llab-quvvatlanmoqda) ... [uni iqtisodiy jihatdan hisobga olishga arzigulik emas. [Bu iqtisodiy bog'liqlik uni haddan tashqari holatga keltirdi] ... o'zini moslashishga erkakning g'ayritabiiy jinsiy istagi ... va avval inson bo'lib, keyin ayol bo'lishi kerak bo'lgan jonzotga aylanib, birinchi bo'lib ayolga aylanadi. "

— ^[20]

Jons Xopkinsning talabasi va go'yoki hali ham jinsiy masalalarda sodda ekan, Shtayn o'zining yashirin shahvoniyligini uyg'otdi. Ba'zan 1899 yoki 1900 yillarda u g'azablanar edi Mary Bookstaver tibbiyot fakulteti talabasi Mabel Xeyns bilan aloqada bo'lgan. Ikki ayol o'rtasidagi munosabatlarga guvoh bo'lish Shteyn uchun "erotik uyg'onish" vazifasini o'tagan. Baxtsiz sevgi uchburchagi Shteynni ruhiy tushkunlikka tushirdi va, ehtimol uning tibbiyot ishlaridan voz kechish qaroriga hissa qo'shdi.^[20] 1902 yilda Shteynning ukasi Leo Shteyn uchun chap London va Shtayn ergashdi. Keyingi yil ikkalasi Parijga ko'chib ketishdi, u erda Leo badiiy martaba bilan shug'ullanishni umid qildi.^[18]

Badiiy to'plam

Gertruda va Leo Shteyn sotib olishdi Anri Matiss ning, Shlyapali ayol, 1905, hozirda rassomning rafiqasi Ameliyaning portreti San-Fransisko zamonaviy san'at muzeyi

Leo, Gertruda va Maykl Shteyn

1903 yildan 1914 yilgacha, o'zlarining umumiy uy-joylarini tarqatib yuborishganida, Gertruda va uning ukasi Leo yashash joylarini birgalikda yashashgan. Lyuksemburg bog'lari ustida Chap sohil Parijning ichki hovlisida joylashgan ikki qavatli kvartirada (qo'shni studiya bilan) Fleurus 27 ko'chasi, 6-tuman. Bu erda ular o'zlarining zamonaviyligi va tarixiy ahamiyati bilan mashhur bo'lgan to'plamni tashkil etgan san'at asarlarini to'plashdi.

Galereya maydoni ajoyib narsalar bilan jihozlangan Uyg'onish davri - mebel mebellari Florensiya, Italiya. Rasmlar devorlarni shiftlarigacha bir necha qavatlar bo'ylab yarqirab turar edi. Dastlab gaz nuri bilan yoritilgan ushbu asar keyinchalik elektr nurlari bilan biroz oldinroq yoritilgan Birinchi jahon urushi.^[10]

Leo Shteyn badiiy dunyoning muhim aloqalarini rivojlantirdi va Stein xazinalarining vaqt o'tishi bilan o'sishiga imkon berdi. San'atshunos va kollektsioner Bernard Berenson uning uyida Gertruda va Leo ni qabul qildi Ingliz qishloq uyi 1902 yilda ularni tanishtirishga ko'maklashdi Pol Sezanne va diler Ambruaz Vollard.^[21] Vollard Sezannadagi san'at bozorida katta ishtirok etgan va u Leo va Gertruda uchun Parij san'at olamidagi birinchi muhim aloqa bo'lgan.^[7]

Gertruda va Leo Shteynning birgalikdagi kollektsiyasi 1904 yil oxirida Maykl Shtayn ularning ishonch hisobvarag'ida 8000 frank mablag 'to'planganligini e'lon qilganidan so'ng boshlandi. Ular buni o'tkazdilar Vollard Galereya, sotib olish Gogen "s Kungaboqar^[22] va Uch taiti,^[23] Sezanniki Hammomchilar,^[24] va ikkitasi Renoirlar.^[25]

Stein in uning Parijdagi studiyasi, bilan uning portreti Pablo Pikassoning va devorga osilgan boshqa zamonaviy badiiy rasmlarning (1910 yilgacha)

Badiiy kollektsiya ko'payib bordi va Rue de Fleurus devorlari doimiy ravishda yangi xaridlarga yo'l ochish uchun o'zgartirildi.^[26] "1905 yilning birinchi yarmida" Shteynlar sotib olishdi Sezanne "s Mé Sezanne portreti va Delakroix "s Persey va Andromeda.^[27] Ochilishidan ko'p o'tmay Salon d'Automne 1905 yil (1905 yil 18-oktyabrda) Shteynlar Matisseni sotib olishdi Shlyapali ayol^[28] va Pikassoning Gullar savati bilan yosh qiz.^[29] 1906 yilda Pikasso ishini yakunladi Gertruda Shteynning portreti, bu uning to'plamida o'limigacha qoldi.^[30]

Genri Makbrayd (uchun san'atshunos Nyu-York Quyoshi ) Shteynning Qo'shma Shtatlardagi obro'si uchun ko'p ish qildi, uning badiiy ijodini va uning madaniyat arbobi sifatida ahamiyatini e'lon qildi. Fueurus 27-dagi badiiy to'plamdan McBride shunday izoh berdi: "[Men uning hajmi va sifatiga mutanosib ... [bu men tarixda eshitgan narsalarning eng kuchliligi haqida”.)^[31] McBride shuningdek Gertrude "shoh asarlarni emas, balki daholarni to'plagan. U ularni juda uzoqdan tanigan".^[31]

1906 yil boshlarida Leo va Gertruda Shteynning studiyasida ko'plab rasmlar bor edi Anri Manguin, Per Bonnard, Pablo Pikasso, Pol Sezanne, Per-Ogyust Renuar, Honoré Daumier, Anri Matiss va Anri de Tuluza-Lotrek.^[32] Ularning kollektsiyasi Parijda birga yashash paytida bo'lib o'tgan ikkita taniqli san'at ko'rgazmalarining vakili edi va ular o'zlarining san'atlarini qarz berish yoki taniqli rassomlarga homiylik qilish orqali o'zlarining hissalarini qo'shdilar.^[33] Shtaynsning katta akasi Maykl va singlisi Sara (Sally) Anri Matissening ko'plab rasmlarini sotib oldilar; Bertimordan Gertrudaning do'stlari, Klaribel va Etta konus, shunga o'xshash tarzda to'planib, oxir-oqibat o'zlarining badiiy to'plamlarini deyarli buzilmagan holda ehson qilishdi Baltimor san'at muzeyi.^[34]

Ko'p sonli rassomlar Stein saloniga tashrif buyurishganida, ushbu rassomlarning aksariyati 27 Rue de Fleurus devoridagi rasmlar orasida namoyish etilmadi. Renoir, Sezann, Matiss va Pikassoning asarlari Leo va Gertrudaning to'plamida, Maykl va Sara Seyn - ta'kidladi Matiss.^[35] 1914 yil aprel oyida Leo boshqa joyga ko'chib o'tdi Settignano, Italiya, Florensiya yaqinida va badiiy kollektsiya bo'linib ketdi. Shteynlar badiiy to'plamining bo'linishi Leo tomonidan yozilgan maktubida quyidagicha tasvirlangan:

Sezannadagi olma men uchun beqiyos ahamiyatga ega, uni hech narsa o'rnini bosa olmaydi. Bunday ma'noda Pikassoning manzarasi muhim emas. Umuman olganda, biz ikkalamiz ham hozir juda yaxshi yashayapmiz, chunki bizni qayta tiklash kerak emas. Sezannlar bo'linishi kerak edi. Menga Renuarni qoldirganingiz kabi, sizdan ham Pikasso ijodini qoldirishga tayyorman va bundan boshqa hamma narsaga ega bo'lishingiz mumkin. Menda bo'lgan bir nechta rasmlarni saqlamoqchiman. Bu men uchun hech qanday mag'lubiyat qoldirmaydi, taxminlarga ko'ra, bu taxminiy va tayyor usullar uchun har ikkala yo'l ham moliyaviy jihatdan tengdir; va siz Olmaning yo'qolishiga Xudoning amali sifatida qarashingiz kerak deb qo'rqaman. Men har birida o'zi xohlagan narsani o'ylashi kerak bo'lgan narsalardan xavotirda edim va Renuarning sizlarga etarlicha befarq ekanligidan, ulardan voz kechishga tayyor ekanligingizdan xursand bo'lganim kabi, Pablo ham etarlicha befarq ekanligidan xursandman. Sizga xohlagan narsangizni berishga tayyor ekanligimni aytdi.^[36][37]

Leo o'n oltita Renuar bilan jo'nab ketdi va Pikasso va Matissening aksariyat qismini singlisiga topshirib, faqat Pikassoning o'zi tomonidan qilingan portret eskizini oldi. U Sezannaga bag'ishlangan bo'lib qoldi, ammo rassomning barcha asarlarini singlisiga qoldirib, o'zi bilan birga "5 olma" ning Sezanne rasmini ham oldi.^[10] Birodar va singil o'rtasida bo'linish juda zo'r edi. Stein Leo Shteynni keyinroq yana ko'rmadi Birinchi jahon urushi, keyin esa Parijdagi ko'chada faqat qisqa tabrik orqali. Ushbu tasodifiy uchrashuvdan so'ng, ular boshqa hech qachon ko'rishmagan va gaplashishmagan.^[10] Oxir-oqibat Shtaynsning xoldingi turli usullar bilan va turli sabablarga ko'ra tarqalib ketdi.^[38]

1914 yilda Stein va Leo oilalari ajralib chiqqanidan keyin u Pikassoning san'at namunalarini to'plashni davom ettirdi. Kubizm, Leo qadrlamagan uslub. Uning o'limida Gertrudaning qolgan to'plamida Pikasso va Xuan Gris, uning boshqa rasmlarining aksariyati sotilgan.^[39]

Gertruda Shteynning shaxsiyati Shteyn badiiy merosini tasdiqlashda ustunlik qildi. Ammo uning akasi Leo zukko san'atshunos edi. Alfred Barr Jr., Nyu-York asos soluvchi direktori Zamonaviy san'at muzeyi, 1905-1907 yillar orasida "[Leo], ehtimol dunyodagi 20-asr rassomligining eng taniqli bilimdoni va kollektsioneri bo'lgan", dedi.^[40] Badiiy asarlar ikkala Shtayn aka-ukalar o'rtasida bo'linib bo'lgandan so'ng, 1930-yillarda kam iste'dodli bo'lgan asarlarning chempioni bo'lgan Gertruda edi. U ishiga diqqatni jamladi Xuan Gris, André Masson va janob Frensis Roz. 1932 yilda Shteyn: "buyuk davrdan so'ng rasm endi kichik san'at bo'lib qaytdi" deb ta'kidladi.^[10]

1945 yilda Ispaniyalik rassomning birinchi ko'rgazmasi uchun muqaddimada Frantsisko Riba Rovira (uning portretini chizgan), Shteyn shunday yozgan:

Men tushuntirdimki, men uchun barcha zamonaviy rasmlar Sezanne deyarli o'zi yasagan narsaga asoslanib emas, deyarli yaratgan narsalarga asoslangan. U hech narsa qila olmagach, uni o'g'irlab, tashlab ketgan. U o'zining qobiliyatsizligini ko'rsatishni talab qildi: muvaffaqiyatsizligini yoydi: qila olmasligini ko'rsatib, unga obsesiya bo'ldi. Uning ta'sirida bo'lgan odamlar ham o'zlari erisha olmaydigan narsalarga berilib, kamuflyaj tizimini boshladilar. Buni qilish tabiiy edi, hattoki muqarrar edi: bu tez orada tinchlik va urush sharoitida san'atga aylandi va Matisse Sezannaning anglay olmasligini yashirgan va bir vaqtning o'zida turib olgan, Pikasso esa bularning barchasini yashirgan, o'ynagan va qiynoqqa solgan. bu muammoni talab qilmoqchi bo'lgan kishi Xuan Gris edi. U Sezann qilmoqchi bo'lgan ishlarni chuqurlashtirishda davom etdi, ammo bu uning uchun juda qiyin vazifa edi: bu uni o'ldirdi. Mana endi biz Sezannaning qila olmagan narsasi bilan o'ynash tendentsiyasiga ergashmaydigan, lekin u yaratmoqchi bo'lgan narsalarga hujum qiladigan, mavjud bo'lishi kerak bo'lgan narsalarni yaratadigan yosh rassomni topdim. va o'z-o'zidan, va aloqada emas.^[41][42]

Fleurus 27-rue: Stein saloni

Blyashka Fleurus 27 ko'chasi

Shteyn uyidagi yig'ilishlar "adabiyot va san'atdagi modernizmni aniqlashga yordam beradigan iste'dod va fikrlashning to'qnashuvlarini birlashtirdi". Maxsus ishtirokchilar kiradi Pablo Pikasso, Ernest Xeminguey, F. Skott Fitsjerald, Sinkler Lyuis, Ezra funt, Gavin Uilyamson, Tornton Uaylder, Shervud Anderson, Frensis Kiril Rouz, Bob Braun, Rene Krevel, Elisabet de Gramont, Frensis Pikabiya, Klaribel konusi, Mildred Aldrich, Jeyn Peterson, Karl Van Vechten va Anri Matiss.^[1] Shanba kuni kechqurunlar rasmiy jamoat uchun belgilangan kun va vaqt sifatida belgilab qo'yilgan edi, shuning uchun Stein tezkor tashrif buyuruvchilar tomonidan o'z yozuvlarida to'xtovsiz ishlashi mumkin edi. Aynan Shteynning sherigi Elis alohida xonada uchrashgan rassomlarning xotinlari va qiz do'stlari uchun amalda styuardessa bo'ldi.

Gertruda shanba oqshomidagi salonlarning boshlanishini Matissaga bog'ladi, chunki odamlar uning va Sezanning rasmlarini ko'rish uchun tashrif buyurishni boshladilar: "Matiss odamlarni olib keldi, hamma kimnidir olib keldi va ular istalgan vaqtda kelishdi va bu bezovtalikka aylana boshladi va shanba oqshomlari shu tarzda boshlandi. "^[43]

Pikassoning shanba oqshomlariga tez-tez tashrif buyuradigan tanishlari orasida: Fernande Olivier (Pikassoning ma'shuqasi), Jorj Braque (rassom), André Derain (rassom), Maks Jeykob (shoir), Giyom apollineri (shoir), Mari Laurensin (rassom va Apollinerning ma'shuqasi), Anri Russo (rassom) va Jozef Stella.^[44]

Xeminguey Shteynning saloniga tez-tez tashrif buyurgan, ammo ikkalasi ham notekis munosabatda bo'lishgan. Ular yaqin do'st sifatida boshladilar, Xeminguey Shteynni ustoz sifatida hayratda qoldirdi, ammo keyinchalik ular ajralib ketishdi, ayniqsa Shtayn Xemingueyni "sariq" deb ataganidan keyin Elis B. Toklasning tarjimai holi.^[7] O'g'li tug'ilgandan keyin Xeminguey Shteyndan bolasining xudojo'yi bo'lishini so'radi.^[45] Shteyn "atamasini ixtiro qilgani uchun"Yo'qotilgan avlod "vaqtini belgilab beradigan va voyaga etgan yoshi Birinchi Jahon urushi va uning oqibatlari bo'lganlar uchun, bu hikoyaning kamida uchta versiyasi mavjud, ikkitasi Xeminguey, biri Shteyn.^[46]

1931 yil yozida Shtayn yosh bastakor va yozuvchiga maslahat berdi Pol Boulz ga bormoq Tanjer, u va Elis dam olgan joyda.

Adabiy uslub

Karl Van Vechten, Gertruda Shteynning portreti, 1934

Shteynning yozuvi uchta toifaga joylashtirilishi mumkin: "germetik" asarlar eng yaxshi tasvirlangan Amerikaliklarning yaratilishi: Hersland oilasi; kabi mashhur yozuvlar Elis B. Toklasning tarjimai holi; va nutq yozish va undan keyingi yillardagi avtobiografik yozuvlar Brewsi va Villi yaxshi misol. Uning asarlari romanlar, pyesalar, hikoyalar, libretti va juda o'ziga xos, o'ynoqi, takrorlanadigan va hazil uslubida yozilgan she'rlar. Odatda tirnoq: "Atirgul - bu atirgul - bu atirgul ";" Yaxshilikdan qizarish va qo'pollikdan tezda shu savol, ko'zdan tadqiqot, selektsiondan og'riqli mollar chiqadi "; uning bolalik uyi haqida Oklend, "U erda yo'q"; va "Rang o'zgarishi ehtimoli katta va farq juda ozgina tayyorlanadi. Shakar sabzavot emas."^{[iqtibos kerak ]}

Bular ong oqimi tajribalar, ritmik insholar yoki "portretlar", "toza mavjudotning hayajonlanishini" uyg'otish uchun ishlab chiqilgan va bu tasviriy san'at uslublari va shakllariga adabiyotning javobi sifatida qaralishi mumkin. Kubizm, plastika va kollaj. Kabi ko'plab eksperimental ishlar Tender tugmalari beri tanqidchilar tomonidan a deb talqin qilingan feministik patriarxal tilni qayta ishlash. Ushbu asarlar avangard tanqidchilar tomonidan yaxshi kutib olindi, ammo dastlab asosiy muvaffaqiyatlarga erisha olmadilar. Shteynning "avtomatik yozish "bilan Uilyam Jeyms, u o'z ishini avtomatik ravishda emas, balki "ortiqcha ong" sifatida ko'rdi.^{[iqtibos kerak ]}

Shteyn kubik rasmlarni, ayniqsa Pikassoning rasmlarini to'plagan bo'lsa-da, uning adabiy faoliyatiga eng katta tasviriy san'at ta'sir qiladi. Sezanne. Xususan, u uning universalligi bilan ajralib turadigan tenglik g'oyasiga ta'sir ko'rsatdi: "tuvalning butun maydoni muhim" (8-bet).^{[to'liq iqtibos kerak ]}). Shakl / zamin munosabatlaridan ko'ra, "Shtayn so'zlar bilan ishlashda butun matnni har bir element boshqalari kabi muhim bo'lgan maydon sifatida ishlatgan." Bu bir nechta nuqtai nazarlarni o'z ichiga olgan sub'ektiv munosabatlardir. Shteyn shunday tushuntirdi: "Muhimi shundaki, siz chuqurlikdagi chuqurlik kabi tenglikni his qilishingiz kerak."^{[iqtibos kerak ]}

Uning takrorlanishidan foydalanish uning xarakterlarining "pastki tabiati" tavsiflarini izlash bilan bog'liq, masalan, Amerikaliklarning yaratilishi bu erda rivoyatchi "Men aytgandek" va "Endi uning tarixi bo'ladi" kabi rivoyat iboralarini takrorlash orqali tasvirlangan. Shteyn ko'plab ingliz-sakson so'zlaridan foydalangan va "juda ko'p assotsiatsiya" bilan so'zlardan qochgan. Ijtimoiy fikr uning yozilishida yo'q, shuning uchun o'quvchiga yozuv haqida qanday fikr yuritish va his qilish to'g'risida qaror qabul qilish vakolati beriladi. Xavotir, qo'rquv va g'azab ham yo'q va uning ishi harmonik va integraldir.^{[iqtibos kerak ]}

Shtayn, asosan, hozirgi progressiv zamondan foydalangan va o'z ishida doimiy ishtirok etishini yaratgan, Grenning ta'kidlashicha, bu avvalgi printsiplarning natijasi, ayniqsa umumiylik va markazlilik. Grahn "o'yin" ni o'quvchilarga yoki tomoshabinlarga avtonomiya va agentlik berish deb ta'riflaydi: "o'rniga hissiy manipulyatsiya bu chiziqli yozuvning o'ziga xos xususiyati, Shteyn foydalanadi o'ynash."^[47] Bundan tashqari, Shteynning ishi kulgili va ko'p qavatli bo'lib, har xil talqin va kelishuvlarga imkon beradi. Va nihoyat, Grahnning ta'kidlashicha "o'rnatishturish ... ish bilan shug'ullanish, uni "aniqlab olish" o'rniga, faol ish bilan aralashtirish. Tasvirga kiriting. "^[48] 1932 yilda u kengroq auditoriyani jalb qilish uchun qulay uslubdan foydalanib, u yozdi Elis B. Toklasning tarjimai holi; kitob uning birinchi eng ko'p sotilgan kitobiga aylanadi. Sarlavhaga qaramay, bu aslida Shteynning tarjimai holi edi. Uslub uslubiga juda o'xshash edi Elis B. Toklas oshpazligi, bu Toklas tomonidan yozilgan.^{[iqtibos kerak ]}

Shteynning bir nechta asarlari bastakorlar tomonidan, shu jumladan musiqa bilan shug'ullangan Virjil Tomson operalari Uchta amalda to'rtta avliyo va Barchamizning onamizva Jeyms Tenni sozlamalari Atirgul - bu atirgul - bu atirgul kabi kanon bag'ishlangan Filipp burchak, ko'tarilishda "a" dan boshlang va har bir takrorlash so'zlarni aralashtirib yuborishi uchun davom eting, masalan. "a / atirgul - bu atirgul / bu atirgul - bu / atirgul - bu / gul".^{[iqtibos kerak ]}

Adabiy martaba

Pablo Pikasso, Gertruda Shteynning portreti, 1906, Metropolitan San'at muzeyi, Nyu York. Kimdir Shteyn uning portretiga o'xshamaydi, degan fikrni bildirganida, Pikasso "U shunday qiladi" deb javob berdi.^[49] Shteyn yozgan "Agar men unga aytgan bo'lsam: Pikassoning tugallangan portreti "(1923) rasmga javoban.

Feliks Vallott, Gertruda Shteynning portreti, 1907

Parijda yashab, Shteyn o'z yozuvlarini nashrga topshirishni boshladi. Uning dastlabki yozuvlari asosan kollejdagi tajribalarini takrorlash edi. Uning birinchi tanqidiy nashrlari edi Uch hayot. 1911 yilda, Mildred Aldrich Stein bilan tanishtirdi Mabel Dodge Luhan va ular qisqa muddatli, ammo samarali do'stlikni boshladilar, bu davrda boy Mabel Dodj AQShda Gertruda afsonasini targ'ib qildi.

Mabel Shteynning keng tarqalgan nashridan g'ayratli edi Amerikaliklarning ijodi va Shteyn o'z yozganlarini noshirlarga sotishda juda qiynalgan bir paytda, 300 nusxasini xususiy ravishda nashr etdi Villa Curonia-da Mabel Dodge portreti.^[39] Dodge shuningdek, reklama va rejalashtirish bilan shug'ullangan 69-polk Qurol-yarog 'namoyishi 1913 yilda "Amerikadagi birinchi avangard san'at ko'rgazmasi".^[39]

Bundan tashqari, u Amerikada paydo bo'lgan Shteyn yozuvi bo'yicha birinchi tanqidiy tahlilni 1913 yil mart oyining maxsus nashrida chop etilgan "Spekülasyonlar yoki nasrdagi postimpressionistlar" da yozdi. San'at va bezak.^[50] Shteynning keyingi tanqidiy qabulini oldindan aytib bergan Dodj "Spekülasyonlar" da yozgan:

Gertruda Shteynning yozishida har bir so'z yashaydi va kontseptsiyadan tashqari u shunchalik nafis ritmik va kadanslanganki, agar biz uni baland ovozda o'qib, toza ovoz sifatida qabul qilsak, bu o'ziga xos sezgir musiqaga o'xshaydi. Xuddi kimdir, biron bir tarzda, biron bir tarzda, Pikassoning tuvali oldida to'xtab qolishi va o'z fikrini bir lahzada uxlashiga yo'l qo'yib, shunday deb xitob qilishi mumkin: "Bu bu yaxshi naqsh! "Shunday qilib, Gertruda Shtaynning so'zlarini tinglab, ularning ma'nosini tushunishga harakat qilishni unutib, ularning asta-sekin jozibasiga bo'ysunadi.^[50]

Stein va Karl Van Vechten, taniqli tanqidchi va fotosuratchi, 1913 yilda Parijda tanishgan. Ikkalasi bir-birlariga uy hayvonlari nomlarini o'ylab topib, umrbod do'st bo'lishdi: Van Vechten "Papa Woojums" va Shteyn "Baby Woojums". Van Vechten AQShda Shteynning adabiy ishining g'ayratli chempioni bo'lib xizmat qildi va aslida uning amerikalik agentiga aylandi.^[1]

Amerika (1934–1935)

1934 yil oktyabrda Stayn 30 yillik yo'qligidan keyin Amerikaga keldi. Nyu-Yorkdagi okean kemasidan tushib, u ko'plab muxbirlarga duch keldi. Shteyn haqidagi birinchi sahifadagi maqolalar deyarli har bir Nyu-York shahridagi gazetalarda paydo bo'lgan. U Manxetten orqali o'z mehmonxonasiga borar ekan, u o'zining AQSh safari bilan ajralib turadigan ommaviylikni tushunishga muvaffaq bo'ldi. Elektr belgisi Times Square barchaga "Gertruda Shteyn kelganini" e'lon qildi.^[51] Uning olti oylik mamlakat bo'ylab safari 191 kunlik sayohatni, 23 ta shtatni kesib o'tishni va 37 ta shaharni qamrab oldi. Shteyn har bir to'xtash joyi uchun ma'ruzalarini rasmiy ravishda tuzilgan va tinglovchilar har bir joy uchun besh yuz kishidan iborat bo'lgan. U nutq so'zladi, yozuvlardan o'qidi va taqdimotining oxirida tinglovchilarga savol-javoblarni taqdim etdi.^[51]

Shtinning ma'ruza ma'ruzachisi sifatida samaradorligi har xil baholarga ega bo'ldi. O'sha paytda ba'zilar "Shteynning auditoriyasi umuman uning ma'ruzalarini tushunmaydilar" degan fikrni qo'llab-quvvatladilar. Psixiatriya hamjamiyatidan ba'zilari, Shteyn a nutqning buzilishi, palilaliya bu uning "so'zlar va iboralar ustidan duduqlanishiga" sabab bo'ldi. Biroq, Shtinning jozibali ishtiroki, tinglovchilarni "o'z tilining musiqiyligi" bilan ushlab turadigan jozibali shaxs ekanligi ustunlik qildi.^[51]

Vashingtonda D.C.Steyn Prezidentning rafiqasi bilan choy ichishga taklif qilindi, Eleanor Ruzvelt. Yilda Beverli Xillz, Kaliforniya, u aktyor va kinorejissyorga tashrif buyurdi Charli Chaplin u bilan kino kelajagini muhokama qilgan.^[51] Steyn Amerikadan 1935 yil may oyida, yangi boshlangan amerikalik taniqli shaxs o'z majburiyatini olgan holda tark etdi Tasodifiy uy, kelajakdagi barcha asarlari uchun Amerika noshiri bo'lishga rozi bo'lgan.^[51][52] The Chicago Daily Tribune Shtayn Parijga qaytganidan keyin shunday deb yozgan edi: "Yillar davomida biron bir yozuvchi bu qadar keng muhokama qilinmagan, u qadar karikatura qilingan, bu qadar ehtirosli kurashmagan".^[51]

Kitoblar

Q.E.D.

Shteyn yakunlandi Q.E.D., uning birinchi romani, 1903 yil 24 oktyabrda.^[53] Eng qadimgi biri chiqib hikoyalar,^[54] Gap Steyn va uning do'stlari Mabel Xeyns, Greys Lounsberi va boshqalarni o'z ichiga olgan romantik ish haqida Mary Bookstaver va 1897-1901 yillarda u o'qiyotgan paytida sodir bo'lgan Jons Xopkins Baltimorda.^[55]

Fernxerst (1904)

1904 yilda Shteyn boshlandi Fernxerst, dekan bilan bog'liq bo'lgan uch kishilik ishqiy janjal haqidagi xayoliy xabar (M. Keri Tomas ), fakultet a'zosi Bryn Mavr kolleji (Meri Gvinn) va Garvard bitiruvchisi (Alfred Hodder ).^[56] Melluning ta'kidlashicha Fernxerst "bu qat'iyan kichik va noqulay yozma asar".^[57] Unda Gertruda "taqdirli yigirma to'qqizinchi yil" ni muhokama qilganida o'zining tarjimai holida aytib o'tgan ba'zi bir sharhlar mavjud.^[57] davomida:

Bolalik, o'spirinlik va yoshlik yillari chalkash va shafqatsiz janglarda qatnashgan barcha kuchlar o'zlarining tartibli saflarida (va bu davrda) etuklikning to'g'ri va tor darvozasini qamrab olishdi, va hayot hamma g'alayon va chalkashliklarga qadar torayib bordi. Shakl va maqsad, va biz kichkina qiyin haqiqat uchun katta xiralashgan imkoniyatni almashtiramiz. Shuningdek, amerika hayotida odatlarda hech qanday majburlash bo'lmagan va o'z xohishimiz va imkoniyatimizga qarab kasbimizni tez-tez o'zgartirish huquqimiz bu erda bizning yoshligimiz hayotimizning birinchi yigirma to'qqiz yiliga to'g'ri keladigan umumiy tajriba va biz o'ttiz yoshga etgunimizcha o'zimizni munosib his qilgan va doimiy mehnatni bag'ishlagan shu kasbni topganimizga qadar.^[58]

Melloning ta'kidlashicha, 1904 yilda 30 yoshli Gertruda "hayotidagi" kichik qattiq haqiqat "yozma bo'lishini aniq aniqlagan".^[59]

Uch hayot (1905–1906)

Shteyn tashkil topganligi bilan bog'liq Uch hayot u portretdan olgan ilhomiga Sezanne Shteyn kollektsiyasida bo'lgan rafiqasini chizgan edi. U buni a vahiy lahzasi uning yozish uslubi evolyutsiyasida. Shteyn quyidagicha tavsifladi:

ning uslubiy usuli (Uch hayot) Sezonning portreti ta'sirida edi, uning ostida u yozgan edi. Madam Sezanning portreti - bu har bir talabchan va puxta kelishilgan samolyotdan - kresloning qizil ranglaridan va o'tirgan ko'ylagi kulrang moviy ranglaridan fonning noaniq shaklidagi devor qog'ozigacha tuzilgan. mavjud bo'lib, mavzuni abadiy tuzatishga o'xshaydi. Gertrudaning takrorlanadigan jumlalari, ularning har biri ibora-ibora, o'z belgilarining mohiyatini kuchaytirmoqda.^[60]

U boshladi Uch hayot 1905 yil bahorida va uni keyingi yil yakunladi.^[61]

Amerikaliklarning yaratilishi (1902–1911)

Gertruda Shteyn yozilish sanasini aytib o'tdi Amerikaliklarning yaratilishi 1906-1908 yillarda bo'lgan. Uning tarjimai holi haqiqatan ham 1902 yilda boshlanganligi va 1911 yilgacha tugamaganligi haqidagi dalillarni topdi.^[62] Shtayn o'z ishini taqqosladi Jeyms Joys "s Uliss va ga Marsel Prust "s Yo'qotilgan vaqtni qidirishda. Uning tanqidchilari bunga unchalik qiziqish bildirishmadi.^[63] Shteyn romanning asosiy qismini 1903-1911 yillarda yozgan va uning qo'lyozmalaridagi dalillar o'sha davrda qayta ko'rib chiqishning uchta asosiy davrini taklif qiladi.^[64] 1924 yilga qadar qo'lyozma asosan jamoatchilik e'tiboridan yashiringan Ernest Xeminguey, Ford Madox Ford da parchalarni nashr etishga rozi bo'ldi transatlantik sharh.^[65] 1925 yilda Parijda joylashgan "Kontakt press" 500 nusxadan iborat romanning cheklangan turkumini nashr etdi. Tomonidan juda qisqartirilgan nashr nashr etildi Harcourt Brace 1934 yilda, ammo to'liq versiyasi shu paytgacha nashrdan chiqqan Boshqa bir narsa bosish uni 1966 yilda qayta nashr etdi. 1995 yilda yangi, aniq nashri tomonidan nashr etildi Dalkey Archive Press tomonidan oldingi so'z bilan Uilyam Gass.^[66]

Gertrudaniki Matiss va Pikasso tavsiflovchi insholar paydo bo'ldi Alfred Stiglitz 1912 yil avgustdagi nashr Kamera bilan ishlash, Pikasso va Matissaga bag'ishlangan maxsus nashr va uning birinchi nashrini namoyish etdi.^[67] Ushbu nashr haqida Gertruda shunday dedi: "Men qilgan har qanday narsani birinchi bo'lib chop etgan birinchi kishi edi. Va bu men uchun ham, boshqasi uchun ham nimani anglatishini tasavvur qilishingiz mumkin."^[67]

So'z portretlari (1908-1913)

Shteynning tavsiflovchi insholari, ehtimol uning Elis B. Toklas haqidagi inshoi bilan boshlandi, "ozgina nasriy vinyet, o'zini shov-shuvli nasrdan uzoqlashtirgan o'ziga xos baxtli ilhom. Amerikaliklarning yaratilishi."^[68] Shteynning so'z portretlaridagi dastlabki harakatlari katalogga kiritilgan Mellow (1974 yil), 129-37 betlar) harvtxt xatosi: maqsad yo'q: CITEREFMellow1974 (Yordam bering) va Kellnerdagi shaxsiy ismlar bilan, 1988 yil. Matiss va Pikasso dastlabki insholar mavzusi edi,^[69] keyinchalik to'plangan va nashr etilgan Geografiya va pyesalar^[70] va Portretlar va ibodatlar.^[71][72][73]

Uning mavzularida bir nechta taniqli shaxslar bor edi va uning mavzularida u 27 Rue de Fleus shanba salonlarida kuzatgan narsalarning tavsifini taqdim etdi: "Ada" (Elis B. Toklas ), "Ikki ayol" (The Konus opa-singillar, Klaribel konusi va Etta konus ), Miss Furr va Miss Sken (Ethel Mars va Mod Hunt Skvayr ), "Erkaklar" (Xattinlar Xapgud, Piter Devid Edstrom, Moris Stern ), "Matiss" (1909, Anri Matiss ), "Pikasso" (1909, Pablo Pikasso ), "Villa Curonia-da Mabel Dodge portreti" (1911, Mabel Dodge Luhan ) va "Giyom apollineri " (1913).

Tender tugmalari (1912)

Tender tugmalari Shteynning "germetik" asarlaridan eng taniqli. Bu uchta bo'limga bo'lingan kichik kitob - "Oziq-ovqat, narsalar va xonalar", ularning har biri subtitr ostida nasrdan iborat.^[74] 1914 yilda nashr etilishi o'rtasida katta tortishuvlarga sabab bo'ldi Mabel Dodge Luhan va Seyn, chunki Mabel uni boshqa noshir tomonidan nashr etish uchun harakat qilgan.^[75] Mabel Gertrude tanlagan matbuot bilan nashr etishni noto'g'ri tanlov deb bilganligi haqida uzoq vaqt yozdi.^[75] Evans Gertruda yozgan:

Claire Marie Press ... bu uchinchi daraja, va bu erda yomon hid mavjud bo'lib, ko'pincha "dekadent" va Broadwayish uchun chaqiriladi va shunga o'xshash narsalar ... Menimcha, [Claire Marie Press bilan nashr etish juda achinarli bo'lar edi ] agar jamoatchilik fikri bo'yicha, ular o'zlarining butun kubistik harakatida degeneratsiya va effete & decadent narsa bor degan fikrni ta'kidlaydi. barchasi sizni bog'lab qo'ying, chunki hamma narsani osib qo'ying, agar ular biron narsani tushunmasalar, ular har xil narsalar haqida o'ylashadi. Mening hissiyotim juda kuchli.^[75]

Shtayn Mabelning nasihatlarini va oxir-oqibat Mabelni e'tiborsiz qoldirdi va 1914 yilda 1000 nusxada kitobni nashr etdi. Antik nusxasi 2007 yilda 1200 dollardan oshiq baholandi. Hozir u bosma nashrda va qayta nashr etildi Tender tugmalari: Tuzatilgan yuz yillik nashr tomonidan Shahar chiroqlari noshirlari 2014 yil mart oyida.

Bilan intervyuda Robert Bartlett Xaas "Transatlantik intervyu - 1946" da Shtayn ushbu asarning an'analarida to'liq "realistik" ekanligini ta'kidladi. Gyustav Flober, quyidagilarni bayon qilib: "Men stol ustidagi buyumlarni, masalan, stakan yoki har qanday turdagi narsalarni olib, uning rasmini aniq va xayolimda ajratishga, so'z va ko'rilgan narsalar o'rtasida so'z munosabatini yaratishga harakat qilardim. " Sharhlovchilar u nimani nazarda tutganligini ko'rsatdi ma'lumotnoma ob'ektlar uning ishi uchun markaziy bo'lib qoldi, ammo vakillik ulardan yo'q edi.^[76] Olim Marjori Perloff Shteyn haqida aytgan edi: "[u o'z zamondoshlariga o'xshamaydi (Eliot, Funt, Mur ), u bizga stol ustidagi grafin singari tasvirni bermaydi; aksincha, u bizni til biz bilgan dunyoni qanday qilib qurishini qayta ko'rib chiqishga majbur qiladi. "^[76]

Elis B. Toklasning tarjimai holi (1933)

Ning nashr etilishi Elis B. Toklasning tarjimai holi Gertruda Shteynni adabiyotdagi noaniqlikdan Qo'shma Shtatlarda deyarli taniqli shaxsga olib keldi.^[77] Amerikalik jamoatchilik orasida mashhur bo'lsa-da, Shtayn o'z kitobida tasvirlangan shaxslardan jiddiy javob oldi. Evgeniy Jolas, avangard jurnalining muharriri O'tish, nomli risola nashr etdi Gertruda Shteynga qarshi ko'rsatma unda Anri Matiss va Jorj Brak kabi rassomlar Shtaynning Parijdagi rassomlar va ziyolilar jamoasini tasvirlashiga o'z e'tirozlarini bildirishdi.^[78] Brak, o'z javobida, "u kubizmni mutlaqo noto'g'ri tushungan, u shunchaki shaxsiyat nuqtai nazaridan ko'radi", deb tanqid qildi.^[79]

Elis B. Toklas

Shtayn u bilan uchrashdi hayot sherigi Elis B. Toklas^[80] 1907 yil 8 sentyabrda, Toklasning Parijdagi birinchi kunida, Sara va Maykl Shteynning kvartirasida.^[81] Shteyn bilan uchrashuvda Toklas shunday deb yozgan edi:

U Toskana quyoshida yoqib yuborilgan va jigarrang iliq sochlarida oltin yaltiroq tilla jigarrang ko'rinish edi. U issiq jigarrang korduroy kostyumida edi. U katta dumaloq marjon broshni kiyib olgan edi va u juda oz gapirganda yoki kulganda juda yaxshi ish qildi, men uning ovozi shu broshdan chiqqan deb o'ylardim. Bu hech kimning ovoziga o'xshamas edi - chuqur, to'la, baxmalga o'xshash, xuddi katta kontraltoning ovozi singari, ikkita ovozga o'xshardi.^[82][83]

Ko'p o'tmay, Stein Toklasni tanishtirdi Pablo Pikasso uning Bateau-Lavoir u ishlayotgan studiya Les Demoiselles d'Avignon.

1908 yilda ular yozga kirdilar Fiesol, Italiya, Toklas Harriet Leyn Levi, 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.^[63]

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.^[84] 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.^[85]

Stein in 1913

During the early summer of 1914, Gertrude bought three paintings by Xuan Gris: Atirgullar, Glass and Bottleva Book and Glasses. Soon after she purchased them from Daniel-Genri Kanvayler galereyasi,^[86] 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. Gertrude 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 of Uch hayot, to spend a few weeks there, and then journey to Spain. They left Paris on July 6, 1914 and returned on October 17.^[87] When Britain declared war on Germany, Stein and Toklas were visiting Alfred Nort Uaytxed Angliyada. 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 Matisse Shlyapali ayol^[88] to her brother Michael, she and Toklas vacationed in Spain from May 1915 through the spring of 1916.^[89] During their interlude in Majorca, Spain, Gertrude continued her correspondence with Mildred Aldrich who kept her apprised of the War's progression, and eventually inspired Gertrude and Alice to return to France to join the war effort.^[90]

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 friend Uilyam Edvards Kuk.^[91] Gertrude and Alice then volunteered to drive supplies to French hospitals, in the Ford they named Xola, "after Gertrude's aunt Pauline, 'who always behaved admirably in emergencies and behaved fairly well most times if she was flattered.'"

Stein with Ernest Xeminguey o'g'li, Jek Xeminguey, in 1924. Stein is credited with bringing the term "Yo'qotilgan avlod " into use.

During the 1930s, Stein and Toklas became famous with the 1933 mass-market publication of Elis B. Toklasning tarjimai holi. 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 the Ayn district of eastern France situated in the picturesque region of the Rône-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, Ayn, ichida Rône-Alpes mintaqa. Gertrude and Alice, who were both Jewish, escaped persecution probably because of their friendship to Bernard Faÿ who was a collaborator with the Vichi rejimi and had connections to the Gestapo, or possibly because Gertrude was an American and a famous author. Gertrude's book "Wars I Have Seen" written before the German surrender and before the liberation of German concentration camps, likened the German army to Keystone cops. When Faÿ was sentenced to hard labor for life after the war, Gertrude 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 of Hayot magazine featured a photo of Stein and American soldiers posing in front of Hitler's bunker in Berxtesgaden. 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."^[92]

In the 1980s, a cabinet in the Yel universiteti Beinecke kutubxonasi, 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."^[18]

Lesbiyan munosabatlari

Stein is the author of one of the earliest chiqib stories, "Q.E.D." (published in 1950 as Things 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 at Jons Xopkins Baltimorda. The affair was complicated, as Stein was less experienced with the social dynamics of romantik do'stlik as 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 with Mary 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.^[55]

Stein began to accept and define her pseudo-masculinity through the ideas of Otto Vayninger "s Sex and Character (1906). Weininger, though Yahudiy 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.^[93]

More positive affirmations of Stein's sexuality began with her relationship with Elis B. Toklas. Ernest Xeminguey describes 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.^[94]

The more affirming essay "Miss Furr and Miss Skeene" is one of the first homosexual revelation stories nashr etilishi kerak. The work, like Q.E.D., is informed by Stein's growing involvement with a homosexual community,^[94] though it is based on lesbian partners Maud Hunt Squire and Ethel Mars.^[4] 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,^[4] and, thus, uninformed readers missed the lesbian content. A similar essay of homosexual men begins more obviously with the line "Sometimes men are kissing" but is less well known.^[4]

Yilda Tender tugmalari Stein 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."^[4]

"There is no there there"

Along with Stein's widely known "Atirgul - bu atirgul - bu atirgul "^[95] quotation, "there is no there there" is also one of her most famous. U paydo bo'ladi Gertrude Stein, Everybody'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.^[96]

...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.

Tommy Orange's 2018 novel U erda, haqida Mahalliy amerikaliklar living in Oakland, takes its name from this quotation.

Siyosiy qarashlar

According to Janet Malcolm's contested account in Two Lives: Gertrude and Alice, Stein was a vocal critic of Franklin Delano Ruzvelt va Yangi bitim.^[97][98][99]

Some stress Stein's queer, feminist, pro-immigration, and democratic politics,^[100][101] although her statements on immigration need to be seen in context of the time and world events. In a 1934 interview published in The 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."^[102]

She publicly endorsed General Frantsisko Franko davomida Ispaniya fuqarolar urushi and admired Vichy leader Marshal Filipp Pétain.^[97] 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.^{[103][104][105][106]} Similarly, Stein commented in 1938 on Benito Mussolini, Adolf Gitler, Franklin D. Ruzvelt, Jozef Stalin va Leon Trotskiy: "There is too much fathering going on just now and there is no doubt about it fathers are depressing."^[4]

Ikkinchi jahon urushi faoliyati

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, the sanoat inqilobi had 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-revolutionary Ancien Regim.^[5][107] At the same time, she was pro-immigrant, pro-democratic, and anti-patriarchal.^[108] Her last major work was the libretto of the feminist opera Barchamizning onamiz (1947) about the socially progressive suffragette movement and another work from this time, Brewsi va Villi (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 powerful Vichi hukumati rasmiy Bernard 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, Elis B. Toklasning tarjimai holi.^[5] Faÿ's influence was instrumental in avoiding Natsist confiscation 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.^[109]

In 1941, at Faÿ's suggestion, Stein consented to translate into English some 180 pages of speeches made by Marshal Filipp Pétain. In her introduction, Stein crafts an analogy between Jorj Vashington and 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. Tasodifiy uy noshir Bennett Cerf had read the introduction Stein had written for the translations and been horrified by what she had produced.^[110]

Although Jewish, Stein collaborated with Vichi Frantsiya, a regime that deported more than 75,000 Jews to Natsistlar konslagerlari, of whom only 3 percent survived the Holokost.^[5][111] In 1944, Stein wrote that Petain's policies were "really wonderful so simple so natural so extraordinary." This was Stein's contention in the year when the town of Kuloz, where she and Toklas resided, saw the removal of its Jewish children to Osvensim.^[92] It is difficult to say, however, how aware Stein was of these events. As she wrote in Wars I Have Seen, "However near a war is it is always not very near. Even when it is here."^[112] Stein had stopped translating Petain's speeches three years previously, in 1941.

Stein was able to condemn the Japanese attack at Pearl Harbor while simultaneously maintaining the dissonant acceptance of Hitler as conqueror of Europe.^[5] Journalist Lanning Warren interviewed Stein in her Paris apartment in a piece published in The New York Times jurnali on May 6, 1934. Stein, seemingly ironically, proclaimed that Hitler merited the Tinchlik bo'yicha Nobel mukofoti.

"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."^{[5][109][110][113]}

Given that after the war Stein commented that the only way to ensure world peace was to teach the Germans disobedience,^[114] 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 journal Jacket2.^[115]

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.^[110][115] She had been urged to leave France by American embassy officials, friends and family when that possibility still existed, but declined to do so. Accustomed to a life of entitlement since birth, Stein may have been convinced her wealth and notoriety would exempt her from what had befallen other European Jews. In an essay written for the Atlantika oyligi in 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.^[5]

Muallif Djuna Barns provided 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."^[92]

Others have argued that some of the accounts of Stein's war time activities have amounted to a "witch hunt."^[116]

O'lim

Stein died on July 27, 1946 at the age of 72 after surgery for oshqozon saratoni da Amerika kasalxonasi yilda Noyli-sur-Seyn, Parij.^[117] She was interred in Paris in Père Lachaise qabristoni.^[118] Later Alice B. Toklas was buried alongside her.^[119] According to the famous version of her last moments, 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!"^[120]

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 of Nyu-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?" versiyasi. 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 letter of 1953 is suggestive but not conclusive.^[121]

Stein named writer and photographer Karl Van Vechten u kabi adabiy ijrochi, and he helped to publish works of hers that remained unpublished at the time of her death. There is a monument to Stein on the Upper Terrace of Bryant Park, Nyu York.

Tanqidiy qabul

Shervud Anderson in his public introduction to Stein's 1922 publication of Geography and Plays yozgan:

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.^[122]"

Other critics took a more negative view of Stein's work. F. W. Dupee (1990, p. IX) defines "Steinese" as "gnomic, repetitive, illogical, sparsely punctuated... a scandal and a delight, lending itself equally to derisory parody and fierce denunciation."

Composer Constant Lambert (1936) compares Stravinsky's choice of "the drabbest and least significant phrases" in L'Histoire du Soldat to Gertrude Stein's in "Helen Furr and Georgine Skeene" (1922), specifically: "[E]veryday they were gay there, they were regularly gay there everyday." He writes that the "effect would be equally appreciated by someone with no knowledge of English whatsoever", apparently missing the pun frequently employed by Stein.

Jeyms Turber yozgan:

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 her Geography and Plays in the August 11 issue of the Adabiy sharh ning Nyu-York Evening Post and arrives at the conviction that it is a marvellous and painstaking achievement in setting down approximately 80,000 words which mean nothing at all.^[123]

Muallif Katherine Ann Porter provided her own estimation of Stein's literary legacy: "Wise or silly or nothing at all, down everything goes on the page with an air of everything being equal, unimportant in itself important because it happened to her and she was writing about it."^[125]

Tarix professori Blanche Vizen Kuk, has written of Stein: "She was not a radical feminist. She was Jewish and anti-Semitic, lesbian and contemptuous of women, ignorant about economics and hostile to socialism."^[125]

Yozish Vanity Fair magazine in 1923, eminent literary critic Edmund Uilson presciently came to an evaluation similar to the one made by Katharine Ann Porter some twenty years later, after Stein's death. Wilson deemed that Stein's technique was one of flawed methodology, using words analogous to the way Kubistlar manipulated abstract forms in their artworks. As Wilson wrote, unlike the plastik san'at, literature deals with

"human speech [which] is a tissue of ideas. ... Miss Stein no longer understands the conditions under which literary effects have to be produced ... There is sometimes genuine music in the most baffling of her works, but there are rarely any communicated emotions."^[126]

An elevated observer, perched high above everything below, he likened Stein to a self-conceived "Budda...registering impressions like some august seismograph."^[126]

Stein's literary output was a subject of amusement for her brother Leo Stein, who characterized her writing as an "abomination." Later detractors of Stein's work deemed her experimentation as the serendipitous result of her alleged inability to communicate through linguistic convention, deficient in the skills required "to deal effectively with language, so that she made her greatest weakness into her most remarkable strength."^[125]

In his 1938 biographical novel The Green Fool, Irlandiyalik shoir Patrik Kavanag describes the works of Gertrude Stein fondly as being "like whisky to me; her strange rhythms broke up the cliché formation of my thought."^[127]

Meros va xotira

Stein has been the subject of many artistic works.

In the 1998 Latin American literary classic Yo-Yo Boing!, yozuvchi Jannina Braschi pays homage to Stein as an imaginary mentor.

In 2005, playwright/actor Jade Esteban Estrada portrayed Stein in the solo musical ICONS: The Lesbian and Gay History of the World, Vol. 1 da Princeton universiteti. In 2006, theatre director/actor Luiz Päetow created his solo, O'yinlar, portraying Stein's 1934 homonymous lecture, and toured Braziliya bir necha yil davomida.^[128] Loving Repeating tomonidan musiqiy asar Stiven Flaerti based on the writings of Gertrude Stein. Stein va Elis B. Toklas are both characters in the eight-person show. Stein is a central character in Nik Bertozzi 2007 yilgi grafik roman Salon.

The posthumously published Ayn Rend jurnallari contain several highly hostile references to Gertrude Stein. From Rand's working notes for her novel Fountainhead, it is clear that the character Lois Cook in that book was intended as a caricature of Stein.^[129]

Stein (played by Bernard Kribbinlar ) va Toklas (o'ynagan Uilfrid Brambell ) were depicted in the Shved 1978 absurd fantastika film Picassos äventyr (Pikassoning sarguzashtlari ) rejissyor tomonidan Tage Danielsson, bilan Gösta Ekman kabi Pikasso.^[130]

Stein was portrayed in the 2011 Vudi Allen film Yarim tunda Parijda tomonidan Keti Bates va tomonidan Trim Chimo in the 2018 season of the television series Dahiy which focuses on the life and career of Pablo Picasso.

Oyni kutish, ishtirok etgan film Linda Bassett that was released in 1987.^[131]Yosh Indiana Jons xronikalari, a TV series starring Alice Dvoráková 1993 yilda chiqarilgan.^[132]

Stein is added to a list of great artists and notables in the popular Broadway musical Ijara qo'shiqda "La Vie Boheme."She is also mentioned in the Fred Astaire - Ginger Rogers 1935 film Top shapka and in the song "Gullash qobiliyati " by the Scottish rock group Idlewild.

Bastakor Riki Yan Gordon va libretist Roys Vavrek opera 27 about Stein and Toklas premiered at Sent-Luis opera teatri in June, 2014 with Stefani Blayt as Stein.^[133]

In 2014 Stein was one of the inaugural honorees in the Rainbow Honor Walk, a shuhrat yurishi San-Frantsiskoda Kastro mahallasi qayd etish LGBTQ "o'z sohalarida katta hissa qo'shgan" odamlar.^{[134][135][136]}

Edvard Eynxorn pyesani yozgan The 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.^[137]

The 2018 artwork Words Doing As They Want to Do tomonidan Eve Fowler involved recording trans and lesbian Californians reading Stein's 1922 work called "Miss Furr and Miss Skeene."^[138]

Nashr etilgan asarlar

• Uch hayot (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)
• Amerikaliklarning yaratilishi: Being a History of a Family's Progress (written 1906–8, published 1925)
• Uchta amalda to'rtta avliyo (libretto, 1929: music by Virjil Tomson, 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.
• Qanday yozish kerak (1931)
• They must. Be Wedded. To Their Wife (1931)
• Operas and Plays (1932)
• Matisse Picasso and Gertrude Stein with Two Shorter Stories (1933)
• Elis B. Toklasning tarjimai holi (1933a)
• Ovqatlanish xonasi qavatidagi qon (1933b)
• Portretlar va ibodatlar (1934)
• Amerikadagi ma'ruzalar (1935)
• The Geographical History of America or the Relation of Human Nature to the Human Mind (1936)
• Hammaning avtobiografiyasi (1937)
• Pikasso, photo. Sesil Biton (1938)
• Doktor Faustus chiroqlarni yoqadi (1938)
• Dunyo yumaloq, UK edition illus. Sir Francis Rose; US edition illus. Klement Xard (1939)
• Parij Frantsiya (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 Atom Bomb (1946a)
• Brewsi va Villi (1946b)
• Barchamizning onamiz (libretto, 1946c: music by Virgil Thompson 1947)
• Gertrude Stein on Picasso (1946d)
• Four in America (1947)
• Missis Reynolds (1947)
• Last Operas and Plays (Carl van Vechten, ed., 1949)
• The Things as They Are (sifatida yozilgan Q.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, Nyu-York: Columbia University Press, ISBN  978-0-231-06308-1..
• Stein, Gertrude; Wilder, Thornton (1996), Burns, Edward; Dydo, Ulla, eds., The Letters of Gertrude Stein and Thornton Wilder, Yale University Press, ISBN  978-0-300-06774-3.
• Stein, Gertrude (1998a), Chessman, Harriet; Catharine R (eds.), Yozuvlar 1903-1932, Amerika kutubxonasi, ISBN  978-1-883011-40-6.
• ———————— (1998b), Chessman, Harriet; Catharine R (eds.), Writings 1932–1946, Amerika kutubxonasi, ISBN  978-1-883011-41-3.
• Toklas, Alice (1973), Burns, Edward (ed.), Staying on Alone: Letters, New York: Liveright, ISBN  978-0-87140-569-2.
• Grahn, Judy, ed. (1989), Really Reading Gertrude Stein: A Selected Anthology with Essays by Judy Grahn, Crossing Press, ISBN  978-0-89594-380-4
• Vechten, Carl Van, ed. (1990). Selected Writings of Gertrude Stein. ISBN  0-679-72464-8

Ommaviy axborot vositalarida

• Parij ayol edi (1996 yilgi hujjatli film)^[139]

Tegishli eksponatlar

• The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde, Metropolitan San'at muzeyi, February 28 – June 3, 2012.
• The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde, San-Fransisko zamonaviy san'at muzeyi, May 21 – September 6, 2011, archived from asl nusxasi 2011-06-24 da, olingan 2011-06-25.
• Seeing Gertrude Stein: five stories, Washington, D.C.: The National Portrait Gallery, Smithsonian Institution, October 14, 2011 – January 22, 2012.
• Seeing Gertrude Stein: five stories, San-Fransisko: Zamonaviy yahudiylar muzeyi, May 12 – September 6, 2011, archived from asl nusxasi 2011 yil 28 iyulda.
• Four Saints in Three Acts: Four live presentations of a new production, San-Fransisko: Yerba Buena san'at markazi, August 18–21, 2011.
• Picasso: Masterpieces from the Musée National Picasso, Paris, San-Fransisko: M. H. de Young yodgorlik muzeyi, June 11 – October 9, 2011, archived from asl nusxasi 2011 yil 28 iyunda, olingan 4-iyul, 2011
• Riba-Rovira Galeria Muro, Homenage for Gertrude Stein, 2012, Valencia, ES.

Adabiyotlar

Asarlar keltirilgan

Tashqi havolalar

• Gertruda Shteynning asarlari da Gutenberg loyihasi
• Gertruda Shteyn tomonidan yoki u haqida ishlaydi da Internet arxivi
• Gertruda Shteynning asarlari da LibriVox (jamoat domenidagi audiokitoblar)
• "Gertruda Shteyn va Elis B. Toklasning hujjatlari", Beinecke noyob kitoblari va qo'lyozmalar kutubxonasi, Yel universiteti, arxivlangan asl nusxasi 2011-08-12, olingan 2009-07-08.
• Uch hayot, Virjiniya Universitetidagi Amerika tadqiqotlari, dan arxivlangan asl nusxasi 2009-11-13 kunlari, olingan 2009-10-06.
• PennSound-da to'liq, vakolatli audio yozuvlar, dan arxivlangan asl nusxasi 2013-07-04 da, olingan 2013-07-07
• Allegheny City (Deutschtaun), Pitsburg, Pensilvaniya, PBase, arxivlangan asl nusxasi (tug'ilgan plakat) 2009-01-26, olingan 2007-08-04.
• Shteyn, Gertruda, Shoh asar nima?, Z. Smit Reynolds kutubxonasi, Veyk o'rmon universiteti, dan arxivlangan asl nusxasi (qo'lyozmasi) 2011-02-16, olingan 2011-02-17.
• van Vechten, Karl, Gertruda Shteyn, dan arxivlangan asl nusxasi (fotografik portretlar) 2018-12-15 kunlari, olingan 2019-09-27.
• Uilyams, Uilyam Karlos, Gertrude Shtaynning asari, Kitob madaniyati markazi, dan arxivlangan asl nusxasi 2004-08-03 da.
• Uchta amalda to'rtta avliyo, Amerika Qo'shma Shtatlari musiqasi (MUSA)
• Gertruda Shtayn olami, Ellen's Place, arxivlangan asl nusxasi 2003-06-04 da.
• Gertruda Shteyn, Infografiya, arxivlangan asl nusxasi 2010-11-18, olingan 2009-11-10.
• Gertruda Shteyn, Ubu, arxivlangan asl nusxasi 2004-02-22 da, olingan 2004-03-08, o'qilishini o'z ichiga olgan Agar men unga aytgan bo'lsam: Pikassoning tugallangan portreti va Shervud Andersonga sevishganlar kuni.
• Gertruda Shteyn, Asta-sekin; dan o'qishlar Elis B. Toklasning tarjimai holi, Bee Time Vineva boshqalar. Dan parchalar o'z ichiga oladi Patriarxal she'riyat va qatlamli ovozli o'qishlar.
• Metropoliten San'at muzeyida "Shteynlar yig'ishadi: Matiss, Pikasso va Parijdagi Avant-Gard", NYC-Arts, 2009-04-02, arxivlangan asl nusxasi (profil) 2013-04-15.
• Gertruda Shteyn o'qiydi Amerikaliklarning yaratilishi 1934 va 1935 yillarda yozilgan nodir yozuv
• Gertruda Shteyn va uning doiralari da Merilend universiteti kutubxonalari