I know we looked at Stein a few weeks ago, but I still have her on the brain. I can confidently say that I have yet to find any writer as challenging as she is, both in the way she writes and in her attitude about her writing. So I'm wondering:
Is the attempt to explain Stein's work as having a clear meaning, or referring to something in particular (i.e. a given line refers to something sexual, or to writing, etc) another way of deadening it, in the same way that if we say "Stein's work is so beautiful," it no longer exists in the continuous present?
Thanks kindly for your thoughts,
Erica
Tuesday, February 17, 2009
Further to our discussion of the relation of Lyric to voice, sexuality, subjectivity
ENGLISH DEPARTMENT SPEAKERS SERIES
Prof. Michael D. Snediker
"Jack Spicer’s Billy the Kid: Beyond the Singular Personal"
Friday, March 13, 2009, 4 pm
Library Building , Sixth Floor – room 646
Michael Snediker is Assistant Professor of English at Queen’s University. A specialist in poetry and poetics, he works on nineteenth- and twentieth-century American literature. He is the author of the recently published Queer Optimism: Lyric Personhood and Other Felicitous Persuasions ( University of Minnesota Press , 2008)
Prof. Michael D. Snediker
"Jack Spicer’s Billy the Kid: Beyond the Singular Personal"
Friday, March 13, 2009, 4 pm
Library Building , Sixth Floor – room 646
Michael Snediker is Assistant Professor of English at Queen’s University. A specialist in poetry and poetics, he works on nineteenth- and twentieth-century American literature. He is the author of the recently published Queer Optimism: Lyric Personhood and Other Felicitous Persuasions ( University of Minnesota Press , 2008)
Wednesday, February 11, 2009
Announcement: Open Mic Poetry Night & Postcard fiction contest
CASE's first and only open mic of the year will be held on Thursday, February 19th at Grumpy's Pub which is at 1242 bishop. Free drinks will be provided to the first three readers of every set! Come out and read your poetry, prose, drama, songs, or bring the work of your favourite writer and read us a passage! Come and mingle with your fellow English students! A good time will be had by all!
Also, the deadline for the Postcard Fiction contest has been extended by one week, to Monday, February 16th, 2009.
Nathan Murray
President of CASE
Also, the deadline for the Postcard Fiction contest has been extended by one week, to Monday, February 16th, 2009.
Nathan Murray
President of CASE
Revised Reading Schedule
As per our conversation in class, our falling a week behind in the readings and delays in the shipping of our course texts necessitates some revision in our schedule for reading. Please accept my apology for the confusion.
Weekly Topics (Revised Schedule)
Week 7 Rewriting the Lyric Tradition (or Refusing it) continued
Feb. 16 From Norton: Louise Bogan 504-509, Dorothy Livesay 594-597, P.K. Page 735-739, Gwendolyn Brooks 780-790, Sylvia Plath 1044-1065; Marilyn Chin 1418-1421
Week 7 Women Writing Decolonization I (NB: The order of the classes on writing decolonization have been reversesd)
Feb. 18 From Norton: Anita Desai 1123-1136, Gloria Anzaldua 1254-1263, Rita Dove 1384-1392, Louise Erdrich 1408-1414
Midterm Break
Week 8 Into the Second Wave
Mar. 2 From Norton: Adrienne Rich 962-994, Margaret Atwood 1203-1220; Audre Lorde, Zami : A New Spelling of My Name
Mar. 4 Audre Lorde, Zami : A New Spelling of My Name (cont.)
Week 9 Women’s Postmodern Writing I
Mar. 9 From Norton: Carol Churchill 1136-1191
Mar. 11 From Norton: Angela Carter 1220-1228, Lynn Hejinian 1250-1254, Anne Carson 1346-1363, Jorie Graham 1374-137
Week 10 Women Writing Decolonization II
Mar. 16 Jean Rhys, Wide Sargasso Sea
Mar. 18 Jean Rhys, Wide Sargasso Sea (cont.)
Week 11 Feminist Speculative Fiction
Mar. 23 From Norton: James Tiptree Jr. 686-708, Ursula Le Guin 940-955
Mar. 25 From Norton: Octavia Butler 1307-1321
Week 12 Women’s Postmodern Writing I
March 30 In-Class Test
April 1 Jeanette Winterson, Written on the Body
Week 13 Women’s Postmodern Writing II
April 6 Jeanette Winterson, Written on the Body (cont.)
April 8 Jeanette Winterson, Written on the Body (cont.)
Weekly Topics (Revised Schedule)
Week 7 Rewriting the Lyric Tradition (or Refusing it) continued
Feb. 16 From Norton: Louise Bogan 504-509, Dorothy Livesay 594-597, P.K. Page 735-739, Gwendolyn Brooks 780-790, Sylvia Plath 1044-1065; Marilyn Chin 1418-1421
Week 7 Women Writing Decolonization I (NB: The order of the classes on writing decolonization have been reversesd)
Feb. 18 From Norton: Anita Desai 1123-1136, Gloria Anzaldua 1254-1263, Rita Dove 1384-1392, Louise Erdrich 1408-1414
Midterm Break
Week 8 Into the Second Wave
Mar. 2 From Norton: Adrienne Rich 962-994, Margaret Atwood 1203-1220; Audre Lorde, Zami : A New Spelling of My Name
Mar. 4 Audre Lorde, Zami : A New Spelling of My Name (cont.)
Week 9 Women’s Postmodern Writing I
Mar. 9 From Norton: Carol Churchill 1136-1191
Mar. 11 From Norton: Angela Carter 1220-1228, Lynn Hejinian 1250-1254, Anne Carson 1346-1363, Jorie Graham 1374-137
Week 10 Women Writing Decolonization II
Mar. 16 Jean Rhys, Wide Sargasso Sea
Mar. 18 Jean Rhys, Wide Sargasso Sea (cont.)
Week 11 Feminist Speculative Fiction
Mar. 23 From Norton: James Tiptree Jr. 686-708, Ursula Le Guin 940-955
Mar. 25 From Norton: Octavia Butler 1307-1321
Week 12 Women’s Postmodern Writing I
March 30 In-Class Test
April 1 Jeanette Winterson, Written on the Body
Week 13 Women’s Postmodern Writing II
April 6 Jeanette Winterson, Written on the Body (cont.)
April 8 Jeanette Winterson, Written on the Body (cont.)
Tuesday, February 10, 2009
Brainstorming Session this Friday for The Link's Annual Women's Issue!
Greetings from a fellow ENGL 351 student!
I'm helping coordinate The Link's annual Women's Issue this year, which plans to cast a scrutinizing lens (or is it a carafe?) on the status and rights of women in contemporary Canada, as well as throughout the world.
We're interested in profiles of interesting people, essays, news stories, creative non-fiction and outright fiction (so long as we're told the difference in advance), and reviews of books. We're also looking for artists to help illustrate the issue.
This Friday, Feb. 13, (yes, Friday the 13th) The Link will be hosting a brainstorming session for story ideas and proposals in room H-649 at 4:00 p.m. Come with your ideas or topics for discussion, but also come if you need some inspiration, or just motivation to get started.
If for some reason you can't be at the brainstorming session in person, feel free to send your ideas or questions to me at mgnttrn@hotmail.com, and I'll be sure to respond to your inquiries within a short while.
Here's a look back at articles written for The Link's annual Women's Issue in previous years:
The medicalization of the female body is a form of social control:
http://thelink.concordia.ca/view.php?aid=40540
How to write about Women Writers (including Virginia Woolf):
http://thelink.concordia.ca/view.php?aid=39481
Chinese law and the gender dimensions of family:
http://thelink.concordia.ca/view.php?aid=39475
Misandry, or the opposite of misogyny:
http://thelink.concordia.ca/view.php?aid=40534
Strip searched - Gender politics at the Israeli border:
http://thelink.concordia.ca/view.php?aid=40542
UN-fair - Changes are needed for UNIFEM:
http://thelink.concordia.ca/view.php?aid=39482
The Women's Issue is set to go on stands Tuesday, March 3rd. Stories should be completed and submitted by Wednesday, February 25th.
Sincerely,
Christopher Olson
Women's Issue Coordinator
http://thelinknewspaper.com
(514) 848-2424 ext. 5813
I'm helping coordinate The Link's annual Women's Issue this year, which plans to cast a scrutinizing lens (or is it a carafe?) on the status and rights of women in contemporary Canada, as well as throughout the world.
We're interested in profiles of interesting people, essays, news stories, creative non-fiction and outright fiction (so long as we're told the difference in advance), and reviews of books. We're also looking for artists to help illustrate the issue.
This Friday, Feb. 13, (yes, Friday the 13th) The Link will be hosting a brainstorming session for story ideas and proposals in room H-649 at 4:00 p.m. Come with your ideas or topics for discussion, but also come if you need some inspiration, or just motivation to get started.
If for some reason you can't be at the brainstorming session in person, feel free to send your ideas or questions to me at mgnttrn@hotmail.com, and I'll be sure to respond to your inquiries within a short while.
Here's a look back at articles written for The Link's annual Women's Issue in previous years:
The medicalization of the female body is a form of social control:
http://thelink.concordia.ca/view.php?aid=40540
How to write about Women Writers (including Virginia Woolf):
http://thelink.concordia.ca/view.php?aid=39481
Chinese law and the gender dimensions of family:
http://thelink.concordia.ca/view.php?aid=39475
Misandry, or the opposite of misogyny:
http://thelink.concordia.ca/view.php?aid=40534
Strip searched - Gender politics at the Israeli border:
http://thelink.concordia.ca/view.php?aid=40542
UN-fair - Changes are needed for UNIFEM:
http://thelink.concordia.ca/view.php?aid=39482
The Women's Issue is set to go on stands Tuesday, March 3rd. Stories should be completed and submitted by Wednesday, February 25th.
Sincerely,
Christopher Olson
Women's Issue Coordinator
http://thelinknewspaper.com
(514) 848-2424 ext. 5813
Sunday, February 8, 2009
Appreciating "Tender Buttons"
I had read parts of Gertrude Stein’s Tender Buttons before, but it was not the same as reading the book cover-to-cover and trying to decipher what Stein was saying between certain lines. In relation to what a few people brought up in class, I also found some (accidental?) patterns within the different “descriptions” of objects, food and rooms.
One of the lines in Tender Buttons that caught me was in the very first description of a carafe. As the last sentence of that description, Stein writes that, “The difference is spreading.” Reading over certain passages, this line seems to be a recurrent theme in the book. This idea goes back to what was also discussed in class, how certain objects were mentioned more than once. Each time a new image was given, it varied entirely from the previous one, only proving that there are so many ways of looking at particular objects that sometimes one single explanation does not suffice. I could not say whether or not this was Stein’s intention, but it did help me to put the things I was reading about into different perspectives. I tried not to think of the objects “as they were” but rather, as we discussed in class, how they reacted with the world, and how we react with them.
Also on the subject of patterns, certain colours kept appearing, especially red. I believe Stein describes it perfectly when she writes in her description of “a red hat” that, “If red is in everything it is not necessary.” This rang completely true to me, as red does tend to be a stunning colour and cannot be taken mildly. I thought this line was well written and almost felt an envy towards Stein for not considering it myself beforehand.
As well, I was also interested by what one of the students in class mentioned about Stein’s restricted use of punctuation, and how she thought this might be Stein’s way of keeping the reader in the continuous present. After reading it over with the class discussion in mind, I have to admit that I had a different feel for the way in which the passages had been expressed. Even though there were certain gaps and spaces between meanings and images, the whole of it had a consistency that made the book itself flow smoothly.
I know that many people consider Gertrude Stein to be an impossible writer to understand or even comprehend, but this book is truly an inspiring read. The opinions that came up in class over talk of the book only made me appreciate this piece of fiction even more. I could sum up this, perhaps irrelevant, blog by using another favourite quotation from Tender Buttons: “The question does not come before there is a quotation.” Again, something completely true that is so simple and yet requires much thought to actually understand.
- Stephanie Trapid
One of the lines in Tender Buttons that caught me was in the very first description of a carafe. As the last sentence of that description, Stein writes that, “The difference is spreading.” Reading over certain passages, this line seems to be a recurrent theme in the book. This idea goes back to what was also discussed in class, how certain objects were mentioned more than once. Each time a new image was given, it varied entirely from the previous one, only proving that there are so many ways of looking at particular objects that sometimes one single explanation does not suffice. I could not say whether or not this was Stein’s intention, but it did help me to put the things I was reading about into different perspectives. I tried not to think of the objects “as they were” but rather, as we discussed in class, how they reacted with the world, and how we react with them.
Also on the subject of patterns, certain colours kept appearing, especially red. I believe Stein describes it perfectly when she writes in her description of “a red hat” that, “If red is in everything it is not necessary.” This rang completely true to me, as red does tend to be a stunning colour and cannot be taken mildly. I thought this line was well written and almost felt an envy towards Stein for not considering it myself beforehand.
As well, I was also interested by what one of the students in class mentioned about Stein’s restricted use of punctuation, and how she thought this might be Stein’s way of keeping the reader in the continuous present. After reading it over with the class discussion in mind, I have to admit that I had a different feel for the way in which the passages had been expressed. Even though there were certain gaps and spaces between meanings and images, the whole of it had a consistency that made the book itself flow smoothly.
I know that many people consider Gertrude Stein to be an impossible writer to understand or even comprehend, but this book is truly an inspiring read. The opinions that came up in class over talk of the book only made me appreciate this piece of fiction even more. I could sum up this, perhaps irrelevant, blog by using another favourite quotation from Tender Buttons: “The question does not come before there is a quotation.” Again, something completely true that is so simple and yet requires much thought to actually understand.
- Stephanie Trapid
Thursday, February 5, 2009
Similarities Between Joyce and Stein
Considering some comments I made during Wednesday's lecture, I thought I would expand on the similarities and differences between Joyce's Ulysses (specifically Chapter 7) and Stein's Tender Buttons.
The parallel between these two novels jumped out at me because of the way in which they are both written. Each are formulated as streams of consciousness (which I believe the link provided below illustrates beautifully), but in topically different ways. Whereas Tender Buttons can be seen as poetically erotic, Ulysses is very much focused on Dublin, Ireland, it's use of the mythical method and a general commentary on the English language itself.
To me, Tender Buttons seemed very linear to me. That might be because next to Ulysses, anything seems like a breeze to read and to comprehend due to it's setting.
I find this harder to explain than I when I first started this post. It's odd trying to resolve my thoughts on this two works of literature. I honestly felt that Tender Buttons was light and airy in a lot of ways, I found it made clear points and unambiguously lead me to ponder certain things. This is vastly different from Joyce's text which is incredibly heavy in that in can be interpreted in countless ways, and even two similar readings are arrived at differently.
Through these two texts, and these two texts alone (actually, only about half of Ulysses), I can't help but feel that Joyce's work acts as a ball and chain which forces the reader to think about how they think—and how what they think could be expressed in language. Stein, however, opens a window and lets the wind hit you in the face. For a moment you don't understand and perhaps you even feel like you're falling, but there's no need for concern since the trip is just a short one. You'll feel better for it once it's over.
Sorry for this post. I totally lost track of my own thoughts, perhaps a consequence of reading such literature?
Goodnight everyone.
-Jordan Goldman
The parallel between these two novels jumped out at me because of the way in which they are both written. Each are formulated as streams of consciousness (which I believe the link provided below illustrates beautifully), but in topically different ways. Whereas Tender Buttons can be seen as poetically erotic, Ulysses is very much focused on Dublin, Ireland, it's use of the mythical method and a general commentary on the English language itself.
To me, Tender Buttons seemed very linear to me. That might be because next to Ulysses, anything seems like a breeze to read and to comprehend due to it's setting.
I find this harder to explain than I when I first started this post. It's odd trying to resolve my thoughts on this two works of literature. I honestly felt that Tender Buttons was light and airy in a lot of ways, I found it made clear points and unambiguously lead me to ponder certain things. This is vastly different from Joyce's text which is incredibly heavy in that in can be interpreted in countless ways, and even two similar readings are arrived at differently.
Through these two texts, and these two texts alone (actually, only about half of Ulysses), I can't help but feel that Joyce's work acts as a ball and chain which forces the reader to think about how they think—and how what they think could be expressed in language. Stein, however, opens a window and lets the wind hit you in the face. For a moment you don't understand and perhaps you even feel like you're falling, but there's no need for concern since the trip is just a short one. You'll feel better for it once it's over.
Sorry for this post. I totally lost track of my own thoughts, perhaps a consequence of reading such literature?
Goodnight everyone.
-Jordan Goldman
Two things : Jorie Graham reading at Con U. & next weeks readings
Jorie Graham, one of the poets we'll be reading later in the term, is reading and speaking on campus tomorrow night. If you are free you should try to attend. Details via the link below.
http://news.concordia.ca/main_story/014066.shtml?referID=cs_tab_sidebar
As well, I just wanted to clarify that on Monday we will conclude our discussion of Tender Buttons, as well as discuss work by H.D. and Djuna Barnes (in the Norton).
Have a great weekend!
http://news.concordia.ca/main_story/014066.shtml?referID=cs_tab_sidebar
As well, I just wanted to clarify that on Monday we will conclude our discussion of Tender Buttons, as well as discuss work by H.D. and Djuna Barnes (in the Norton).
Have a great weekend!
Wednesday, February 4, 2009
cadavre exquis
Hi All,
I came across this link and thought it would be an interesting postscript to the conversation on Stein-Surrealism-language-art. The Surrealist parlour game Trish brought up is called Exquisite Corpse, and the ever useful Wikipedia overview is as follows:
I came across this link and thought it would be an interesting postscript to the conversation on Stein-Surrealism-language-art. The Surrealist parlour game Trish brought up is called Exquisite Corpse, and the ever useful Wikipedia overview is as follows:
"Exquisite corpse is a method by which a collection of words or images is collectively assembled... Each collaborator adds to a composition in sequence, either by following a rule (e.g. "The adjective noun adverb verb the adjective noun") or by being allowed to see the end of what the previous person contributed."
The link I am posting is for a collaborative art project based on the game and I think the results are an interesting visual (re)presentation of the ways that words and images can benefit from being broken down, built up, dissected and manipulated.
Enjoy!
http://www.artichoked.com/art/corpse/
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