Tender Buttons: Objects by Gertrude Stein, Lisa Congdon

By Gertrude Stein, Lisa Congdon

Illustrated through Lisa Congdon.

Overview

First released in 1914, Gertrude Stein's progressive poetic paintings Tender Buttons is a must-read for each severe lover of literature.

Delighting within the rhythm of phrases, its first part, "Objects," runs playful linguistic circles round teacups, ribbons, umbrellas, and different quotidian artifacts.

Presented right here in a beautiful small package deal, this re-creation of "Objects" pairs Stein's avant-garde verse with colourful modern illustrations via indie artwork famous person Lisa Congdon, who illuminates and interrogates the vintage Cubist textual content with visuals as capricious as Stein's personal prose. a party of self reliant pondering previous and new, this alluring marriage of photo and textual content is a treasure of arts and letters.

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Extra resources for Tender Buttons: Objects

Example text

Nonetheless, my point is that a vertical appeal to meaning is, for the most part, underplayed in the works of realism that I examine. 36 Works of realism, so the argument runs, demystify imaginative visions of romance by positing a more realistic world. Nonetheless, because the realistic world that they posit is itself an imaginative construct, realists are ultimately forced to acknowledge the reality of romance as the foundation of their works. The project of realism, it seems, is condemned to fail.

In contrast, I do closely examine selected literary texts. This imbalance betrays my training as a literary critic. I hope that this disciplinary bias does not discourage members of the legal profession curious enough to start reading the book. The first two chapters are designed in part to keep those readers interested. If they have not read all the literary works that I treat, they should not despair; many literary critics have not either. I hope that my readings of literary works will enrichand perhaps alterlegal scholars' understanding of the period's legal history.

34 In a romance, as in Billy Budd, meaning of the everyday, no matter how realistically rendered, must be sought in a transcendent world. Granted, the narrator warns us that Billy Budd is no romance, and Melville's plot suggests that the higher world to which it appeals has itself been emptied of meaning. 35 To be sure, Twain and James each in his own way served as a model for various modernist writers, Twain through his use of the vernacular, James through his mastery of psychological realism.

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