“Many knew that no matter what they did, if they moved through a public space, it would have to be deliberate, and their bodies would be read as a statement.” Above: image of a public square in Florence by Samuli Lintula, via Wikimedia Commons.
Think back to the last time you marched — when you moved deliberately through a public space, when you used your body not just to get from one place to another but to be a statement, when you had to be keenly aware of the larger body you moved within and the body you moved against. If you’ve never marched before, go out now and try it. Now think back. Begin again.
Think back to the last time you marched — when you moved deliberately through a public space, when you used your body not just to get from one place to another but to be a statement, when you had to be keenly aware of the larger body you moved within and the body you moved against. If you’ve never marched before, go out now and try it. Now think back. Begin again. Be aware of your body in this public space. Are you cold? Are you hungry? Do you carry a sign? Is it heavy? Does it block the view of the people behind you? Are you walking?
Ulla Dydo, the preeminent Gertrude Stein scholar of our time, died on September 10, 2017 in New York.
Ursula Elisabeth Eder was born in Zurich on February 4, 1925. Her mother was Jeanne Eder-Schwyzer (1894–1957), a Swiss women’s rights activist and president of the International Council of Women. Her father was Professor Robert Eder (1885–1944). Dydo is survived by her wife, new music pianist Nurit Tilles (whom she met more than a decade ago); a son, Malcolm, from her first marriage to economist John Stephen Dydo (1922–2004) (whom she married in Manhattan in 1963 — the marriage dissolved within a decade); and a grandaughter.
Dydo attended the University of Zurich (1944–45), where she majored in English, as well as University College, London (1946) and received an MA at Bryn Mawr in 1948. She attended the University of Wisconsin, Madison, from 1948 to 1952, getting her PhD in 1955. Her dissertation was on the poetry of Allen Tate.
Presented as the plenary lecture at the first meeting of the European Stein Network in Paris on November 26, 2016. The meeting was organized by Isabelle Alfandary (Université Sorbonne Nouvelle) and Vincent Broqua (Université Paris 8). My three frames in approaching this volatile and vexing subject are factual evidence, historical context, and material text. This presentation is meant to follow up on “Gertrude Stein’s War Years; Setting the Record Straight,” a dossier I edited for Jacket2 in 2012. One of many questions I ask here: Why was Stein subjected to such virulent scorn when her family art collection was shown at the Met (with no focus on her own work) while Picabia, subject of a full-scale retrospective of his work, was not?
Mark Liberman, a computational linguist who directs the Linguistic Data Consortium at the University of Pennsylvania, has been fascinated, especially in recent years, with experimental poetry. You can find his ideas and experiments at Language Log. He's been working on Stein's repetitions.
Tracie Morris performed five of her poems in honor of William J. (Billy Joe) Harris on March 11, 2017, in Brooklyn, New York. Thanks to the efforts of Dylan Leahy, we are making them available as video segments. In the order in which the videos are presented below, they are: “Blackout, 1977,” “Enclosed” (a response to Gertrude Stein’sTender Buttons), “Morenita,” “Postcard of Parmigianino’s Self-Portrait in a Convex Mirror,” and “Queens.”
This commentary series has traced out just a few implications of bio-poetic work, and speculated on some of its futures. For all of the potential recklessness of such tampering and tinkering with genes and molecules, Steve Tomasula also imagines a “Midrash” of bio-ethics being forged, or at least illuminated, by the collective endeavors of genetic artists. Such work does much more than merely illustrate bio-tech capabilities; it performs an embodied auto-critique in which genes and bodies are put at deliberate and provocative risk. Bio-art provides us with wittily hypocritical (as well as hypercritical) risk assessments and bioethical conundrums, using the materials and the sensibility of the studio to make the “labor” in laboratory more ludic.
This commentary series has traced out just a few implications of bio-poetic work, and speculated on some of its futures. For all of the potential recklessness of such tampering and tinkering with genes and molecules, Steve Tomasula also imagines a “Midrash” of bio-ethics being forged, or at least illuminated, by the collective endeavors of genetic artists. Such work does much more than merely illustrate bio-tech capabilities; it performs an embodied auto-critique in which genes and bodies are put at deliberate and provocative risk.
Gertrude Stein wrote at night; Alice Toklas transcribed during the day. In The Autobiography of Alice B. Toklas, Stein has Toklas observe: “As a matter of fact her handwriting has always been illegible and I am very often able to read it when she is not.”
Some Stein scholars might tell you that several of her manuscripts appear to be written in both Stein’s and Toklas’ handwriting, which has led to even greater contention and consternation about authorship. But I think I might tell you that just writing something down doesn’t make you the text’s author. I also might tell you that I’ve never understood the bother around whether or not Alice meddled with Gertrude’s work. Stein’s is a writing that delights in its reading, and Toklas was her most engaged, and most welcomed, reader.
Audre Lorde’s essay “The Uses of the Erotic: The Erotic as Power” constitutes pages 53-59 in my edition of Sister Outsider. The paperback is a distinctive blue; it’s the kind of bright, medium blue you see in kindergarten posters or picture books about colors. It’s a color that always gestures: this is “Blue.” This is the color of instruction. I can always immediately locate my Sister Outsider, whether on my bookshelf or among the Jenga-like stacks of books on my floor, because of its blue.
Audre Lorde’s essay “The Uses of the Erotic: The Erotic as Power” constitutes pages 53-59 in my edition of Sister Outsider. The paperback is a distinctive blue; it’s the kind of bright, medium blue you see in kindergarten posters or picture books about colors. It’s a color that always gestures: this is “Blue.” This is the color of instruction. I can always immediately locate my Sister Outsider, whether on my bookshelf or among the Jenga-like stacks of books on my floor, because of its blue.
Maxe Crandall, Julia Bloch, and Sarah Dowling joined Al Filreis to talk about Gertrude Stein’s “How She Bowed to Her Brother.” It was written in late 1931. The text can be found in A Gertrude Stein Reader,edited by Ulla Dydo (564). On PennSound’s Gertrude Stein page, which has been edited and annotated by Dydo, one can hear a recording of Stein performing the first section of the three-section poem.
Fidelity to the shapeliness of poetry, in an academy of prose, because knowledge is inseparable, we insist, from the texture and pace of its approach. Knowledge is not front-loaded, though the presiding timeline of production demands it be so. It’s a dawning: ambient, but nonabsorptive, with myriad ports of exit and entry.
Ulla Dydo (1925–2017)
Ulla Dydo, the preeminent Gertrude Stein scholar of our time, died on September 10, 2017 in New York.
Ursula Elisabeth Eder was born in Zurich on February 4, 1925. Her mother was Jeanne Eder-Schwyzer (1894–1957), a Swiss women’s rights activist and president of the International Council of Women. Her father was Professor Robert Eder (1885–1944). Dydo is survived by her wife, new music pianist Nurit Tilles (whom she met more than a decade ago); a son, Malcolm, from her first marriage to economist John Stephen Dydo (1922–2004) (whom she married in Manhattan in 1963 — the marriage dissolved within a decade); and a grandaughter.
Dydo attended the University of Zurich (1944–45), where she majored in English, as well as University College, London (1946) and received an MA at Bryn Mawr in 1948. She attended the University of Wisconsin, Madison, from 1948 to 1952, getting her PhD in 1955. Her dissertation was on the poetry of Allen Tate.