If I reviewed her, if I reviewed her. I reviewed her. Her her button. Her boutonniere. Herbal. Her boobeleh. Her boo. Herr Too. Her tuchas. Her view. Her book.
If I viewed her like I used to. I talked to. I teased her. I teach her. I reach. I rearview.
“If ‘if’ was a fifth …” Black lettres. Black pov. “res” onate. Ur-words. Sona. Salon. If I revved up, I could view her through another glass, Toklas, another poem. Whats a smatter-shattering. That piece of bright bling attached to a cloth with sharp edges,
rounded o’er time, a button. A carafe.
What patterns clash? What suits ya? What cymbals? What Sabians, Armenians, Jews, Germans, Blacks, Latins, Americans? Euro-detritus? Ex-plights’ us? I wonder.
The “gratitude of mercy” is not explained. Isn’t made plain. The nose on your face, lalala vie en rose. What shades arise? Vie(w) finder the size of a nickel. A dime, the side of it, is the side of a button, the way it hems the pocket. The way you finger it. The pointed nature.
Blood in the face. Blood on the leaves. It’s a violet hue. It shifts from blue. A shift is a ditty dress. Dirty is yellow at points. Whitest whites not coal-colored. Not cool. What’s matter? A large box clocks handily. It cloaks. When I do count the clack that tells what I re-sign to be, ore no(t).
Lilies are white unless tiger, unless striped. Unless (la) t (i) tude. Un-less and un-still, etude. What’s the sound in that box? What kind of box is it? Harmonica, piano, coffin, shoo? Masque of red. Of Venice, of revenge, of reverb. The purpose of a box is to let things bounce around inside, not out. They’re all maracas, all boxes, all cojones. And that is why there aren’t brass ones. They’re bells and open at the bottom. Like a review.
Stepping up to the plate to review is base. It is the ground. It’s dirty. It’s around. It’s cutting corners like sports for war. It’s saying pen’s mightier: a tool, a gourd. Assessments are objects. Alchemical and traced.
At the bottom is Jimmy Cobb in Miles’ kinda color. Chambers’ music from an engorged lighting in a bottleneck. The fretting comes plaited, the strings curve around the fingers S, a female shape. A dress. A Tiffany lamp, a vamp to attest, to a taste. Petit for-fours.
A swallow bubbles. Bubbles up words. Polite Tourettes’. A set of words water the mouth. They are things that take shape that glide down the throat. Taken (a)back, tobac. A carbo-nation, a turbo-notion a turn. The bubbles, Brooklyn circles sweet simple syrup. Another slender needle.
A recording. These pieces of a house of hers. Her work, her dust, her…polishing. The dark places gleam in this paperstock card house and its phoneme particles across the board. A rainbow.
When is a table also a table. When, my dear, at measured intervals, there is, each in its place, a round dish, a cylinder, and an array of related instruments — some to the left, some to the right — on a flat surface with one or more legs.
A table is laid and certainly it is elemental. A table for a lass, a table for a classicist. Columns and some rows.
If an able cloth, a spread sheet. A tag at every place settles the matter. It is so easy to see a difference in distribution and protocol. A table is, is it not, an agreement, a contract, a feeling of resignation and success. A whole steadiness.
Is it likely that a change. Of course. Two courses. Three.
Come to the table there is bumping and tucking. There is carving, there is passing, there is desire and a version. Coated cries, an array of biscuits, a tartness and some of that. A salting, pep her, and a dry most hard. Reckless, reckless resolve.
Cut, cut in white, cut in white so lately. A sudden slice changes the whole plate, it does so suddenly. Where there is forking, there is conniving and hope in spoons.
Instead of classification, a violent kind of delightfulness. Instead of replication, something emerges. Little chips and switches. Mince, mince, inframince.
This is use.
A table is for alimentation and acts. It means more than a glass, even a looking glass is tall. Where there is in formation, there is execution and elocution. It takes mercy and relaxation to spread a table fuller.
Between setting and serving, between savoring and satiation, there is a shaking. A thresh and a hold. Face to face, interface, and a revision, a revision of a little thing.
A round dish, a cylinder, and an array of related instruments. Gertrude Stein sets a table.
Sitting outside the Pub on Passayunk East in Philadelphia on a recent summer evening talking with poet Ryan Eckes about Gertrude Stein’s Tender Buttons, I tried describing my reading experience of it to him and likened it to closing one’s eyes and seeing the tiny motes that float across them, how while trying to focus on a particular mote, it slips away — that that’s what words and things in Stein’s TB were like, which is to say they’re elusive, and that the book’s meanings, sentence to sentence, unfold in measures of shape-shifting tones, words, and syntax.
The only way, in fact, to see (/catch) the motes without them scurrying away is to look at them aslant, out of the corners of one’s eyes, peripherally. Stein writes at the beginning of “Rooms,” “Act so there is no use in a center.” This notion of de-centering is a theme throughout, and suggests this kind of looking, of seeing things outside of one’s immediate line of sight. Peripheral vision, akin, in my opinion, to a devotional act, is like close listening — it’s a widening of what one is in fact aware of at any given moment. And in this it is a particularly humane and inclusive way of seeing. It fights for the margins, the complexity of the whole, it wants the fringe to be included and given as much weight as what’s at the center. It wants, finally, for there to be no difference between what gets left in or out, because it’s all in. Everything.
Reading Tender Buttons I also find myself thinking of outskirt Proteus, the sea god transmogrifier who, once wrestled with and bound, would (will) give up his oracle, a glimpse into the future. Living on the fringe of the classical world himself in distant Egypt (Homer) or else a secluded sea-washed cave on a far-away island (Vergil), his gifts might be thought of as comparable with Stein’s. Certainly for the reader in 1914 Tender Buttons was no less an outlying augur, what would become a compass for the century’s poetics and thinking — hard to get to or at, maybe, but worth the effort and paying off handsomely for some of those making that effort, themselves too on the outside scribbling, writing their own books in the margins.
As Tan Lin says, Tender Buttons is an index:
As Gertrude Stein recognized in Tender Buttons, which constitutes the first literary work of non-fiction to function like a blind index or (colorless) idea that has been typographically reset, the index is a poetical text and a fictional text it sits next to, like a caption in reverse, or a dining room table adjacent to an idea of sexuality, or the temperature of the room in which someone else’s writing took place.
Its entries are intensive, archival, objectless (despite being entirely to do with objects), and itinerant. One reads an entry and asks: what kind of paratext is a poem? Tender Buttons indexes a set of texts: dinners, smalltalks, treats, abstractions, trinkets, interiors. Its entries are paratextually complex — no mere companion but frenemy, on the move, having left the party. The index is a record of a set of concepts as-yet-unnamed. The unchattable as pure chat, left out like a snack cake for visitors. What kind of home is this? One in which the shopping list is a catastrophe — dissociative and sublime.
Stein’s index entries point — not to an object but as a gesture of pointing. A sentence points to itself, says, here, this thing right here. Pet oyster, small sac, slender grey, ink spot, carpet steak, surely rhubarb. A proposition self-points, or yokes to the performance of its little logic. Use values are best when spread everywhere, uncollectable. Some people write like a menu, but not Stein, she writes like a rogue index, all syntax and no background, all proof and no evidence.
If an index, in part, guides reading in its networked, affectionate modes, then Tender Buttons is a lesson on how reading is possible as a way of writing. Reading as writing is a mode of composing wriggled out from superstition: rhythm and assemblage, collection and list, figuration and simple machine, couplet and grouplet. How is writing written? By arranging words like things.
Star-light and 'Rooms'
Gaston Bachelard writes in The Poetics of Space:
Space that has been seized upon by the imagination cannot remain indifferent space subject to the measures and estimates of the surveyor. It has been lived in, not in its positivity, but with all the partiality of the imagination. Particularly, it nearly always exercises an attraction. For it concentrates being within limits that protect.
Published nearly half a century before Gaston Bachelard’s study of inhabited space, Stein rendered a vigorous statement on spatial poetics through Tender Buttons. In it, she reminds us that to dwell in a place requires and engages our intelligence: to live in and occupy a space is already a kind of knowing. And, delightfully, though Stein’s knowing occurs on site, it both accomplishes and trespasses against what the space may contain. A space is an occasion is an activity, not merely nouns. It invites our authorship as we convene.
In “Rooms,” she announces her foray into this spatiality: “Act so that there is no use in a centre. A wide action is not a width.” These abstractions indicate her philosophical examination of what constitutes “rooms” to us. They emerge as a broad sparkling array. Her attention alights seamlessly from content to commentary to metacommentary. And with such delight.
Her reorientations may prove disorienting for those expecting or desirous of more traditional mappings rendered in what we otherwise call “description.” But by inviting us to imagine rooms as an intelligent activity, and by modeling this engagement for us, Stein transforms them into intimate ecologies — populated, vertiginious, arcing presences that speak with her and in their own names.
My favorite moment in “Rooms” is nested in her discussion of windows. She wonders at them, and we can track how her attention moves from the window itself to the curtain clothing it, to the voices and street sounds and light that pour through.
Star-light, what is star-light, star-light is a little light that is not always mentioned with the sun, it is mentioned with the moon and the sun, it is mixed up with the rest of the time.
This particular sentence resonates quite strongly with me from a personal standpoint, since I have been increasingly invested in trying to accomplish a solar intelligence within my body. Starlight and sunlight are of the same, and yet we forget this because of its dark inhabitance. Starlight is indeed mixed up with the sun the rest of the time. It is always speaking into us, and yet we rarely note — or make mention of — this fact. The distinction between starlight and sunlight is a question of time and perception, which she renders so beautifully: “Why is the name changed. The name is changed because in the little space there is a tree, in some space there are no trees, in every space there is a hint of more, all this causes the decision.”
If I open myself to the light that is constant while noting the inconstancy and fleetness of my perception, I believe I may begin to sharpen and see the world anew. It perhaps requires me to relinquish some commonplace assumptions. I must “act so that there is no use in a centre”?