Gertrude Stein's critical plays with contemporaneity and events of narrative continue to inflect and guide the work of diverse innovative thinkers. Among Stein's most interesting procedural and phenomenological gifts to future writers are her approaches to the dramatic timing of place: here and there and now and then, current happenings, experimental happeneds, atavistic glances, genealogical textual skews.
This project had somewhat accidental beginnings. Over the past year, several writers and scholars have offered work to How2 that develops a Steinian poetic in fascinating ways. I felt it would be exciting to bring these investigations and others into dialogue without fixing too many parameters. Such crossings follow the broader project of How2 magazine, which for twenty years has explored contemporary and modernist innovative poetical work in contexts of trade and experiment.
Contributors to this section have made links between Stein's writings and their own praxes that are oblique, explosively direct, porous, measured, respectfully inconstant, and rich in provocation. How to write after Stein? Idly, crowdedly, critically, in narratives which beneath beneath led to them to them indicative indicatively bright.
From Paragraphing Intervals of Night Janet Neigh
The Mother of Us All Carla Harryman
“Ida did go in-directly everywhere”: the escaping pervasion of space Marina Morbiducci
Narrative in Escaped Places Mary Ann Caws
“Stein Did That,” and Did That Until It Was Done Mark Byron
A Pail Of Clover, A Beauty Pageant: The Stein Way Michael Farrell
Tendering the Unbuttoning: Translating Stein into Italian Marina Morbiducci
From PERMIT: Non-Stop Transcribes Rob Holloway
Everybody's Example: Stein and Memoir Michael Farrell