Tender Buttons: The Corrected Centennial Edition

Not much more can be said with certainty about Gertrude Stein’s experimental book, which remains as defiant and divisive today as it was when first published in 1914. Stein destroys syntax and disregards grammatical conventions in favor of incoherent prose, offbeat poetry, and unsavory literary cubism. Although the work is divided into an admittedly satisfying three sections, with each part implementing a respectably sturdy structure, the chaotic content and grotesque style remains internally consistent throughout. The result is an exhausting slog of inscrutable word salad, a frustrating and sometimes infuriating read from front to back as no clear purpose emerges. However, although Tender Buttons is pain-inducing nonsense, its painstaking senselessness is not so easily forgotten. Its revolutionary form and disruptive creativity has a psychological stickiness that persists beyond its pages and makes Stein’s work significant despite its inaccessibility.

As the owner of the very hard to find 1914 first edition (and at least 15 other editions, both in English and in translation), I must commend City Lights Publishers for this significant and historic edition! GertrudeandAlice were not happy with the printing and binding of the first edition, which is a very fragile hardcover. Even though some may find this printing not to their liking, it is a quality paperback which, with its annotations and informational essays, will make this modernist, literary milestone accessible to a wide readership. GertrudeandAlice would approve! PS For book collectors, books with uncut pages are often more valuable!

Stein gets five stars for trying to create a new poetry, much like trying to create a new novel. Later imitators have a much easier job than the original creator. Stein is far from perfect in this work and sometimes it outright fails, but it's challenging and more creative than 99% of the stuff that is someone trying to write a better poem or novel.

Excellent mouthfeel. Mutton is my favorite.

Who could assume to review Gertrude Stein? A woman of immense intellectual achievement, central to the Monmartre art world of Matisse and Picasso, and a pioneer in language experiments. Her "Autobiography of Alice B. Toklas," her lesbian companion, is a must-read about that Paris. This earlier work may stun as it stimulates; here's her play on an old nursery rhyme: "SALAD DRESSING AND AN ARTICHOKE--Please pale hot, please cover rose, please acre in the red stranger, please butter all the beefsteak with regular feel faces." A patron saint of contemporary poetry and prose, here's her pioneer work (NOT "nine days old").

When we think of critical texts, the New Testament most often comes to mind. However, any piece of literature can potentially benefit from scholarly analysis and reconstruction to achieve as close as possible what the author originally intended. Seth Perlow has done exactly this with Tender Buttons: The Corrected Centennial Edition (City Lights Books, 2014), a new printing of Gertrude Stein’s famous collection of prose. At his disposal were the original manuscript, the first printed edition, and two separate sets of the author’s handwritten corrections. The result is a critical edition that can be appealing to scholars and layreaders alike. There are no messy brackets and footnotes to disturb your reading, yet toward the end of the book, inquisitive readers will find sample facsimiles, a brief word from the editor, and a “List of Variances” that references alternative readings. You will also notice that this edition is fairly free from interpretation. There’s no introduction, footnotes, or the like to guide your reading. Contemporary poet Juliana Spahr does contribute an essay that touches on the history of interpreting Stein’s works, along with some references suitable for future research. However, being an afterward, it is conveniently located at the end, giving the impression that it’s not to take away from the reader’s initial contact with the work. Now, you’ve probably concluded that I’m well-satisfied with this edition. But what about the book in and of itself? That’s a different story. Not being familiar with modern literature styles, I was out of my element reading Tender Buttons. Scholars have debated as to how to understand Stein’s writing in light of her feminism, lesbianism, and controversial politics. In the section titled “Rooms,” I noticed some parts that introduced ideas about gender and sex, but I didn’t get a sense that those subjects dominated. Stein is also noted for her role in the development of Cubism, bringing a multiple perspective or multi-dimensional approach to literature as Pablo Picasso did to painting. In the “Objects” section, I could sense this cubist sort of style in “A Carafe, That is a Blind Glass” and “A Red Hat,” which made me think I was on the right track. In general, however, I can’t say I really get it. In the afterward, Spahr mentions that some have speculated whether or not Gertrude Stein was stoned when she wrote Tender Buttons. If that’s the case, maybe her poems were never meant to be understood. Disclaimer: I received this copy of Tender Buttons: The Corrected Centennial Edition as a First Reads giveaway winner on GoodReads.com. There was no obligation to write a review.

The book was printed very sloppily. There were many pages that were uncut so in order read them there are slight tears in them. Also, I cannot find a credit for cover picture. I'm not that knowledgeable of art so it would have been nice if it was named. However, the afterward and the notes on changes were very interesting and I'm glad this was published for the 100th anniversary. PS: I've noticed lately there a like editorial errors found in printed material. I thought spell checkers would have gotten rid of this. We pay a lot for printed text so I expect it to be as accurate as possible.

100+ pages of pure nonsense.

I've spent years reading modernist poetry but this makes no sense to me. Absolutely no Idea what she's talking about. Obviously not for me...

Stein's relatively obscure work is made somewhat more instructive with this corrected edition, as fastidious as it is. The Afterword by Juliana Spahr is worth its weight in gold -- I am sure Gertrude would have loved it!!

Definitive version of Stein classic.

Excellent