Tender Buttons: Objects
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First published in 1914, Gertrude Stein's revolutionary poetic work Tender Buttons is a must-read for every serious lover of literature. Delighting in the rhythm of words, its first section, "Objects," runs playful linguistic circles around teacups, ribbons, umbrellas, and other quotidian artifacts. Presented here in an exquisite small package, this new edition of "Objects" pairs Stein's avant-garde verse with colorful contemporary illustrations by indie art star Lisa Congdon, who illuminates and interrogates the classic Cubist text with visuals as capricious as Stein's own prose. A celebration of independent thinking old and new, this captivating marriage of image and text is a treasure of arts and letters.
any substance. Suppose an example is necessary, the plainer it is made the more reason there is for some outward recognition that there is a result. A box is made sometimes and them to see to see to it neatly and to have the holes stopped up makes it necessary to use paper. A custom which is necessary when a box is used and taken is that a large part of the time there are three which have different connections. The one is on the table. The two are on the table. The three are on the table. The
one, one is the same length as is shown by the cover being longer. The other is different there is more cover that shows it. The other is different and that makes the corners have the same shade the eight are in singular arrangement to make four necessary. Lax, to have corners, to be lighter than some weight, to indicate a wedding journey, to last brown and not curious, to be wealthy, cigarettes are established by length and by doubling. Left open, to be left pounded, to be left closed, to be
hardly more than ever. A PLATE. An occasion for a plate, an occasional resource is in buying and how soon does washing enable a selection of the same thing neater. If the party is small a clever song is in order. Plates and a dinner set of colored china. Pack together a string and enough with it to protect the centre, cause a considerable haste and gather more as it is cooling, collect more trembling and not any even trembling, cause a whole thing to be a church. A sad size a size that
A PETTICOAT. A light white, a disgrace, an ink spot, a rosy charm. A WAIST. A star glide, a single frantic sullenness, a single financial grass greediness. Object that is in wood. Hold the pine, hold the dark, hold in the rush, make the bottom. A piece of crystal. A change, in a change that is remarkable there is no reason to say that there was a time. A woolen object gilded. A country climb is the best disgrace, a couple of practices any of them in order is so left. A TIME TO
a to let. Gertrude Stein’s 1914 modernist masterpiece Tender Buttons does not so much tell as evoke. Delighting in the sound and rhythm of words, the first section of Stein’s extended poem—“Objects”—runs playful linguistic circles around teacups, ribbons, umbrellas, and other quotidian artifacts. This avant-garde treasure is brought to new life by artist Lisa Congdon, in illustrations as whimsical as Stein’s prose. A celebration of independent thinking, this reinvigorated take on a classic