dangers; blackface came then to function as a distancing mask behind which Stein flaunted her own whiteness. If racial distancing is unequivocal in Stein's
stereotyping of certain of the frame characters, a more complex ambivalence is
at work in the triumphant survival of Rose Johnson at the end. And if the story
concludes with the demise of the two blues women--the disappearance of Jane
Harden from the narrative and the death of Melanctha--the lessons of the blues
live on in Jeff Campbell: "Jeff always had strong in him the meaning of all the
new kind of beauty Melanctha Herbert once had shown him, and always more
and more it helped him with his working for himself and for all the colored
people" (207); and finally, the syncopated rhythms of ragtime endure beyond
the narrated events in the style of the narrator herself.
In writing "Melanctha" Stein found herself caught in a complex web of racial
contradictions. She was both powerfully drawn to African-American popular
musical culture at the turn of the century, which offered her representations of
strong, vibrant women unavailable to her in other artistic traditions, and she was
repulsed by these images out of fear of being assimilated to them through her
double identity as a Jew and a lesbian. These dual tendencies are fully inscribed
in the racial discourse of "Melanctha."
James R. Mellow, Charmed Circle: Gertrude Stein & Company ( New
York: Praeger, 1974), 77.
Gertrude Stein, The Autobiography of Alice B. Toklas ( New York: Vintage Books, 1960), 34. All further references are to this edition and will be placed parenthetically
within the text.
Gertrude Stein, "A Transatlantic Interview 1946," in Gertrude Stein: A Primer for
the Gradual Understanding of Gertrude Stein, ed.
Robert Bartlett Haas ( Los Angeles: Black Sparrow Press, 1971), 15-16; "Composition as Explanation," in A Stein Reader,
Gertrude Stein, ed.
Ulla F. Dydo ( Evanston, Ill.: Northwestern University Press, 1993), 498.
See, for example,
Michael North, The Dialect of Modernism: Race, Language, and
Twentieth-Century Literature ( New York: Oxford University Press, 1994), 59-65.
Quoted in The Flowers of Friendship: Letters Written to Gertrude Stein, ed.
( New York: Octagon Books, 1979), 54.
Raymond Williams, The Politics of Modernism: Against the New Conformists ( London: Verso, 1989), 77-78; for a similar application of Williams's theories to Pound and
Eliot, see North, The Dialect of Modernism, ch. 4.
Richard Bridgman, Gertrude Stein in Pieces ( New York: Oxford University Press, 1970), 6.
Sherry H. Olson, Baltimore: The Building of an American City ( Baltimore: Johns
Hopkins University Press, 1980), 200-229.
Association for the Improvement of the Condition of the Poor, Housing Conditions
in Baltimore ( Baltimore: Charity Organization Society, 1907), 12, 16.
Quoted in Elizabeth Sprigge, Gertrude Stein: Her Life and Work ( New York: Harper and Brothers, 1957), 23, 39; Robert Crunden, American Salons: Encounters with
European Modernism ( New York: Oxford University Press, 1993), 165, 177.
Gertrude Stein, Q.E.D. in Fernhurst, Q.E.D., and Other Early Writing ( New York:
Questia, a part of Gale, Cengage Learning. www.questia.com
Book title: Criticism and the Color Line:Desegregating American Literary Studies.
Contributors: Henry B. Wonham - Editor.
Publisher: Rutgers University Press.
Place of publication: New Brunswick, NJ.
Publication year: 1996.
Page number: 155.
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