The short story written by Gertrude Stein “Miss Furr and Miss Keane” is among the most celebrated works of Gertrude Stein, though it may be viewed as contentious. Miss Furr and Miss Keane encompasses peculiar linguistic and naturalistic manner of modern writing. The works of Stein was formerly in print in Vanity Fair in the year 1922.The incoherent repetitive sentence structure in Stein’s story emphasizes on the characters’,Georgine Skeen and Helen Furr, affilitiation.The repetitive style is used to detach formal thoughts to components that are easy so as to be sighted as opposite components while trying to expose coded conventions. Miss Furr and Miss Skeen story talks about the relation of the two women who were living together.Moreover, the story is claimed to be among the foremost published stories and via its reprinting in 1923 in Vanity Fair, the dissident connotation of the word ‘gay’ became known to all. (Stein, pg 368). The utilization of repetition forms the basis of Stein’s literal tool. Stories of Dr. Seuss were very fundamental to the understanding of Stein’s Miss Furr and Miss Skeen’s story.
The expression of sexuality in this story is so vivid and this has contributed to the sidelining of Stein for several years. Through investigating her own individuality, to begin with allegorically and then followed by clamorous, make available the evidence of her essence of a feminist examination in which ‘confusion’ and ‘insecurity’ tend to be ‘privileged spots of invention, especially production near or about enquiries on gender’. Her linguistic routine makes Stein be fundamental in the modemist ground where impulsive images of love, self domesticity and nature are employed to elevate devastation and to strike at the foundations of traditional dissertation. Stein insists that the self-responsible and self-aware writing procedure is indispensable; it is entangled within the productive and receptive stimuli processing as it ‘exists in a manner similar to a human being as hearing and listening is never a repetition’ (Stein, pg 368).
Natural and domestic descriptions are intertwined similar to those in ‘As a Wife Has a Cow: A Love Story.’ The word ‘Cow appears in a variety of Steins writings as a metaphor that lacks continuity whose orientation alternates along with general sexuality, sexual orgasm and ‘the mythological thought of lesbian birth (Stein, pg 369).’. By doing the mixing of such imagery with other aspects, Stein managed to subdue those sexual allusions that would be objectionable in her period. The further exploration of Stein’s categorical work brings out a model of supplementary expression of sexuality. A very good example of such is highlighted in the statement, in “Miss Furr and Miss Skeen”, where it reads that to be regularly gay was to do every day the gay thing that they did every day.
Clear indications to the ordinary world as Stein’s work matures comes across her glossary being redeployed reducing it into lyricism. For instance, putting into consideration her choice of word in Tender Buttons, Stein asserts that she was extremely baffled and taken by the sound’s beauty as they emerged from her with an astonishing melody of words and an excitement melody followed with the knowledge of being acquainted with what she had done. Stein’s texts from the late and middle interludes substantiate the observation that she developed into a more diverse aesthetic, richer and consequently, a vibrant innate lyricism. Her contributions for the pastoral took a clear shape due to her advancements in her works. Initially, Stein was regarded as a playwright, novelist and to some extent as a poet (Stein, pg 370)
The aggressiveness of Stein’s naturalism brings her out as an aesthetic person and such character can be transmitted as a macro-alternative and human existing microcosm to obsolete techniques of its representation. In addition, her naturalism has advanced to the incessant present as a result of Stein’s inscriptions on threshold of consistent area under discussion. Stein’s naturalism broadens even to a greater extent to locate the proceed of writing as per the time-present procedure of conducting life by an artist in order to come up with the composition as expected and making the composition to attain the standards required. In this context, all the things are similar except period of the composition and the composition, the time and composition and the duration in the composition. During the creation of the composition, no one contemplates about the making and inclusion of the above parts in the composition (Stein, pg 371)
Language utilization to crack down convention is confounding. Nevertheless, Stein’s accomplishes in reconstructing the experience of humans, an attainment that is even more surprising in view of the fact that the renewal necessitates enormous endeavor in improving conservative demonstration. Concomitant language in humans and its essential provision which is thought and perception are engrossed in a bleak skycap of clouds, sun and a better possibility of warmer times to approach. Stein’s natural imagery work serves as a setback and reward at the same time for prolonged observation of humans equally as a prerequisite and prospective virtue for reader and writer. The manner in which Stein employs and manages this imagery is shocking, given the fact that there is no continuality with the previous work. This shocking acknowledgement forms the basis for dismissal of the readings and writings of Stein composition as being purely mathematical and confusing. Referring to the artistic composition with regard to Stein’s conception, she rather engages in conduction of life than formulation of thoughts. As a result, Stein has ended up in conducting nature too.
Accordingly, Stein is regarded as a naturalist who is in a mode of experimenting in order to reconstruct nature using experiments in outward appearance and dialogue. The sole purpose of Stein’s experiment is to bring out the chief procedures of thoughts and perception to express situations seen not according to the way an individual understands them but as they appear whenever an individual comes across the situation without remembering to have encountered such a scenario before. Stein’s anti-narrative cartoons customary exposition where thought is controlled by a systematically deviant grammar of chronicled proceedings. Preliminary compositional approach of Stein progressed thematically throughout the nineteenth- century narrative of family and manners.
Disruption of attained narrative logic and form notions by Stein through her self-reflective masterpiece, a long gay book, makes her to be viewed as a narrative logic and realist exposing her works inconsistencies and incoherencies since conservative recitation is ideologically created and not naturally constructed. Stein goes to the extent of inexpressible ‘naturalism’ of a playwright on the verge of her topic in order to reinstate the model of unnatural realist (Stein, pg 370). Stein is further seen as a phenomenologist particularly when it comes to human state focus. Stein takes the initiative to instruct individuals about the tormenting rudiments of the meditative life filled with the happiness in seeing as well as looking, and of congenial inquiry into why we see things in a particular manner. No matter how individuals illustrate mastery of Stein’s texts, it only necessitates the passing on of their magnitude. The process of Stein’s work establishment holds on to time-present progression of reading.