Abstract

For ten years, between 1903 and 1913, Gertrude Stein saw human relationships as painful mathematical puzzles in need of solutions. Again and again, she converted the predicaments of her personal life into literary material, the better to solve and to exorcise them. The revelation that relationships had a structural quality came to her during the composition of Q.E.D. , when she grasped the almost mathematical nature of her characters' emotional impasse. Stein's persona in the novel comments on their triangular affair, "Why it's like a piece of mathematics. Suddenly it does itself and you begin to see."1 The theory encouraged her to examine such situations as if they were case histories: she continued to study the same piece of mathematics from different angles in Fernhurst , Three Lives , and The Making of Americans . But whatever the sexual arrangements in these triangles, the powerful generally managed to impose their wills upon the less powerful, and the triangles resolved themselves into oppositional structures, pitting two against one. Gradually, when the couple began to replace the triangle as her structural model, Stein composed numerous verbal portraits of couples and their relationships. In two of these, "Ada" and "Two Women," Stein applied her general theory of relationships to the particular puzzle of female friendships because, I think, she felt that women's characters were most intensely molded in same-sex involvements. Although she attempted to "prove" these theories in distanced, deliberately depersonalized prose, we as readers must examine "the complex interplay of self-discovery and writing" from which her portraits emerged.2Stein's portraits of women entangled in familial and erotic bonds seem to invite us into "the process whereby the self creates itself in the experience of creating art"; to read them, we must "join the narrator in reconstructing the other woman by whom we know ourselves."3 This task of reconstruction implies that we must also rethink the place of biography—generally dismissed by New Criticism and its subsequent post-structuralist permutations as "mere" biography—in feminist critical projects. If it is true that "in reading as in writing, it is ourselves that we remake," then feminist critics have a special stake in understanding the biographical, and autobiographical, impulses at work in these activities.4 Stein's portraits, which hover between fiction and biography, raise important questions about the ways in which biographical information can justify our suspicion that female writers may be "closer to their fictional creations than male writers are."5 Recently, feminist critics have adapted psychoanalytic theory to examine the particular closeness of female characters in women's writing or to suggest a related closeness between the female author and her characters. We find it useful to speak of the pre-Oedipal structures and permeable ego boundaries that seem to shape women's relationships. Although Stein used very different psychological paradigms, she approached these same issues in her own studies of female friendships. Realizing that she preferred to write about women, she observed, "It is clearer…I know it better, a little, not very much better."6 In spite of her qualifications, she knew that she could see the structuring principles of relationships with greater clarity when writing from her own perspective.1. Stein, "Fernhurst," "Q.E.D.," and Other Early Writings, ed. Leon Katz , p. 67.2. Elizabeth Abel, "Reply to Gardiner," Signs 6 : 444. For a very useful critical discussion of this complex issue, see Abel, "Merging Identities: The Dynamics of Female Friendship in Contemporary Fiction by Women," and Judith Kegan Gardiner, "The es of dentity: a Response to Abel on 'Merging Identities,'" in the same issue of Signs .3. Gardiner, "The es of dentity," p. 442.4. Jonathan Morse, "Memory, Desire, and the Need for Biography: The Case of Emily Dickinson," The Georgia Review 35 : 271. See also J. Gerald Kennedy's suggestive remarks on the "tension between personal confession and implacable theory" in Barthes' later work .5. Abel, "Reply to Gardiner," p. 444.6. Stein, The Making of Americans, cited in Richard Bridgeman, Gertrude Stein in Pieces , p. 78.Carolyn Burke, an Affiliated Scholar at the Center for Research on Women, Stanford University, has published articles on French feminist writing and on Mina Loy, whose biography she is now completing. The theoretical implications of this essay will be explored in her related study in progress on feminist biography