Abstract
‘[I]n a kind of a way novels are still a puzzle to me’,1 Gertrude Stein explained as she began Ida A Novel. The puzzle proved difficult. Between mid-May and December 1937 she wrote at least three brief and unsatisfactory drafts of an opening for Ida.2 By early December she thought that a conversation with Thornton Wilder had given her ‘a scheme for Ida which [would] pull it together’.3 But when, after Christmas festivities and a move to a new apartment, she resumed work in the beginning of February 1938, it was not Ida but Doctor Faustus Lights the Lights that occupied her (GS—CVV, ii, p. 590): ‘Ida has become an opera, and it is a beauty, really is, an opera about Faust’, she would report.4
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Notes
Oliver Wendell Holmes, ‘A Second Preface’ to Elsie Venner: A Romance of Destiny (1861; New York: Dolphin Books, Doubleday, n.d.) p. 9.
Laurence Irving, Henry Irving: The Actor and his World (London: Faber and Faber, 1951) pp. 468–9.
Allegra Stewart, Gertrude Stein and the Present (Cambridge, Mass.: Harvard University Press, 1967) p. 165, notes the dual creative and destructive aspects of the viper.
Gertrude Stein to W. G. Rogers, in W. G. Rogers, When This You See Remember Me: Gertrude Stein in Person (New York and Toronto: Rinehart, 1948) p. 23.
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© 1988 Shirley Neuman
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Neuman, S. (1988). ‘Would a viper have stung her if she had only had one name?’: Doctor Faustus Lights the Lights. In: Neuman, S., Nadel, I.B. (eds) Gertrude Stein and the Making of Literature. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-08541-5_11
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DOI: https://doi.org/10.1007/978-1-349-08541-5_11
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