absurdist – The Tempest

I first encountered Gertrude Stein through her avant-garde poetry in Tender Buttons, an evocative series of short poems that forced writing to its breaking point with sentences like: “Dirty is yellow. A sign of more is not mentioned.” I met her blindly, only through her words, yet I already fell for her eccentricity. I knew there was something wonderful behind the mind that put down on paper the bold tongue-in-cheek yet unbelievably serious statement, “A rose is a rose is a rose is a rose”. I just had to explore her art further. So I began scouring old journals and artist profiles to learn more about her.

Little did I know that the radical art Stein created could almost be rivaled by the art that she nurtured in the artists around her. I found multiple sources that called her the ‘mother’ of modernism, but after getting to know more about her, I am sure that she would scoff at such a title. After all, she left the United States in 1903 to flee the pressures of gender norms. She was also bored with medical school and seeking an outlet to express her eccentric point of view, she settled down in Paris, where she intended to pursue a life free from heteronormativity. She opened a salon in her home for the world’s creative mind, including some of the world-renowned names such as Picasso, Matisse, Hemingway, and Fitzgerald. She was the voice of this ‘Lost Generation, the group of American expatriates flocking to Paris– and even coined the term.

The way I see it, she brought together these esteemed artists and in many ways, elevated them through her no-nonsense critique of their work. I had always internalized that a woman inspiring other artists (typically male artists) was a muse. That term is loaded, as there were often sexualized or romanticized elements typically tied to a muse. Instead, what I admired about Stein was that she was a mentor to the ‘greats’. I see her as a woman that had an undeniable presence in her time, respected by those around her.

Nothing about her was conventional and she embraced her own strangeness, something that drew me to her further. Stein deserves the title of a trailblazer of the modernist period and of queer identity at the time. Stein’s essay Miss Furr and Miss Skeene were among the first story to be published about homosexual revelation, containing the first noted use of the word “gay” in published works to refer to same-sex relationships. She also hosted one of the first avant-garde exhibitions in the United States, funding it with the money she collected from her art dealerships. I have no doubt that every piece of art in the period has her fingerprint.

And she didn’t hesitate to acknowledge her accomplishments either. Stein didn’t believe that women must be modest, proudly proclaiming “I have been the creative literary mind of the century.” She never sold herself short, a habit I found myself doing as I presented my own poetry or other writing. I was still working with my own feelings of inferiority, belittling my stories as ‘just’ relevant to female-identifying communities. While she wrote about women and her partner, she didn’t restrict herself to writing women’s stories. I found it so refreshing to see her unabashed pride, as it reminded me to take hold of my own achievements and to be confident. No matter how unconventionally and ‘weirdly’ I experimented with my creativity, I learned that I could (and should) still demand to be taken seriously.

Regardless of all this, I don’t think she should be idolized. I often like to give powerful women in difficult situations the benefit of the doubt, as do most of the historians and writers that grapple with creating a retrospective of Stein’s life. I witnessed a trend in the way that they wrote about her, that she was ensuring her safety as a Jew in Nazi-occupied France by making these questionable alliances with Nazi figures. As much as I respect her as a feminist and as the backbone of the Lost Generation of artists, I cannot excuse her political affiliations and ironic, confusing pro-Nazi expressions.

At the end of it all, Stein didn’t strive to be accepted or allow herself to be molded by the society around her. She carved her own place into history and I believe it is important to commemorate it, lest she is lost in the shadows of her male counterparts. As a woman in the art world, looking at Stein as an example liberates me and allows me to embrace subversive expressions of creativity.

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“A little boy in a cowboy suit, writing in a puddle with a stick, a dog approaching. Deaf or dumb, the boy is, like anyone, a little timid, partly stupid, ashamed, afraid, like us, like you. He is there. Picture the boy. See his eyes. Sympathize with his little closes. Now, break his arm. Picture violin section. The violins are on fire. (The following is said almost without anger as if it’s just another request) Now go fuck yourselves.”
–Thom Pain (Based on Nothing), Will Eno.

That’s a little absurdism for you there. The next few lines go into the character trying to sound like he’s fine, but he really isn’t. He is spiraling while trying to understand the colloquial term ‘whatever’ because he thinks it will describe how he wants to feel. Did you get that? I hope so. Because underneath the strangeness is a deep vulnerability– and joy in being alive.

It doesn’t want to have a purpose, it embraces being purposeless.

At its core, absurdism is rooted in social activism and rebellion against the norm. At a time when everyone was taking art very seriously and enforcing standards on artist’s practices, absurdists challenged the system. They said, what if we make an art form that defies expectations by being intentionally bizarre? When everything around us is so devoid of reason, embracing irrationality and strangeness may be the next best thing.

With the current pandemic, there is little that we can control. At first, I felt so powerless against it all. That’s when I turned to absurdism. It doesn’t want to have a purpose, it embraces being purposeless. The Dadaist slogan of “art for art’s sake” and absurdism’s love of nonsense is exactly the type of energy we need to be bringing into our lifestyles.

Absurdism taught me to embrace chaos and life not making sense (most of the time). I spent most of my life, as I expect a majority of you did, trying to assign value to myself by the things that I achieved and the decisions I made. Wanting my life to mean something, I quickly grew desperate when things did not turn out as I imagined.

Absurdism taught me to embrace chaos and life not making sense (most of the time).

Take, for instance, applying to jobs or sharing creative work. There is a powerlessness that I feel every single time. I can’t help but think that I am putting myself out there to be judged– which I am, to a certain extent. Recently, after being ghosted by a couple of jobs I had applied to, I was starting to fear that the rest of the year would be the same. All my efforts seemed to be in vain. Keen to maintain a certain image I had of my life, I started reaching out to places that I had no interest in. But I soon became so thankful that things turned out the way they did when a professor reached out to me, excited to have me on board to work on her screenplay– something I deeply enjoyed doing.

Like that last line by Will Eno, I often forgot that life was full of surprises. I learned to be okay with it. More than that, to be happy.

By reading absurdist writers, I embraced the joy of being surprised. I found humor in unexpected things. There was a strength in accepting chaos that I did not find anywhere else. When it seems like the year is going entirely on its own path, I cling to these teachings more than ever. We can’t be stubborn and try to force the year to go in the direction we want it to. We are doing more damage by pulling on the leash and digging our feet into the ground then if we let loose a little and see where the year is headed.

All in all, when things don’t work out, whether it is with your school, career, or relationship prospects, remind yourself that having ‘nothing’ going on shouldn’t be terrible. Just take Daniil Kharm’s The Red-Haired Man, where at the end he admits that he is writing nonsense and gives up entirely. This poem has gotten me out of all types of ruts, both creative and personal.

We can all take a note from absurdism. If we embrace chaos in this way, we can enhance our own sense of wellbeing.

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