Abstract

In recent debates about Gertrude Stein’s World War II activity, the assumption that translation is a derivative activity persists; Stein’s translation of the speeches of Vichy chief of state Phillipe Pétain has been called inept and submissive. However, Stein’s text shows the distinct signature of her idiosyncratic poetics and her “own interest,” rendering the translation double-voiced and the author more responsible for her complicity than her critics have it. Stein’s translation project ought to be brought out of the archives and read as a valuable artifact of Modernist reactionism, as it illuminates the complexities of wartime cultural production.

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