I have only read snippets of Gertrude Stein. Her work is not easy to read, and it is claimed that her exceptionally long major opus 'The Making of Americans' has only been read cover-to-cover by about half a dozen people.
Stein's popularity, like the length of women's skirts, rises and falls in phases. At present she's probably not over popular.
The one piece of work that always fascinated me was her libretto to Virgil Thomson's 1928 opera 'Four Saints in Three Acts'. A pure Dada, possibly Bauhaus influenced, stream of consciousness work, that accompanied Thomson's music, rather than enhanced it.
I can't remember when or where I first encountered this particular 'poem'; maybe at Art College, or more likely through the ICA (of which I was a member in the late 60's, when Concrete Poetry was at its most popular).
Anyway, here below is the most well known aria (poem), which appealed to me all those years ago. What I see in it now is another question!
Pigeons on the grass alas
Pigeons on the grass alas. Short longer grass short longer longer shorter yellow grass. Pigeons large pigeons on the shorter longer yellow grass alas pigeons on the grass.
If they were not pigeons what were they
If they were not pigeons on the grass alas what were they. He had heard of a third and he asked about it it was a magpie in the sky
If a magpie in the sky on the sky cannot cry if the pigeon on the grass alas can alas and to pass the pigeon on the grass alas and the magpie in the sky on the sky and to try alas on the grass alas the pigeon on the grass the pigeon on the grass and alas
They might be very well they might be very well very well they might be
Let Lucy Lily Lily Lucy Lucy let Lucy Lucy Lily Lily Lily Lily Lily let Lily Lucy Lucy let Lily. Let Lucy Lily
(me) I hope I've managed to type all that correctly. Enjoy (if you can).