Sherwood Anderson in his public introduction to Stein's 1922 publication of Geography and Plays wrote:
For me the work of Gertrude Stein consists in a rebuilding, an entirely new recasting of life, in the city of words. Here is one artist who has been able to accept ridicule, who has even forgone the privilege of writing the great American novel, uplifting our English speaking stage, and wearing the bays of the great poets to go live among the little housekeeping words, the swaggering bullying street-corner words, the honest working, money-saving words and all the other forgotten and neglected citizens of the sacred and half-forgotten city.
In a private letter to his brother Karl, Anderson said, "As for Stein, I do not think her too important. I do think she had an important thing to do, not for the public, but for the artist who happens to work with words as his material.[143]
James Thurber wrote:
Anyone who reads at all diversely during these bizarre 1920s cannot escape the conclusion that a number of crazy men and women are writing stuff which remarkably passes for important composition among certain persons who should know better. Stuart P. Sherman, however, refused to be numbered among those who stand in awe and admiration of one of the most eminent of the idiots, Gertrude Stein. He reviews her Geography and Plays in the August 11 issue of the Literary Review of the New York Evening Post and arrives at the conviction that it is a marvellous and painstaking achievement in setting down approximately 80,000 words which mean nothing at all.[144]
"The interesting writer is where there is an adversary, a problem. Why Stein is not, finally, a good or helpful writer. There is no problem. It's all affirmation. A rose is a rose is a rose."Susan Sontag, from Journals and Notebooks, 1964–1980.[145]
In his 1938 biographical novel The Green Fool, Irish poet Patrick Kavanagh describes the works of Gertrude Stein fondly as being "like whisky to me; her strange rhythms broke up the cliché formation of my thought".[146]
