This article addresses the largely unexplored relationship between Stein's literary innovations and the new sound media of her time. By examining these connections, this article looks at Stein's compositional techniques—in particular her concept of the continuous present and her lifelong interest in speech and dialogue—to examine how new media technologies intersected with her attempt to change the way writing was written, read, and heard. By focusing on sound, and looking specifically at her final work Brewsie and Willie (1946), this article reads Stein's innovative poetics against the backdrop of concurrent changes to audio technologies during her career. Finally, the article argues that by paying attention to the ongoing shifts in media ecologies in relation to modernist innovations, we might gain insight into the larger phenomenological and sensorial sphere that formed the backdrop to modernism.

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