Gertrude Stein’s published contribution to 1922, the collection entitled Geography and Plays, was intended as a summary statement and profile of the literary art of a writer who was infamous without having been read. The selections of Stein’s work are presented out of order and thematically, not in such a way as to give evidence of an artistic journey or growth. It is only in retrospect that any clear notion of the extraordinary literary developments undertaken by Stein over the first two decades of the twentieth century has emerged. What especially associates Stein’s opus with some of the other texts of 1922 is that the selection on view is as stylistically heteroclite as they are. In fact, if we consider that Joyce had been writing Ulysses since 1914, and that the second half of his masterpiece is a motley counterpane of different styles, then we can declare some significant resonance with what is presented in Geography and Plays: a miscellany of voices, forms, styles, written over several years, held together by the impress of genius. Geography and Plays is explicitly conceived as a kind of wilful, egoistical, self-promotional anthology: a “best of” selection comprising of work nobody knew, ranging over a decade of work, most of which had never been published. There is a long-standing argument about modernism as the cultivation and curation of reputation and celebrity in an expanding media environment, but there are few enough overt examples of the tendency rendered internal to the texts themselves, which generally prefer to stand aloof, autonomous, while the murky business of self-promotion goes on elsewhere, in extra-literary conversations, letters, appeals, and so on. This chapter argues that because unlike other collections or anthologies, Geography and Plays is an entirely self-fashioned, self-fashioning artefact without a commercial logic or appeal, it plays directly into such a conception of literary modernism.