“The Orients of Gertrude Stein” reads two well-known texts by Stein in which the Orient makes a significant appearance: Stein’s portrait-poem “Susie Asado” (1913) and her opera Four Saints in Three Acts (written in 1927). The first case features an intimate, eroticized Orient at its heart, while the second presents an astonishing moment of Oriental exclusion: the Orient is both welcomed into and banished from her work. By reading these contrasting invocations of the Orient, this essay seeks to examine Stein’s aesthetic habits of incorporation and rejection.